🎨 UNTITLED - CHARCOAL 1
UNTITLED - CHARCOAL 1
English - German
Following up on my previous post UNTITLED JULY 2018 - WIP I present a work done in a similar way, but on panel.
Im Anschluss an meinen früheren Beitrag UNTITLED JULY 2018 - WIP stelle ich eine Arbeit vor, die auf eine ähnliche Art und Weise, aber auf einem Panel durchgeführt wurde.
The process was the same as described in my recent post:
".......dragging a charcoal stick over the canvas, spraying with water, pushing the wet charcoal around with fingers and palm of the hand (rubber gloves), then drawing into it with a charcoal stick and also with a brush into the still wet charcoal." In some areas, a balloon was also used to create a pattern in the wet charcoal.
The finishing touches were done with sandpaper (to lighten some areas) typewriter erasers and electric erasers to work out some details.
Der Prozess war der gleiche wie in meinem letzten Post beschrieben:
"... einen Kohlestift über die Leinwand ziehen, mit Wasser besprühen, die feuchte Kohle mit den Fingern und der Handfläche (Gummihandschuhe) herumdrücken, dann mit einem Kohlestift und auch mit einem Pinsel hineinziehen in die noch nasse Kohle. " In einigen Details wurde auch ein Ballon verwendet, um ein Muster in der feuchten Holzkohle zu erzeugen.
Die letzten Feinarbeiten wurden mit Sandpapier (um einige Bereiche aufzuhellen), Schreibmaschinen-Radiergummis und elektrischen Radiergummis vorgenommen, um einige Details auszuarbeiten.
Details
Steemit-Austria Stammtisch July 15th 2018 - with @carolineschell, photo by @manncpt
Note: I am an Austrian Artist living in Vienna
I post many of my blogs under the tag #steemit-austria
About my Work
Otto, I need you to show me how you are doing these textures!
Peter, it works best on panel. It is actually similar to what David Heskins does, called Mana Prima: he does it with powdered pigments on a panel that he keeps damp. There used to be a good process video by him, but he deleted it again (I should have downloaded it). There are a couple of videos by lesser artists, but not very good (i.e. disregard all the pseudo visionary mumbo-jumbo intro like incense burning etc ....) Mana Prima Technique (like, they don't know when to quit, lol).
The difference perhaps is that I use various erasers (and maybe fine grained sandpaper) when done, and the panel is dry, to work dark into light. So not like this video, where the background is dark. I do it on a white panel. I think David does as well.
Maybe I should come to your place sometime and we do a few of those. Your skills with the airbrush may just take this to the next level!
Thanks Otto! Yes, it would be great if you could come and show me! @adelepazani you are gladly invited to join! I'm sure Otto doesn't mind! :-)
thank you Peter :) yeah! that would be Wonderful !!!, :-) <3
interesting, and sort of performance oriented. thanks for the resources!
i need it also , :) really amazing texture
Otto's patterns with charcoals is very unique !!
I love it. It would be so nice if you could do a video of your technique.
I never think of this when I am doing it, but from the description, try it yourself: rubber gloves, charcoal and water (and whatever else you can think of to manipulate the damp charcoal). But not charcoal powder, it doesn't "stick", use a soft charcoal stick. It just takes several coats of fixative when done (or if you want to work more on it with paint and glazing).
This, and a few more I might post, are b/w - but I used a similar technique as a underpainting for this, which was then finished off in acrylic glazes:
Offspring of Tiamat
If you are in Sedan this Fall, this painting will be one of two in Chimeria 2018.
OK I'll give it a try. Thank you. Looking forward to Sedan.
cool, glad you will be there also - sort of a "epic convergence"
Hallo Otto,
ich kenne ja einige Bilder, die ihr Entstehen der Kohle zu verdanken haben.
Aber hier sage ich : "Halt mich fest, sonst kipp ich um!"
Die nächste Bitte an unsere irre Gesellschaft: "Lasst nur ja den Beruf des Köhlers nicht aussterben!"
Und dann war da noch mein Egoismus, gepaart mit der Bitte an dich: "Mehr davon"
Wer fragt sich hier noch, seit wann Langostinos oder Langusten schwarz sind? Alles Penner!
Langostinos waren schon immer schwarz und müssen genau so aussehen!
Diese Technik haut mit den Hocker unterm Arsch weg.
Meine Hochachtung
Wolfram
wow, thank you - more coming up in future. I love the process, so I will do more (until I get tired of it). There are a few more from that time as well that I will post.
... not being tired of it, simply taking a break for a while!
your works are so beautiful and the patterns you capture are so organic and mesmerizing! i love this one, otto <3 gorgeous post <3 <3 <3
Thank you
This post was shared in the Curation Collective Discord community for curators, and upvoted and resteemed by the @c-squared community account after manual review.
@thermoplastic wow another amazing piece! Using balloon to create texture and pattern against the wet charcoal is a great technique to use! Upvote to support
AAAHHHH, this looks so amazing, just wonderful work my friend :D
And a very good care with the details ^^, you did an amazing job in here
thanks - it's fun, try it yourself sometimes!
I love this one, it looks like the xray of an alien species. Such powerful strokes and intent to the line. Well done, as always, sir :)
thank you Donna - just call me Otto (my father was a "Sir")
How about 'Sir Otto' ;)
I was not knighted - Aunty Lizzy is too busy ;)
I caught this on the c-squared forum, the level of detail is impressive! :)
yes, it sort of looks very complicated, but isn't.
One can also be a master in Randomness -
yes, I love Chaos, but try to bring a bit of order into the equation - like a 50/50 Apollonian/Dionysian approach. That is a tip of the hat to the Vienna Fantastic Realists.
The relevant excerpt from my text:
Muschik eventually coined the term Vienna School Of Fantastic Realism, under which these artists became known world wide. He explains the term as such: "These Painters are Realists for their attention to detail, fantastic is the juxtaposition, the scene. One cannot call them Surrealists, though they evolved out of Surrealism, because missing is the absurd, the preference for paranoia, trance and hallucination."