I dont know if other artists suffer from this but I do.
When painting a sculpt, I paint in multiple layers. I paint the primer coat on the piece, a base skin tone, various noodled skin tones, veining, so on and so forth. Building up layer upon layer to get a (hopefully) realistic skin tone. After that is done I will usually finish the final layer or 2 by hand with a brush. The initial skin tone layers are all done with an airbrush. They dry relatively fast so I can usually paint them in an afternoon. By that evening I can begin the hand painting. I’m in a bit of a hurry at times due to my massive coffee drinking habit.
What happens is that I fail to realize sometimes that I am nearly ruining what I have laid down in my skin tones at times. Covering them up by being to heavy handed with the brush and final break down layers I add.
The above three picture (pardon the blurry pics they were reference pics I take tons of these when working and I generally dont post them online) show a piece I did a year or two ago. I was looking at this piece today as I was in the shop and it has always bothered me. I spent hours on the base skin tones and veining. I then proceeded to crush it with way to much color and noise on top of it in my opinion. If I had made the base skin tones and veining with more contrast it may have helped.
I have since taught myself to have a lot more patience when painting and to have a softer hand on my top most layers. I can always add more paint but taking it away is impossible.
This piece sits on my shelf of pieces I will never finish or try to sell. They all have taught me valuable lessons, and sometimes I pick them up and inspect them. As I have learned more as time has passed they teach me a bit more.
The moral of the story – Sometimes when I work in the studio I can’t see the forest for the trees.
WOW. All of this discussion as almost inspired me to start the 3rd incarnation of “Horatio Woe”. He has a rather involved back story and I have always been able to see him completed in my minds eye. I also have a few of his accoutrements finished as well. He was in a horrible accident years ago and now serves as a rather robust grave digger.
“The Shelf of Failure and Shame”…somehow I am reminded of the Island of Misfit Toys from Rudolf the Rednosed Reindeer. I shudder to think of your misfits finding their way into the world.
Regarding the topic of stepping back while painting:
I have struggled with not going far enough with my painting, leaving the potential of a piece untapped in regards to a full palate of color and contrast. Something I know you do but did not mention here is to take in-progress photos. Observing your progress at a computer screen allows a fresh perspective, and also demands that you leave the piece for a while.
I suppose the challenge is to know when to stop when the painting is happening ( which is your main point here after all. Self discipline and artistic awareness are difficult skills to master.
I still don’t know what to think about letting the overpainted piece taunt you from the shelf. In many ways it feels like defeat, which is not healthy unless it is stiffening your resolve to do better.
You are a very complicated person to understand, my friend.
I like keeping certain pieces around because they like markers on my artistic time line. I don’t really look at it as defeat. At the time I was fairly happy with it I believe. It was my first attempt at painting lots of veins on a multi-layered skin paint up.
My painting technique previous to that was very different. What I attempted to do after I finished my skin tone was apply my previous painting techniques over it to some extent. The two were not very complementary.
Early on I always struggled with not using enough color or “going far enough” when painting. I was afraid of using to much paint or a varied palette I guess. This piece is almost the opposite of that in my mind.
When working on projects – especially large projects – I have a 15 minute rule. I have to take a break approx. every 15 minutes while painting. Or I break after each layer of paint.
I also have to leave the room where the object is. Get a drink. Check emails. Whatever. This way, I have fresh eyes when I go back to it. It also stops me from rushing. If I find that I am STILL rushing even after the break, or I seem to be off course, I leave it for the night.
This is important for me because I tend to be a fast and furious painter. Luckily, acrylics are so forgiving I can usually fix whatever mistakes I made.
And yes, I have “finished” a project and realized I didn’t do the undertones properly. And yes, I start all over.
I couldn’t leave that prop unfinished
His mere presence would be a challenge to my resolve. Plus, I love his face. He’s screaming to be redone. But I totally understand and respect why you leave him as a reminder.
I certainly see where Dave’s coming from with his question. That middle shot really captures the potential of this piece and I too would love to see it tackled again.
That said, I understand looking at something that didn’t quite work out and wanting to just leave it alone. Especially if this is just another exercise leading up to an even greater project. Sometimes those little failures have a purpose to serve we don’t immediately see.
As always, wise words, Grim. Looking forward to seeing the next incarnation of this concept.
Interesting post and good advice.
Have you ever been tempted to go back to primer and start over on a piece such as this? Or does the experience and lesson provide you with enough satisfaction (or frustration as the case may be) to leave the piece alone?
No I have not ever been tempted to repaint the entire piece.
As you know this particular piece has had 2 incarnations so far. There will someday be a third, and he will hopefully get a body then. With each incarnation the piece evolves and I use the previous one(s) as concept reference. So I leave it alone, and he stares at me from the shelf of failure and shame.