But here’s the difference up close.
Here’s a screenshot of my monitor with the “before” phase:
And here’s “after”:
The second version looks much better up close, but I think they are both fine. Because of the formula I used (you can call it a technique) in the original version, in which I worked only zoomed out so as not to get bogged down in details, when you get in close some of the marks seem haphazard or mere approximations. The painted version unifies the surface of the canvas and while they both work as a whole, this one is much more cohesive up close, and I would prefer that my paintings looked good up close and rewarded one for the finer inspection.
The painting phase probably took about as long as the original, but as it’s a technique I’ve mastered over time, it’s a less demanding process that I can do while listening to audio books.
As with a lot of the images, probably all of them, they are hybrids of different techniques I’ve developed, and with new experiments thrown in. This seems a particularly good one. It’s relatively fast and spontaneous, but then has a painterly stage that doesn’t much alter the overall painting, but adds another up close dimension to enjoy. This would, of course, be best seen in a large print. This one can print out high quality at about 40×60″ (3.3×5 feet).
Here are some more close ups, for people who like brush stokes and painting:
Here’s all 19 pieces in the series so far in a slideshow.
Or, if you prefer, you can see them in a click-through gallery:
To see other posts about other pieces in this series, go here.
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