Painting conception

I don’t exactly "embrace" the logic behind "Darwin’s Theory". It seems as "faith-based" as any other explanations as to man’s origin. But, I do understand how humans can change according to what they do, and what they don’t do over time.

Technology certainly has its benefits (this Internet site is a perfect example). But, life seems to always maintain some state of balance. You can never have a "positive" without paying for it in some way. It’s no coincidence that the most technologically advanced country in the world is now the most physically inactive, and possibly becoming the least family oriented? In addition, speaking to a stranger on the telephone, writing a hand written letter, or actually meeting some one in person is becoming cultural norms of the past.

With these issues in mind, "Progress" was born. People may study this painting visually for a few minutes? But, I prefer that they talk about it for an hour! Viewers may come across some hidden words spelled out within the stars to add a bit more mystery to the piece.

Painting Process

Unfortunately, I didn’t take photos of the early painting stages. But, I can explain what was done none the less. I first made several quick sketches for the composition and selected sketch #1 because of the ominous perspective. I did not want the "humanoid" figure to appear to be "cute" in any way. The upward angle took care of this and its comparatively large size in the composition dominates the painted area – and therefore attracts your attention. Otherwise, it may become a simple "landscape" to some?

I had taken photo studies on the effects of colors in shadows in the past. I use these to teach students about various light sources. I always liked the strong colors in these shadows since people normally think of shadows as an absence (or lack of) of light, or black. So, I needed a composition that would utilize this visual effect. The endless colors or our solar system and galaxies has always amazed me. So, this provided a subject where just such lighting could occur.

I do not know any humanoids personally, so a clay model was in order to help the complex lighting scheme of such an idea. A small model was build to study the colored shadow shapes, then a larger one for the figure itself (feeding tube and all). Photos were taken at various angles for close-ups, etc.

The painting surface is a large 36"x 48" prepared hard board "Masonite" panel. The under-painting was a black mixture in the "sky" area and light dirty yellow white on the planet itself. Both sides of the panel are treated equally to avoid warping.

The sky was first a black made from complimentary colors, but there really is no color in the black of space, so pure ivory black felt better. This isn’t a landscape! And, I wanted the contrast between the void of light (or life itself) compared to the all the colorful possibilities out in the galaxies. The planet was painted with a lighter under-painting like a dirty gray and yellow-orange mixed in. The yellow-orange is the result of the orange planet over the horizon acting as one of the light sources. It also determines what the colors in the shadows will be (not black!).

To give a more luminous effect, any area that appeared to "glow" is given an undercoat of white. The final color was then painted thinly over the white. This does not produce the flat bland effect of mixing white directly into the given color.

I didn’t like the reference photos color intensity. So, I have to depend on my imagination for the color intensity and color selection on the humanoid. Without a better model, it can be problematic. So, I simply try different things until I’m satisfied. I have the chair and humanoid painted primarily with the dominant purple light source first.

I will play around with the areas on its body that should be lit by the 3 dominant light sources - purple, orange-yellow, and red. I imagine these to be the nearby planets or stars illuminating the scene. First the colors are put on quite boldly until I am satisfied where they each belong (including the overlapping of 2 or more colored light sources). Then I will tone down the intensity of the colors until I feel he looks like a pale-gray skinned human lit by colored planets or stars.

Two other seated clone figures will eventually be placed along the planet's surface. They will be small and distant as not to attract your attention immediately. But, they will play a vital role in the paintings underlying meaning. Only those who take the time to wonder about the painting will notice these additional figures. So, the intended symbolic meaning may only be discovered by those who "seek" it.