Pageantry and Cadencefrom Sterling Clinton Hundley. 2013, 3’ x 4’, Oil on panel. This work is a continuation of The Spoils of Saint Hubrisseries and will be exhibited at Art Aqua in Miami, along with other works by Hundley in December of 2013. Sterling Clinton Hundley is currently represented by Ghostprint Gallery, in Richmond, VA, and by Blankspace Gallery in Oslo, Norway. Inquiries: email@example.com
This work and others from the ongoing series, The Spoils of Saint Hubris will be on display at Blankspace Gallery in Oslo, Norway; opening October 3rd. I will be giving an open lecture, as well as running a one day Legendeer workshop on ideation and personal voice development on Saturday, October 4th, with a Legendeer Meet-up on Sunday, October 5th (www.legendeer.org).
Anonymous said: hi there-- your work is fantastic! I normally work with acrylics, but really admire your work in oil. I was wondering how often you use acrylics and about your opinion as to whether or not adding retarder makes for a similar effect to oil paints? I understand that there are some obvious differences, but right now my problem with acrylic paint is that some of my value changes are too sharp because of how quickly the paint dries. Thanks
Yeah, acrylics are problematic in the difference between “live value” and “dead value” after they dry (my terms, not industry terms). I’ve developed a method that allows you to paint directly into gouache with acrylics so that it more closely resembles wet-into-wet oil painting in that your color mixes on your piece, not on your palette. Step 1: Full pencil value drawing. Step 2: Use a light midtone acrylic (I like unbleached titanium white, Liquitex heavy body, diluted with water) to both fix the drawing, and define a midtone value in one step. I apply gouache or watercolor liberally in areas that I want to be warm or cool (generally only two colors that are complimentary, i.e. orange and blue). Step 3: Once the gouache is dry, I paint the same midtone acrylic back into the gouache which turns the color either warm or cool, dependent upon the temperature of the gouache. The acyrlics still dry darker, but they are changing in value and hue in front of you, not off to the side. Step 4: Redefine darks.
Nothing supplants oils, but this is a process I’ve developed over the years that gives me some favorable results. Hoping this helps!
The color version of my artwork for Monstrous Opimism— In Memory of Kerry Talbott. Prints available soon to raise money for Kerry’s family.
A short trailer from my Legendeer Program. Art informed by adventure.
Making art isn’t a monologue, it’s a dialogue between your materials and your intent. Really, it’s more of a scream in your face yelling match, that gets a little too honest sometimes.
The new Legendeer Challenge has been posted. Accepting submissions through Sunday, June 8th, 12pm EST.
Post completed challenges to the Legendeer Facebook group; home to a community of illustrators, designers, art directors, climbers, runners, athletes, outdoorsmen (people), writers, musicians, entrepreneurs, hobbyists, and professionals who find common ground through Story.
This summer, think of it as a curriculum for your sketchbook.
Legendeer, life is story.