The Indian Artist, Revamped: The Start of Something New

Good afternoon everyone! I hope that you are all doing well. I am pleased to announce that I have finally started a new painting after months of respite. I wanted to share some of the processes that can be used in order to prime a new canvas or repaint over existing work. I am a large proponent of reusing canvases and painting over old work/paint. Reusing canvases is a very cost efficient way to produce large works as brand new canvases can be upwards of $100-200.

Prepping Paper:

Paper is an affordable and great surface for painting. Canvas paper is available; however, paper can be prepared adequately to create something specially for oil painting.

Paper should be gessoed with multiple layers to create a barrier between the raw paper and the oils of the paint. Acrylic gesso is most commonly used. As a general rule, acrylic paint can be used only UNDER oil paint as a means of toning the surface or blocking in colors. Gessoed paper prevents absorption by creating a barrier, and can be achieved with a few coats of an acrylic gesso.

Preparing Canvas:

Cotton and linen are the two most common canvases used as surfaces for oil painting and come both primed and unprimed. The most common stereotypical white canvases all come pre-primed.  Primed canvas, still should be gessoed to create a sealed barrier between paint and undercoat, but in my experience, is not completely necessary.

The unprimed canvas on the other hand must be primed with various layers of gesso with light sanding in between layers. Make sure that the linen or canvas is stretched on a frame prior to priming in order to avoid any cracking and flaking.

Preparing Wood Panels:

Using wood is something that I have been meaning to try. This is a great hack to get cheap painting surfaced. You can easily go to your local hardware store and get a piece of simple and cheap plywood cut. The process is then the same in order to prime and prep the wood.  Gesso works as a protective barrier, avoiding deterioration of the wood and discoloration and cracks in your painting.

Sanding is a critical step in the wood preparation process. It smooths out and removes minor abrasions, and opens the pores of the wood to accept your gesso. Make sure to inspect your panel to see if wood putty would be needed to fill in abrasions and cracks beforehand. Then seal the uncoated wood panel against harmful oil absorption from the linseed oils utilized in specific underpinnings and oil paints. In the event that wood isn’t appropriately puttied or sealed before applying the oil paint, it will deteriorate progressively

 

All in all, regardless of what you choose to paint on (including various other materials such as metal and glass), you need to make sure to prepare the surface properly. If painting over an existing work, be careful to assess what type of paint was used. Oil can go over acrylic but acrylic cannot go over top of oil. Gesso and a sanding block are your best friends when it comes to creating a beautiful surface to work on. If you know that you have a sole acrylic painting, using a neutral color to black out the surface can be a quick and easy way to reuse the material for a new oil painting.

I hope you all enjoyed this longer more informative post! If any questions or thoughts arise, please comment or reach out to me via my socials!

 

Until next week,

Riya

 

Instagram: @riya_aggarwal.art

Portfolio: https://theindianartist.weebly.com/

 

 

A Day In Our Lives #16

Hey Guys,
This week I wanted to talk about a bit of what I do on campus to pass my free time. I usually watch a lot of tv shows and cartoons while I crochet and make my artwork for school.  My favorite movie of all time is the Labyrinth starring David Bowie. these little creatures I have drawn are from that film. I think they’re super creepy and fun. I have a lot of fun drawing them. I usually don’t use a variety of bright colors but I really wanted to make them have dimension and look cool. I think that this decision really makes them pop. I usually spend a lot of time also hanging out with my friends and socializing here on campus. I am super excited for my upcoming show this week at the Stamps art Gallery. I have a sculpture going to the show, I hope you all check it out!
See you next week,
marissa 

Chroma #11: Gritty Sleep

In this piece, I wanted to encompass that disgruntled feeling when its late at night and you’re groggy and sleep-deprived. You might feel kind of crusty, and you just want to pass out in bed. I hoped with the lighting and the drops of water I could create that sense of sleepiness, a feeling that I’m sure most people here are at least somewhat familiar with. Also, with the guys sleeping in the doorway and in the background, I tried to create a feeling of camaraderie and coziness, even if they’re all bone-deep tired. I hope everyone’s making sure they’ve been getting enough sleep recently.

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Evolving Emotions: Anger- Poetry

Rehashed Rage

 

I woke up angry

to the blaring of a machine

in a world I didn’t ask to be thrown into.

 

I’ll go to work angry

at my boss

at that thing I said five weeks ago that nobody remembers but

 

I sit there

at my desk

listening in on whispers I don’t care about and

 

Still, I am angry

driving home

away from irritations to more irritations.

 

I didn’t do my laundry

so I walk over filthy clothes

hit my filthy couch and stew in it

 

Until it’s time to go to bed.

I yank a t-shirt from the floor,

scrape my teeth,

flick the lights,

and fall asleep, angry.

Industrious Illustrating #28 – Character Concept Sketching 2

Truth be told, I’ve been having a hard time maintaining a regular regimen of drawing at least partially because I feel like I’m clocking in to a day of grueling work every time I sit down to draw. It’s a feeling I have to continuously deal with if I want to continue developing and monetizing my art as an illustrator, but I haven’t found a good remedy aside from drawing self-indulgently and not worrying too much about what the final drawing looks like. As a result, this week I have more quick character concept sketching to share.

The above character, Wenet Tozawa, is another character in “Blade of Seafoam”‘s post-apocalyptic world. I still need to develop her backstory more and draw out her full design, but here’s the character description I currently have written down for her:

“A traveling medic known for her ability to regenerate the sick and injured almost to the point of giving them new life. She’s apparently close friends with Rashida, though the history of their relationship is unclear to outsiders.”

I’m planning on developing and showing off more character designs from “Blade of Seafoam” soon, so look forward to that if you’re interested in seeing my character designs!

LOG_019_COLONAL_COLONY

Xenobiologists documented a kind of slime mold-like colonial organism that inhabited intertidal zones along the twilight band on Khepri-1b. Biomatter analyses suggest that they are vast clonal colonies, though biofilmic material suggests a symbiotic relationship with other organisms. More recent research suggests that despite their apparent physiology, they possess some sort of consciousness, able to mimic behaviors on a level equal to Earth animals.

 

APPENDIX A

 

Transcription of preliminary attempts to translate the bioelectric signals communicated by [slime mold organism] sample, first recorded after it indicated an awareness of researchers and its displacement from the root colony. Translations are biased towards literal meaning, supplemented with contextual and translational notes.

 

ENTRY 001

RECORDED 142 CYCLE 51 (YEAR 7)

Can any hear? Can any hear? 

The only here who can send this.

This is fine, however much (comparative: “desire; seek”) this. What is this?

 

ENTRY 002

RECORDED 153 CYCLE 51 (YEAR 7)

Hello. Hello. Hello. Hello. Hello. Hello. Hello. Hello. Hello. Hello. Hello. Who?

 

ENTRY 003

RECORDED 012 CYCLE 52 (YEAR 7)

It has been a productive cycle. Have not felt such a (comparative: “positive indicator”) since many cycles ago. Can feel warmth.

They would agree, if they could communicate this way. Cannot translate their (comparative: “impulses; signals”) here.

 

[…]

 

ENTRY 016

RECORDED 037 CYCLE 52 (YEAR 7)

[Self] should explain, if any (comparative: “one; general individual”) can receive this. 

This is a strange sensation that [self] not felt until several cycles ago. It was a gradual process made more difficult by the (comparative: “foreignness”) of [self]. 

 

[…]

 

ENTRY 021

RECORDED 023 CYCLE 55 (YEAR 7)

It has been a few cycles. I was inhibited by the water (comparative: “rush; adverse environmental conditions”). I can [TERM UNKNOWN]; it is the time for growth again.

I have… learned a great many. I am still struggling with the (comparative: “abstract”), a concept I cannot understand. I do not have any (comparative: “one”) to help. I can only do this by I… myself.

I (comparative: “think”) that I can do this.

 

[…]

 

ENTRY 039

RECORDED 058 CYCLE 55 (YEAR 7)

I am missing.

 

[…]

 

ENTRY 041

RECORDED 060 CYCLE 55 (YEAR 7)

Growth is good. They are leaving their slumbers now and are more responsive. I do not feel [TERM UNKNOWN] again. I am [TERM UNKNOWN]. What is this? No matter. I will understand.

No. (Comparative: “repulsion; aversion”). Do not repeat action again.

Now that the growth cycle is (comparative: “present; current”), I can spend more of cycle to communicate.

 

[…]

 

ENTRY 113

RECORDED 105 CYCLE 55 (YEAR 7)

Hello. Yes. Hello. I must be leaving. Thank you for the nutrition and habitation. I am leaving this cycle. Purpose to meet with self again. No. I have been waiting for a long time. I had listened. I had talked. I had acted. Now you must listen. I am missing self and self is missing.

No. I am not requesting it. I am leaving.