The Indian Artist, Revamped: Payal

Good evening everyone! I hope that you are all well! This week I wanted to showcase my most recent painting titled Payal. This painting is one that I am very proud of.

Payal, (18″ x 24″) done in oil paint, depicts a woman putting on an ankle bracelet (called a “payal” in Hindi) while dressed in traditional Indian garb. Specifically, she is wearing a sari, maang tika (forehead jewelry), bangles, and flowers in her hair. I decided to make this piece for various different reasons. Firstly, I wanted to challenge myself by doing a portrait in oil paint that was as realistic as I could manage. Secondly, I wanted to depict a beautiful woman wearing traditional Indian clothing, something that I have hinted at in past pieces but never focused on. I have created pieces centered around various Hindu festivals and mythology but nothing that was solely focused on material culture.

This piece has given me the confidence to be able to peruse even more difficult portrait work. My plan is to create a tryptic, potentially making two more pieces: one with a woman putting on earring, a second with a woman putting on a nose ring or bangles.

In this piece, I focused greatly on light and shadow as well as tonality. I wanted to create a dramatic light source while keeping the background simple and non-distracting from the main figure. If you have any thoughts or would like to discuss this piece further, please feel free to reach out to me!

I am so excited to get back into my newly revamped column. Please let me know if there is anything you all would like to see from me. If any questions or thoughts arise, please comment or reach out to me at my socials!

 

Until next week,

Riya

 

Instagram: @riya_aggarwal.art

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

Passing

The internet serves as a record of my friends 

Dwindling with each year 

When you realize you’re too warm 

And too lazy to take off your jacket

It’s the feeling of someone walking too close

There are the conversations you overhear 

Not unwelcome, but uncomfortable 

You wonder if you should slow your pace 

but no matter what you’re both in stride

 

Industrious Illustrating #14 – Oil Painting

Mini Con Ja Nai last Saturday was really great! I enjoyed talking to the people who came by and selling art prints. That just leaves Youmacon on November 4-6 next month before I will likely take a break for a few months from selling my art at conventions.

I haven’t had a lot of time for making observational work or studying new techniques recently between being a full-time student, being the lead artist on an indie game project, and working on expanding my illustration portfolio to sell at conventions, but I have been trying to proactively learn from school assignments to hone my craft and develop my artistic techniques. For one thing, I’m currently taking Intro to Painting (ARTDES 250) at Stamps, which teaches oil painting techniques that I could also apply to digital painting one day.

A recent assignment was to paint whatever we see on the ceiling and use warm/cool colors to make objects seem closer or further away, respectively. I ended up painting a ceiling vent in front of some windows and exaggerated the colors a little while also letting some of the orange underpainting show through for a warm, almost sunset-like look.

My next assignment is to paint a fruit still life using scumbling, which is applying a layer of dry opaque paint over a previous layer of paint so that both colors are visible on the canvas. I only have the yellow underpainting laid down at the moment, but the still life should start to look more distinct once I start to apply further layers of color.

While the specific application and look of digital paint is usually pretty different from analog/real-life oil paint, I could still try to replicate these techniques using oil paint-esque brushes in a digital painting for a similar effect. Stay tuned to see if you can identify exposed underpainting or scumbling in any of my future paintings!

Fable Friday: Artemis

Hello everyone! If you remember Fine Art Fables from last Winter semester at all, I am back at it but with a slightly different twist. This time around I will be focusing more on character designs of the characters featured in many mythological stories. To add a fun twist, the works will be done in the style of Winx Club,

This week I am focusing on Artemis, virgin Greek Goddess of the Moon, the hunt, wildlife, and protector of women and children. The post from this week is inspired by a book I’ve been reading: Artemis: The Indomitable Spirit in Everywoman by Jean Shinoda Bolen. It is about the Artemis psychological archetype that some women identify with, which is essentially a woman that has a long-term goal or target and is able to rise to whatever challenge necessary to reach that goal. Artemis is atypically represented as a woman wearing a short tunic, carrying a bow and arrow. I wanted to try and make her bow and arrows more fantastical than realistic, like she can summon them whenever she pleases. I also kept her feet bare, like she would be more in-tune with nature that way, and also quieter for hunting.

 

The Kingdom of Tokavsk, Session 2: From the Encyclopedia of the Lands and Peoples of Helya, Part II

When all was said and done, the provinces to the west of Stav and Kuznetsk became the fledgling nation of Tokavsk.  The sparse population was largely oblivious that their nationality had just changed, as most at the time were peasants who only cared of obtaining their next meal; indeed, much of Tokavsk’s rural population today still lives in this manner.  Yet they had a shared ethnic identity that in principle bound them together.  In reality, 75% of the population was Zheren.  The other 25%, concentrated in the eastern regions of the new country, were a mixture of Stavs, Uzhreks, and Kurstukanians.  They had no say in the war, and many were adamantly opposed to it.  Many were compelled to leave, causing an inundation of refugees in the truncated western edge of Kurstukania.  Those who stayed did so either because they had lands in the case of the few Kurstukanian nobles or because they did not have the means to emigrate.  Some chose to embrace their newfound independence or to exploit it, and as such there was a second diaspora of these peoples toward Tokavsk’s largest city, Orod.  Still more settled along the southern hills.  Tokavsk, a lowland nation, was not easy to defend except by sea.  Her new king saw this as an immediate problem, but there was little he could do without inciting another war.  Besides, there were laws to be established, a government to be defined, and a national identity to be created.  A military was to be assembled, but fortifying her borders would have to wait.  At first, the economy struggled; there were few among the burgeoning elite who knew how to run finances, and those who did were familiar only with the Kurstukanian system.  As such, they used Kurstukania as a model.  Diplomatic ties were established with nations to the west and south, and old trade routes with Kurstukania were maintained.

It should be noted here that, seven hundred years after her inception, the borders of Tokavsk remain largely unchanged.  This is due to several factors:  one, the Tokavskan army has never had the military prowess to successfully conquer its neighbors for much of its history; two, vigilant mapmaking and the preservation of the original treaty with Kurstukania meant its borders could be restored with full confidence both times it was reconquered; and three, it has done well to not create animosity with other nations.  This does not mean Tokavsk is a peace-loving or genial state; rather, it means that war is frequently not in its best interest.  With little wealth to begin with, it is not viable for Tokavsk to wage extensive campaigns.  Furthermore, there is often internal turmoil preventing the noble houses of Tokavsk from uniting under one cause.  The structure of the Tokavskan government practically encourages lords to be at odds with one another.  Its monarchy is not strictly hereditary, meaning the power does not reside within a single family, but it is not elective like in the southern archipelago of Tarsinia.  When a king names his successor, he is not allowed to make the choice himself.  According to Zheren custom, this produces bias, and it means the best candidate is being denied the opportunity to rule.  The founders devised a system they believed would promote stability in Tokavsk, but to many modern scholars the system promotes anything but.