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PaulAbrams β Vampirella Portrait
Published: 2012-03-10 03:10:45 +0000 UTC; Views: 10716; Favourites: 361; Downloads: 513
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Description
oil painting commission which also happpens to be one of my favorite characters-9x12 on extra heavy bristol (gessoed of course) Used M.Graham's walnut alkyd medium- fast drying(2 days to dry) and luminous
to order a commission, go to : [link]
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Comments: 87
Definitely reminds me of the old Frazetta work.
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This is an absolutely wonderful; painting. I just love it.
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thanks Joe - that means a lot to me since I've long held your work in highest esteem
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quick question aren't you worried about painting on bristol board the paper will deteriorate the oil in less the 5 years? its a great painting iv seen several on this subject yours is by far the best so farΒ
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Glad you find it of that quality...thanks!
regarding permanence- I always give the bristol at least 2 coats of gesso or matte medium to seal it from the oils- a lot of artists do the same thing with illustration board, but unless the cardboard behind the paper is acid free, eventually the illustration board will discolor and deteriorate.Β Still, I've seen lots of original illos from the 50's that show no signs of that yet
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yes but the paper of the 1950 is nothing like the paper of now. Gesso is not an adequate barer for paper products it has a great surface but its porous Β you need to use PVC of some other suitable toothy primer that is 100% impervious to oil. the problem with Gesso is that it still allows the oils to be sucked out of the paint to quickly leading to premature cracking and failure of the paint film. by the way the minimum number of coats on Gesso is 4 not two that is not enough thickness to keep porosity to minim Β saturation levels you can check out what i am saying any number of manufacturers sites talk about this Gamblen brands our very helpful you can call them any time with questions. even in canvas preparations a suitable primer must be used like PVC or acrylic Gesso. there is a book called the artist guide to materials its probably the most extensive book ever written its in its 7th printing and has been updated piratically as new information has come about. a must for any serous artist who requires archival results in his or her's work. just some friendly advice iv been studying archival painting practices for many year Ampersand board would be a much better choice but its up to you as you are the artist. i would not personally risk it i'm going to Di-bond starting with my next painting when people pay upwards of 20K for a painting you sure don't want to have to give them back there money because your work did not hold up. nice chatting with you and your welcome Β Β Β Β Β
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Wow- I hadnt known that. Thanks for all that info
Fortunately for my serious work I do gesso it 4 0r 5 times, but pieces like vampirella are just to sell relatively cheap thru my rep- they dont take more than a few hrs total anyways
What is your take on MDF board?I've used it alot since real masonite became unavailable
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MDF is very bad stuff very acidic you can still get HDF? Masonite is out of business but they sold the patent to about 2 dozen co. Di-bond is the best that's aluminum sandwich board has very low expansion and contraction rates. its about 400.oo$ for a 4 x 8 sheet very comparable to Belgian linen. there is also mutli Medea paper that is supposed to be good for oil but i don't know about that has some sort of PVC coating Β personally if your doing small quick works i would use Ampersand board clay is pretty inert stuff the are relatively cheep
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thanks again for the info--the multimedia isΒ a resin saturated paper- rigid, inert , but absorbant. When I use mdf, I alwaysseal both front and back (hope that will help)
Also, when i underpaint in acrylic, I use an acrylic matte medium to create better adhesion when the oils go on.This was on advice from Golden.have you ever come across hearing of that? Jim Guerney mentions he does that for his illos on illustration board
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i am not going to risk one of my painting they huge expensive and very time consuming to produce i will stick to what i know is the most archiva.l i will only paint on two things HDF and preferred Di-bond aluminum panels nothing else is even an option. Golden is a good co but i cant believe they did not caution you about using MDF. well suit your self but its a disaster waiting to happen the acids will eat your paintings up in only a few years Β Β Β
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time will tell on the pieces I've done, but I wont be buying MDF anymore. I'll look for HDF. Thanks for the advice!
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your welcomeΒ
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Gorgeous portrait! My all-time favorite bat!
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Magnificent face for Vampirella. "So pretty, SoΒ deadly" My Next book title.
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Thanks---Best ofΒ luck with your book-Β I love the title!
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In a word...."Beautiful"!!! You do amazing work!!
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Thanks-much appreciated!
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Very good potrait! You managed to get life into her eyes. Great work!
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Glad you like it! thanks1
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This is A stunning portrait, It would not look out of place if it was hung in a gallery among classsic Victorian Art, I love it.
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I love this era of Vampi! You did an amazing job.
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I love this era of Vampi! You did an amazing job.
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Wow, very classic portrait of Vampirella, I love the touch!!
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Thanks- she's a classic, and one of my favorites to paint
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After Frazetta's, this is the best representation of Vampi I've ever seen. Wonderful work!
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That's quite a compliment! Thank you!
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Excellent work... you captured the true "classic" Vampirella look.
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Thanks man- that's the look I was hoping to get
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much appreciated!
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Oh, this is amazing! Looks a lot like Frazetta's style!
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oh wow this is an amazing painting. I'm very impressed. c:
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