A desert landscape with slight nods to many of my favorite painters and other artists (Breughel, Escher, Dali, Riggs, Beksinski, Dore, Whelan and others). Many, many hidden details in this piece - enough that one could find new things for a very long time.
I am nearing completion of my airships and tentacles series - which began with a painting I did for Robert Brown of Abney Park, continued with a piece for Vernian Process, among several other commissions, and will end with a piece for a very OMG author.
Metallics and limited edition giclees are available at mykeamend.com
Daily Deviation
Given 2010-05-12
Travel through the blurred lines of past and future and savour the grand apocalyptic tenor via Desert Sands, a remarkably transporting piece by *mykeamend. (
Suggested by ~Nevar23 and Featured by
`snowmask)
The painting is 36x24 on birch panel. I don't use retarders, but I do work wet on wet and work quickly/rabidly to keep the paint moving until I am satisfied.
Once I am done with all of the big areas, it is just layers and layers of paint.
The thing about acrylic: First layer looks like crap... like blotchy tempera. The second layer looks much better, but still like a 3rd grade painting. The third payer, more like a painting, but rather unrefined...
I keep going until some areas have at least 30 micro-thin layers of paint - which smooths gradients, solidifies colors, brings out details, and eventually looks more like an oil painting.
I start off with thick paint and little water, but for most of the painting process, I am using a good amount of water with every brush and painting in really thin layers. Each layer dries a split second later, so I can keep brushing over and over until it is just right,
Once I am done with all of the big areas, it is just layers and layers of paint.
The thing about acrylic: First layer looks like crap... like blotchy tempera. The second layer looks much better, but still like a 3rd grade painting. The third payer, more like a painting, but rather unrefined...
I keep going until some areas have at least 30 micro-thin layers of paint - which smooths gradients, solidifies colors, brings out details, and eventually looks more like an oil painting.
I start off with thick paint and little water, but for most of the painting process, I am using a good amount of water with every brush and painting in really thin layers. Each layer dries a split second later, so I can keep brushing over and over until it is just right,