Up at 08:30 today for a full day charging into the next batch of painting plans. First, preparing a panel and tracing over 'A Brief History Of Transubstantiation'. Here's the underdrawing:
This will be a modest 40x60cm work. The size made me consider frames, so my next job was to audit and measure the frames I have in stock. I have 25, and I measured the panel sizes and visible areas for each. This should permit me to, at least in theory, design paintings to fit existing frames. At the moment I'm in the state of painting a picture in any size I feel, skewing the choices towards those of the canvas panels I have. Those are easily cut to size (as I did for this painting) so this isn't much of an issue.
It's not too difficult for me to make a frame, but perhaps I could design some to fit the frames I have, to deplete them if nothing else, hence the audit.
This led to sizing and drawing a new painting called 'Nobody Cares About You, Really. Get Over It' which is a scarecrow crucifixion - a new genre I seem to be pioneering (today, I noted two things about this; that one of my first ever paintings 'The Last Tree' began it, and secondly that the Worzel Gummidge series circa 1980 is probably the root of the connection between Jesus and scarecrows, as Worzel's stand is a cruicifix). Here's 'The Last Tree' (2005):
I drew out 'Nobody Cares', prepared the surface, and transferred the drawing. Then I prepared the panels for the oil studies for both works, which I routinely paint now. I also prepared the study for the Rachel Hudson painting. Then I made some plastic stands for my gesso sauce bottles so that they can be stored upside down. That should keep the gesso fresh and make dispensing easier.
In between all of this, I did some initial work on a John Lindley song called 'Beatle City', a prospective production job. I can say nothing more on this, except that it would be the first song production work I've done for someone else apart from the remix of 'Where the Golden Cornfield Light Is Grown', made in 2016 for Jonathan Tarplee. That was different because, as a remix, I was given a few samples and free reign to do anything with them.
