A brilliant artistic medium one to another. Longtime artist Konni Jensen began one line drawing hyper-realistic images using graphite. It is the story of his passage towards painting and color: brushes and palette knives. Jensen shared his first opening, when she was only 10, with a group of adult artists. In the early years, her influences propel her in a variety of artistic directions. A big change occurred when she moved to France at the age of 20. She sensed the Louvre and a little Picasso library where she wanted to get away from graphite pencils and pick up a brush and paint. I came in respect to the character and feel of the art. Paintings came to life with color.
After my trip, my shaft drawings looked flat. I was amazed at what artists were able to create with color. And I just wanted a small one. Leaves for me. Leaves home from Paris, Jensen strove to create art with brushes and paint. The transition went smoothly. I loved painting with acrylic. The paint mixed easily and I immediately wanted to buy more colors.
The thin black line
For a time, Jensen’s work incorporated thin black lines along with many hidden colors and images. I wanted to relax and try something more abstract. I started the paintings by doing a lot of crazy pencil lines. Then I tried to see which images were hidden in the scribbles: The result was a series of portraits that contained hidden paintings. After running with this process, her art started to go back to its origins. Relaxing with my painting. So the paintings become very controlled, very neat, and perfect again.
With the precision of his previous graphite work revealed once again in his paintings, Jensen set out to challenge his perfectionist tendencies and explore a looser style, one that traded brush for a palette knife. This time it was not an easy transition. It was incredibly painful for me to let go of this tight control.
Brushes for spatulas
Working exclusively with a spatula is unpredictable and requires a little luck. However, that chance paid off for him, and one of his portraits won the People’s Choice Award at the Fair. With that vote of confidence and proof that it was a good creative move for the artist, Jensen continued to paint in his new style. He portrayed animals until he chose to add another class to his resume by introducing himself a new request: painting portraits with brushes and palette needles. I was required to see if I could manage the palette knife rather than capture the subject’s image without returning to the tight, controlled style she shares.
After a series of successful paintings done this way, Jensen has once again raised the bar for her. To exert me even greatly, I stopped using small strokes. I designed two modern female body lines, one yellow and one blue, with large brushes and spatulas. These were painted without much thought of the details; I just wanted to let the colors and brushes do the talking. The expert who once grew on practical detail now worked with a basic theme, a feeling, and she let the paintings unfold as she pleased. Recalling her inspiration for painting the female form. I wanted to seize that brief time in time when a lady gets carried away by a dance or thinks of a memory, a secret, or a touch.
Her series of female, including Love and Blue Grace, effects with a white background, the best base for the blues and yellows she practices. As for the thought behind the color range of yellow and blue, the expert says, they are fun colors. I wanted to choose unusual colors that would make the art stand out and look like something new. Jensen finds blue and yellow calming and energizing at the same time.
Regarding his subjects, I am attracted to people with strong personalities and interesting stories who have lived and experienced what life has to offer. These experiences leave visible traces and make a topic exciting. It could be an effect, wrinkles about the eyes and lips from many smiles, muscles from dancing, a conscious glint in the eyes, or an energetic smile.
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Cecilie was designed for a youth friend I met after 20 years. She wanted to surprise her daughter with a portrait commemorating her imminent confirmation. Our time frame was tight, and she was working from a photo taken of her daughter three years earlier. I imagined how she would look a little more mature with fuller lips and longer lashes as I painted. To ensure she accurately portrayed her daughter, I shared photos of the painting’s progress with my friend. Eventually, the painting was successful.
I started with a pre-chalk canvas that I painted Mars black. I could have painted black at the end of the painting process, but I like how part of the black background looks in the final sketch. Also, I needed this art to have a half-finished look on the right front. A note from reality: it’s much tougher to get color depth and unfinished look if you start with a white background.
I started adding more color to the canvas with a black base paint, basic shapes, and key paint features. I desired the colors to be a yellow plate with orange, red, blue darknesses, and white highlights. I painted the large areas with medium-toned cadmium yellow. Then I coarsely added the clouds with cadmium orange mixed with titanium white, medium cadmium yellow, and titanium white highlights. For the eyes, I did cerulean blue, not paying much attention to the similarity yet.
Next, I painted with more colors to smooth and blend the existing colors, so they didn’t look like huge paint splashes. I kept adding cadmium red halftone to add depth and shadow. The blending and softness of the colors made the painting lose some details, such as the creases around the nose and the lines around the eyes and mouth. To correct this, I redesigned those details with black paint. As I started working on these features, my fondness for fine detail began to emerge. I didn’t want the color to get finely detailed, so I opted for medium rather than fine brushes.
The eyes, nose, and lips are outlined and guide the other colors and where to start and end the shading and highlights. Once the facial pieces were positioned, I centered on further paint details, mixed with softening the color changed a little more, and added the last highlights. A brush and spatulas utilize to create some texture.
I was finally ready to add details like lashes and brows. When I study the painting against the image to make sure I have the correct expression, the eyes are alive, the smile is the way I want it, and the shadows and lights are in the right places. I also made sure I aged her properly. More depth ads with red and cerulean blue and blue mixed with white, using a spatula to give texture. At this point, the paint is no longer flat. Since I painted the background black first, I don’t have to worry about the shadows on her cheek, throat, and ear because they are already there.
Step 6: final
I generally don’t care about the details because, more than anything else, I want the painting to speak for itself. I want it to come to life and tell a story. I hope it gives you a feeling, good or bad. It doesn’t matter. As long as you feel about it, I did a good job.
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