I was there (conscious) from its (my) inception.
I had constructed it with the utmost care(lessness). I had placed the bars together and tapped them (too hard) so that they would fit (unevenly). I had cut (ripped) canvas (unprimed) from its roll. I had stretched (pulled) the canvas (too tightly) around the stretcher bars and stapled (nailed) it to the bars.
I took out the gesso (primer) and stirred (shaken) it until it was ready to be applied. I dipped (shoved) my brush into the white (stark) paint and let my brush glide (scrape) against the canvas. The gesso dried (stained) the canvas so it would be ready (braced) for painting (impact).
I unscrewed (unbolted) the tube of paint and poured (spit) it onto a pallet. Adding water to the dot (smear) of paint and mixed (forced) would make the paint less potent (transparent). I then raised (hesitantly) my brush (hand) to the canvas and proceeded to paint (beat) the surface (skin) blue (ultramarine). The goal (reality) would be an (a) evenly (spotted) application (affair).
The set up was simple (enough). Lights (too bright) and a mirror (that mocks) to accurately (subjectively) record life (conditions). Willow (weeping) charcoal marks (Disintegrates) the canvas with each stroke (swipe) and aims (seeks) to make a drawing (person) that can be amended (erased) when mistakes (flaws) are made (detected). Proportion (balance) is key (absent). Fixative is sprayed over the charcoal so it will stay (stick). Dark purple (more red than blue) and green (more blue than yellow) is applied to the darkest shadows. The under painting (lying) is important because it shows (unmistakably) through the (cleverly placed) painting (mask).
The primaries (essentials) - red (actions), yellow (beliefs), and blue (emotions), are put onto (under) the pallet (microscope). Preferably on the outer edge (barely acknowledged). I make sure my brush is (never) clean so that the source (person) paint doesn?t get contaminated (tainted). Mixing (delving under the) skin tones to achieve (realize the) a realistic image (illusion). Details (quirks) are later added (analyzed). They make the image (me) look (realize) like you (me).
When finished painting (looking within) take a step (many) back (away).
(Don?t) Ask yourself (me) what (who) is (am) this (I)?
What is the emotional point of view? (I'm scared, but don't tell anyone. It'll be our secret.) The technique employed? (Impressionist) The context under which it was created? (Metamorphic.)
What is the goal (message) of the work?
"Come close to me. I'm inviting you, only you, in."
I had constructed it with the utmost care(lessness). I had placed the bars together and tapped them (too hard) so that they would fit (unevenly). I had cut (ripped) canvas (unprimed) from its roll. I had stretched (pulled) the canvas (too tightly) around the stretcher bars and stapled (nailed) it to the bars.
I took out the gesso (primer) and stirred (shaken) it until it was ready to be applied. I dipped (shoved) my brush into the white (stark) paint and let my brush glide (scrape) against the canvas. The gesso dried (stained) the canvas so it would be ready (braced) for painting (impact).
I unscrewed (unbolted) the tube of paint and poured (spit) it onto a pallet. Adding water to the dot (smear) of paint and mixed (forced) would make the paint less potent (transparent). I then raised (hesitantly) my brush (hand) to the canvas and proceeded to paint (beat) the surface (skin) blue (ultramarine). The goal (reality) would be an (a) evenly (spotted) application (affair).
The set up was simple (enough). Lights (too bright) and a mirror (that mocks) to accurately (subjectively) record life (conditions). Willow (weeping) charcoal marks (Disintegrates) the canvas with each stroke (swipe) and aims (seeks) to make a drawing (person) that can be amended (erased) when mistakes (flaws) are made (detected). Proportion (balance) is key (absent). Fixative is sprayed over the charcoal so it will stay (stick). Dark purple (more red than blue) and green (more blue than yellow) is applied to the darkest shadows. The under painting (lying) is important because it shows (unmistakably) through the (cleverly placed) painting (mask).
The primaries (essentials) - red (actions), yellow (beliefs), and blue (emotions), are put onto (under) the pallet (microscope). Preferably on the outer edge (barely acknowledged). I make sure my brush is (never) clean so that the source (person) paint doesn?t get contaminated (tainted). Mixing (delving under the) skin tones to achieve (realize the) a realistic image (illusion). Details (quirks) are later added (analyzed). They make the image (me) look (realize) like you (me).
When finished painting (looking within) take a step (many) back (away).
(Don?t) Ask yourself (me) what (who) is (am) this (I)?
What is the emotional point of view? (I'm scared, but don't tell anyone. It'll be our secret.) The technique employed? (Impressionist) The context under which it was created? (Metamorphic.)
What is the goal (message) of the work?
"Come close to me. I'm inviting you, only you, in."
