About a year ago I posted an entry about the making of
the Death Dealer
drawing, which was my
first homage to Frazetta. Upon seeing the finished piece, the client who
commissioned the drawing asked me if I would be willing to do a painting of the
same composition. I accepted but shortly after I realized that this might be
even a bigger challenge, because the inclusion of color in the process will
increase my anxiety, for now I will be working in the shadow of the full scale
of Frazetta’s talent. The question about the actual meaning of a homage, and
the purpose of such a venture appeared in my mind. To be honest, I never liked
the surrogates and epigones. I always greatly appreciated the integrity and the
uniqueness of the artistic expression. Therefore making just a simple copy of
this iconic character was out of the question.
I have to say that making copies of other artist’s
work is not strange to me. During my studies at the art academy I did a few
copies of the old master’s paintings. The purpose of it was sheer practice. In
this way I hoped to learn something that I could not get from my art teachers.
Although it was not done by the book, so to speak, for I painted the copies
from the reproductions, not from the originals, it was highly satisfying and
useful, and I collected the knowledge that I was not able to find anywhere else
back then.
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Milk Maid, after Vermeer, 1991.
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When it comes to my Frazetta Death Dealer interpretations, my objectives
are quite different . Although I have to “copy” the master’s character, I don’t
intend to copy his technique or style. I am supposed to take his character as a
starting pointing and then bring it into my world and reinterpret it so that it
gets a distinctive flavor of my style and my thinking. But still, a heavy
shadow of the master's abilities is hanging above my head and making me feel a
little incompetent. Of course I knew that Frazetta was truly unique and
marvelous, but only when you try to make a Frazetta painting, you realize how
damn good he was. He was, and still is, the Michelangelo of Fantasy Art!
Anyway, here is the underpainting of my new Death Dealer piece. At this
moment I really don’t know how the painting will evolve. I have some vague
ideas about the direction I want to go, but it’s more likely that the
forthcoming battle with this demanding piece will define the final results. I
have to wait and see, just like you…
Great underpainting, Petar, looking forward to the final!
ReplyDeleteThanks, Bibin! I am also looking forward to the final.
DeleteI am so happy to see you got to paint this. In your previous post you wrote there were things you could have done differently/better - are you applying those ideas to your painting now? I love how you changed the lower left corner without changing your initial lines and how everything just seem to fall into place.
ReplyDeleteIt will truly be interesting to follow your thoughts and process on this. Thank you for a great post, inspiring as always.
The change in the lower left corner of the composition is exactly a kind of change I wanted to make to improve the impact of the image. I think there will be no further significant adjustments to the composition. Perhaps a few minor ones…Thanks, Daniel!
DeleteThis underpainting is simply gorgeous Petar. But now the pressure is on for the finish, correct?
ReplyDeleteI very rarely use the Master label, but if you use it for Frazetta (I do too) then I can use it for you.
Hi Bill, the pressure is definitely on for the finish, especially now after I have shown the underpainting.
DeleteAs for the Master label, it’s extremely kind to say that, but if you only knew how often I feel as an incompetent apprentice…
If you knew it all it wouldn't be fun anymore. I believe a true master is one who is aware and awareness always leads to how little we know.
ReplyDeleteDefinitely agree!
DeleteHi Petar,
ReplyDeleteyou draw like angels! wonder and envy that ... I'm just self-taught ...
I have to improve and learn!
Karumina, don’t worry, just practice! You are already very creative.
Delete¡Powerful! but seriously, do a test in photoshop erasing the axe of the left and look how the image gains a lot.
ReplyDeleteI am sorry but I do not reply to anonymous comments…And your name is…?
DeleteOliver
DeleteWell, Oliver, your idea is not a bad one, but I am not going to remove the axe. Although the movement without the axe would be more fluent, less restrained, I am going for another effect in this composition. Pay attention to the three sets of parallel lines that are interfering with each other.
DeleteFirst set, the axe on the left - the Dead Dealer’s dagger – the Dead Dealer's axe. Second set, the Death Dealer's sword -
the white edge of his cape - the axe of the fallen warrior on the right. Third set of vertical lines, outstretched arm of the warrior in the upper left corner – the axe of the warrior in the middle – outstretched arms of the fallen warrior on the right.
These conflicting lines make the composition more interesting and dynamic in a different way. My approach to dynamism in a painting is slightly different than Frazetta’s. Why endlessly repeat something that he already has mastered, when we can do it differently and by doing so cover a vast range of possibilities that his work did not concern itself with. It is true that by doing so we might lose something, but we also might gain something else, discover something new and in this way add a little new stepping stone to the endless line of stepping stones, a path that leads from the past, via where we are now, to the…who knows…brighter future, perhaps :)
My motto is – If you don’t want to get rusty, think three-dimensionally!
Exactly, the idea was which without the axe, have the sense of all this light falling directly over the Death Dealer, like a power of mad gods and thunders giving him strenght and savagery, and as you said, a sense of movement more fluent and less restrained. With the axe is doing it very obvious. Of course, that was not a critic, only a observation.
Delete¡A observation of strenght and savagery! jajaj
You got a lot of reason with the explaination of the three sets of parallel lines, and have sense in the way you've explained it; i give you a lot of thanks for taking time and do it.
Oliver
Thanks, Jeff!
ReplyDeleteHi Petar,
ReplyDeleteAstounding work as always, and I can't wait to see the finish.
I have a general question about your methods. You have mentioned in the past that you have hired models and photographers for photo reference. I was wondering how you print your references for use. Do you just use an ordinary inkjet printer, or do you have them printed by a professional print shop.
Thanks,
Phil
Hi Phil,
DeleteFor printing my reference photos I mostly use an ordinary inkjet printer. Depending on the required quality of the photo, I might use the photo paper, or print it on the ordinary thin printing paper.
Only sometimes, when the requirements of a specific commission demand it, I let the professional print shop do the photos for me.
Looking great so far Petar. You find yourself in the same position as a musician or band who want to play music by someone else. Myself, I do not want to hear a band try to copy the original music note for note. I want to hear a fresh and unique interpretation. I know that you will make this painting your own and I look forward to hearing it. :)
ReplyDeleteVery good comparison with music! I will try to add some sound to this painting, although having in mind the theme, I am afraid it will be a requiem-like music :-)
DeleteGreat work. I think you nailed it. Composition, and technique looks great. How about a Wrightston or Corben?
ReplyDeleteI think this article is useful to everyone.
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