Deadlifts. Feels good man. End of winter, imma be hot, rich, and have a big stack of awesome paintings.

I know how to do like, 1.5 of these things, but we'll see.
Currently sticking to full body routines; legs, push, pull, accessory to taste, repeat 3xish times. If I continue going to the gym through winter, which is in question, I'll break those back out into a split, when I feel like I'm used to lifting again.
Solid ninety minutes in the gym. It's hard to be sure, since I'm not doing exactly what I was doing back in February, but I feel like if I lost some raw strength in half a year at the calisthenics park, I gained some endurance.
Tfw you respecced your stat points, and didn't even have to pay 200GP/character level to do it 😏

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More from @kendrictonn

16 Oct
Painted an alla prima portrait demo during a small event at the Columbus Museum of Art yesterday. Felt a bit strange doing something like that--it's sure been a while--but I'll admit it was a welcome change.
Here's a succession of shots taken through the night. I am faintly embarrassed to relate the number of people that came up and said something amounting to "we saw your start, and thought ehhhhhn this guy's an idiot 😬 but wow! It's amazing!"
Let's talk for a second about portraits and likenesses. I think most people naturally assume getting a likeness is about getting someone's features correct--eyes like so, nose like so, etc. This isn't entirely false, but wait: you can recognize your friend from 200' away.
Read 11 tweets
15 Oct
Let's talk just a little about pricing. Broadly speaking, there are three ways to buy a painting from most artists: directly from the artist, from a gallery they have a permanent relationship with, and from a show they have a temporary relationship with.
My prices--and this is good professional practice--are generally consistent across venues. There can be a little slop, this isn't aeronautical engineering, but essentially, it costs the same to buy a painting from me, from the gallery, or from a show.
The gallery, or a show, will generally take a 50% cut of the sales price, although they may also be handling some or all of the shipping and framing, which mitigates that.
Read 6 tweets
15 Oct
Had a request for a more specific breakout on the costs in producing a painting. It's not necessarily susceptible to an incredibly precise analysis, but let's give it an attempt, taking this 30"x40" figure from a few years ago as our example.

(thread) Image
Starting broadly, I'm not paying a monthly studio rental fee or anything, because I work at home. Finding a property that both suited my needs as a studio & my rather modest budget was difficult, but here we are.
If I were starting from zero, and presuming I can't use window light, I'd say I'd need about $150 in a simple, but decent easel, a good medium arm palette is about $100, and $2-300ish in high quality lights. These things will last foreverish, thankfully.
Read 13 tweets
14 Oct
Have an inquiry from an existing collector in my inbox, asking to be kept informed about a pencil drawing I'm working on, so🤞about that. Drawings akin to this have developed a significant role both in my artistic practice, and in the practicalities of my career.

Let's talk about studies. Customs vary from artist to artist, school to school, but in general, you don't just put brush to canvas and knock out a complex painting in a fury of inspiration; first you do studies of individual elements.

(Bouguerau examples)

This isn't invariable, but I personally--in my larger figures, which represent a good proportion of my work--generally will do a highly worked-up drawing in pencil & chalks before starting on a painting.

Read 14 tweets
11 Oct
This is perhaps among my most basic opinions, but I rarely love a Bouguereau, I wish his work had gotten a little less... gauzy? than it did, but holy moley dude could paint.
I think it's possible, though hardly certain, that Bouguereau had this other amazing painting of a Prominent Jug in the back of his head, Velazquez's Waterseller of Seville. Image
Part of what I love about this Velazquez--aside from the fact that, speaking of dudes who could paint, wow--is how well it functions both as a literal depiction of a quotidian scene, but also works symbolically as a Three Ages of Man.
Read 5 tweets
5 Jul
A few words on keying a painting, as related to this wonderful Tissot:

When painting, you can't copy directly the value range in nature: the gap between the lightest light and the darkest dark. Your paints aren't bright enough or dark enough to do that. (1/)
Keying a painting is selecting a scheme for arranging your lights and darks such that it allows you to convey the light-effect you want. Consider this Emil Carlsen: he's pushed his darks dark, giving him space to make his midtones dark, leaving space for the highlight to pop (2/
Compare this Emil Carlsen. Objectively, the highlights are brighter than in the previous, but they don't pop in the same way: he's keyed this one such that most of his range of values is consumed by modulating halftones, so there's no space for the highlight to stand out. (3/)
Read 8 tweets

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