Still life that draws ideas for beginners. Peter Jabrokow on atmospheric festive attracted to the nostalgic theme of rusty relics of a past industrial age. A long-abandoned steam engine Languisca in a field whose cabin is spectacular rust peeling world window and peeling color. A huge bagger ship tilts in the mud of a lake where it is half sunbed. His cranes still sprout cables and lines. The shell of a stamp building is open with its pages at the time, which weighs on the stalk from the beams whose ground burned with the rubble incomplete abort.
All of these scenes will get a kind of hyper clarity with the immaculate design, crispy edges, and flawless view married to rich and different colors and a wealth of texture. Jabrokow creates a sense of creating extreme precision, while his theme dancing in a living and warm light suggests joy and attraction. We are aware of the fact that he is in love with his unexpected topic.
Search for topics
When I started in 2010 painting, my family and I had just visited the Keweenaw Peninsula, in the upper peninsula of Michigan, the artist recalls, based in Illinois. Soon he started painting things there. There are great old mining structures. Some of them are already gone. It is a nice and secluded place with historic old towns and mining relics, a combination I like. The minimum of Quincy in Hancock has a steam engine in an area, so I also started painting steam engines. After the engines, I painted the railway bridges in the area of Chicago because they were closer to home. I love its complicated and flavored structures, but they are looking tips without heavy. These days, I am looking for bridges with huge against Lethences or big, solid pieces made of steel.
Whether it’s bridges or mines, Jablokov seems to enjoy the heroic stairs of these structures. I like the size of them as they get upside down, with exciting textures and chaotic shapes. I love the casino of shadows and shapes -. And the fact that there is still a structure down there. While the feeling of Jablokov’s structure is strong, there is also a romance in its portrait of this topic. “There is certainly a yearning for them, all the things that people use, and to do how they did them. Now just a few of the skeletons remain.
The perfect shot
Jablokov is looking for the topic, already says more than a passage visit with a sketchbook and a camera. It will often get back to a series of several better angles and photos. “I was able to photograph a thousand on the first visit. So I’ll come home and see them again, and I will often find that I would really see this or that, so I’ll come back to the scene. And then I will come back until I’m sure I’m what I want.
While for the perfect observation point of its argumentation of roaming search, Jabrokov is not just happy to bring it back; He loves ways to explore diving in tunnels and climbing on the roofs. When it comes to the training of the bridges, he had come from the trains.
Build the scene
In the end, Jabbinoc selects a picture of which works and a dimension, sometimes large, 41 inches. Work on 300 lb bows. Hot pressed paper, A choice that allows stability and offers options to work on the surface. Start with a slight pressure of his photo on a piece of 81/2 × 11 inch paper and then draws the main contours in pen to set the proportions and the general corners.
So scan the cool drawings, put them in Photoshop and change the picture to the size of the painting. In this phase, it is attentive to identify the line of the horizontal and the vanishing points of the perspective. Therefore, print paper pieces in sections until it has created a picture of the natural size. It was over his watercolor leaf, and he pursues the picture with the transfer card on it. Then draw with a pencil for 2h to create an acute and accurate row design that can take eight hours or more. I need the line to be strong enough because I know that some of them are covered by washes, and I have to see it. I also make a picture of the design, so if I lose a line, I can redesign it.
A multicolored patina
After the artist has established a crisp and rigid contour, the artist starts in a completely opposite approach, the shower of parts of its dripping painting and sprays to create a multicolored patina. My main goal is to force a scene or a random model that runs through different parts of the painting to connect them. Somehow it seems to be more than a painting. If I try to use a brush, I tend to be rigid and repetitive. I also like the Color to start on the entire newspaper on the entire paper. As soon as I start, I’m immediately digging from a hole. I’m better to react to what I did for the first time. Although this part of the painting process is deliberately uncontrolled, Jabbinoc is aware of masking the portions of the image that they would like to keep as a white card. Use the masking liquid for small areas; for larger areas, a half-saving painting tape.
Since it can see his pencil lines through the tape, the band can cut exactly into the line. I discovered that it is better to put a small masking fluid under the ribbon edge to stop the Color from bleeding down. The cut-out forms allow me to create a chaotic texture or wash within a very specific area. The masking fluid, which is dropped onto the paper or passed through a mouth stoker, creates crispy edges and areas that, after removing the masking in Color, can be filled. I could solve myself in different shapes, but I still need these forms to be accurate.
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