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Signapse blog - Doug Selway Signapse Studio

Doug Selway - Signapse Studio updates.

Signapse studio blog - immersive, joined up art experiences

Doug Selway - a visual artist working with drawing, painting and animation to create immersive multichannel art experiences. This studio blog gives you access to his sketchbooks,  journal and working methods that include techniques like sculpting, propmaking, box installations as well as oil paint and charcoal.

Signapse studio blog - immersive, joined up art experiences

Doug Selway - a visual artist working with drawing, painting and animation to create immersive multichannel art experiences. This studio blog gives you access to his sketchbooks,  journal and working methods and techniques like sculpting, propmaking, box installations as well as oil paint and charcoal.

 

Thats better - the first turps of spring.

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Smell of turps in the studio again. It's about time. I'm working on another double portrait, one that I feel very strongly about which is one of the reasons it wasn't easy to know when I was ready to start. What clinched it and got me going was something (I think) Sergeant said about never moving paint around more than twice. Here's my hand signal which means "No more tormented paint". Three fingers means the maximum number of times that the paint can be touched.

This resonated with my strong feeling about trusting first marks, which came out of the animation experiments I've been doing. I used time lapse to record a drawing or painting. Puts you right in the Samurai zone, knowing the shutter is going to click every 2 minutes. It was strangely liberating, I'll put these up once they add up to something worth watching.  The page opposite the hand signal is the final visual for the new painting, which is called "Isaac and Melvyn". Here's the previous pages, its interesting how I started with an imaginary place where they would both be, but lost interest in it after the first three versions.

So here is the first days work. There's NO DRAWING. Which I found very scary. I really wanted to flow into the painting with a brush rather than cut my way in with sharp drawing instruments.

It remains to be seen if I was right to be scared or not.