posted: March 17, 2009
Yes fun to paint the drama in a boxing match . . . but also another chance to study and paint anatomy.
Zina Saunders March 17, 2009
Love your bold brushwork, Peter; it lends itself beautifully to the subject matter.
David Gothard March 17, 2009
I like the way all three figures tilt in the same direction.
John Dykes March 17, 2009
Peter - You make even a glancing blow still hurt.... nice painting...
Peter March 17, 2009
Yes a glancing blow but he's still buckling under the power of his adversaries blow. Thanks guys for stopping by and leaving a comment.
Nancy Stahl March 17, 2009
Can we see a detail shot, kind sir? More... can we have more?
Roberto Parada March 17, 2009
Peter, I agree with Nancy. I'd love to see some close up details at this size the jpeg is hiding too much of your lovely technique.
Tim OBrien March 17, 2009
Details Peter! I would like to see how you build one of these actually. Do you start with a drawing or do you just paint? This one drives me nuts since I think the guy just missed a right hand and is not out of position, ready to get nailed. : ) Brushwork is stellar.
Rob Dunlavey March 18, 2009
The fighter on the left: the ripples in the shorts show the residue of the right punch. Also, the latex glove on the referee makes it a bit more real.
Leo Espinosa March 18, 2009
the movement on the black shorts and the water coming out of the other guy's head are great details, but (yes, I thought would never add a "but" to your work) the fact that the black shorts flush almost exactly with the referee's sleeve makes me loose the sense of depth you achieved so well with the lights and ropes on the background. Somehow the sleeve looks like being on the foreground. Do I make sense, Pedro?
Peter March 18, 2009
Leo, I think your right. I think I could push that value (shirt) back a bit, so maybe the shorts dominate and feel more like they're overlapping and in front of the shirt. It's a bit of an awkward moment. Thanks for pointing it out. I might actually try to go back to resolve that area. Thanks for the thoughts guys. Here's a few details.
Peter Cusack March 18, 2009
Tim, for this painting I started directly on the canvas with paint. With a basic drawing color and brush, I blocked in, or planed out the overall composition and made sure the basic construction of the figures work together. Then I went into it directly with big color notes, like painting outside in a landscape. For awhile now I've been trying to work with lightning speed. Which has been good for me. I've tried to take the direct vigorous experience of painting a composition outside in one session into the studio. Not to say that I did this in one session, more like four. But now I feel like I want to slow my work down a bit more, so that I can be more clearly in the moment, resolving areas in a more patient, paced way. Basically not it such a god damn rush. I have to say this next part out loud for myself . . . that doesn't mean slow it down to a snails, noodling pace, but just enough to be fully in the moment with the form. The next painting I'm doing does have a drawing, that I will transfer and begin with the darks;). I really enjoy the boxing analysis and love when you say some part of what the boxer is doing pisses you off. Makes me feel you ring side. It's just great energy. Oh this one is for myself too . . . out loud . . . must makes sure I'm thinking about my edges. Ok anyway . . . good chat! For now Peter
Peter Cusack March 18, 2009
Rob . . . great ripple comment. I do try for things like that. Or maybe I should say that I'm conscious or that effect. Very good eye my friend. Yeah the latex is strange. When I first saw it, I was put off. It's just not a part traditional boxing imagery. But I decided to leave it . . . not sure if I would again.
Peter Cusack March 18, 2009
Roberto . . . the size also hides mistakes and poor painting . . . lol. Here as a few up close images. Thanks for coming by.
DavidZeggert March 18, 2009
Peter- solid painting- love that dutch angle too- best-D