My duties at Evergreene extended beyond painting. I learned the process of guilding, both on canvas and sculpture. Was preparing: stretching/hanging, priming, gridding, and working with projection on some very large scale paintings in their beginning stages, and eventually varnishing, assisting the photographer, and getting them ready to ship. Manual labor, and a bit of digital stuff as well.
I though it would be interesting to show the process of work at the company:
After the project is initiated, the work begins on the architect's desk
In order to stay faithful to the designs all of the sketches are gridded, and made into transparencies in order to be projected onto the canvas
which also has to be properly prepared beforehand
eventually the subtleties are addressed, though this is as far as I got with this painting in the few days that I worked on it. For the most functional schedule the labor is distributed between the studio artists. Here is Boris finishing up one of my previous paintings
A lot of the work included tromp l'oeil painting, (piece below by Faizulla) which I was completely unfamiliar with until the last two months
I gave it a shot as well, but it turned out to be a lot more complicated than I have anticipated, since one has to take the drawing(sketch) and make a painting out of it, based on a number of laws that allow the desired effect. Drawing it down wasn't the problem
but I'm not even going to show what my attempt of the painting it turned out to be. Pedro was one of the artists who executed/finished a lot of the tromp l'oeil canvases
the technique is very precise, and I'm looking into it now, in order to get its framework into my head.
Sunok putting some finishing touches on her piece
Max, photographing the work for the digital stage
the original painting (bottom left), and the final printout on a canvas (upper right), after undergoing digital manipulation (handled by Gustavo), ready to be sent out and installed at the location