Placeholder Image

Subtitles section Play video

  • [assume vivid astro focus: Learning to Paint]

  • [Eli Sudbrack, avaf]

  • I have to take my glasses off

  • just to do this,

  • because I have to be really close

  • so I can see detail.

  • Ulrika is actually amazingly proficient at doing that.

  • I'm just painting for the first time

  • since last year.

  • I'm still learning.

  • [Ulrika Andersson, Assistant]

  • [ANDERSSON] I did photorealistic painting for about 10 years,

  • before I started working on this.

  • So this is a nice change.

  • I guess I have a pretty steady hand.

  • It's kind of like working with nail polish

  • because it gets that build up.

  • But, I've kind of gotten used to it now.

  • I think it's, like, a matter of figuring out,

  • kind of, how to layer it.

  • But, I kind of like it.

  • I really like the surface that you get.

  • I listen to audiobooks and comedy podcasts,

  • so, I guess Eli hears me giggling.

  • But, there's usually music...

  • [SUDBRACK] She laughs a lot

  • [ANDERSSON LAUGHS]

  • [SUDBRACK] Which is excellent.

  • [ANDERSSON] I'm giggling and Eli is listening to music.

  • [SUDBRACK] So these here are

  • the paints that we have been using.

  • They're all K-60 Krink colors.

  • Maybe you should call them, like, graffiti paint.

  • They just use it with an applicator,

  • and they just do...you know, tag,

  • with the applicator here.

  • We take the foamy thing out

  • and we just use the actual paint,

  • you know, with brushes.

  • Because it has this sort of, like,

  • enamel lacquer quality to it.

  • And it is an alcohol-based paint,

  • which dries really fast.

  • I'm not so fond of this tone--

  • it's too eggy.

  • So we start mixing it with white,

  • so it will have, like, a lighter,

  • brighter yellow.

  • For these paintings,

  • I wasn't sure if I should have more, like,

  • block colors,

  • or if I should just pattern everything--

  • make everything really crazy.

  • I always have issues with leaving things

  • absolutely white.

  • [COUNTING, "...three, four, five, six..."]

  • These are many layers

  • of different shapes that are colored in

  • for this painting.

  • Christine is going to be finishing up tracing.

  • I'm going to use this to start coloring that canvas.

  • [COUNTING, "Nine, ten. Ten layers!"]

  • The Krink wouldn't really allow me

  • to change that much,

  • because I can't really overlay the colors.

  • But it's sort of like a coloring-by-numbers process.

  • These shapes...

  • I wanted to make it lighter.

  • First, I was going to turn the whole thing red.

  • And then I felt like,

  • I'm just going to outline red.

  • And then I started doing it, and I said,

  • oh, this actually looks good like this.

  • I recently went to the Philadelphia Museum of Art

  • to visit, again, that Duchamp room.

  • And I was looking at the large glass.

  • I have this image of this mechanic figure

  • called "The Bride".

  • I thought, maybe,

  • those trannies from those paintings,

  • one of them might have been transformed

  • into absolute abstraction in geometry.

  • I felt, that's the connection--

  • that's "The Bride".

  • I made some references to that here,

  • like, there's like this fluid

  • that she exalts in this area here.

  • That became this fluid here.

  • I brought this piece to this bottom area here.

  • I used this Jimi Hendrix cover,

  • and I wanted to use this grass element,

  • and I traced it over here.

  • This green area came out of, like,

  • something that I was looking at by Al Held

  • to create a more 3-D element on this painting.

  • Sometimes I feel like I should bring another reference,

  • and then sometimes I feel like I should not

  • bring any reference at all.

  • That something should just come

  • more organic out of my mind.

  • [CHRISTINE WILCOX ACKERMAN] Once I'm done tracing it,

  • I'll go do some freehand.

  • I spent maybe five hours just doing the first...

  • [Christine Wilcox Ackerman, Assistant]

  • layer from the scan,

  • and then Eli worked on it

  • for probably at least a week, right?

  • [SUDBRACK] Yeah, it took me a while to finish that one.

  • [WILCOX ACKERMAN] So Eli, do you want to look at

  • the first lines that I fixed?

  • [SUDBRACK] Yeah.

  • [WILCOX ACKERMAN] And make sure...

  • [SUDBRACK, VOICE OVER] I had a really hard time on this one... [LAUGHS]

  • Like, adding color and other shapes.

  • But now I'm happy with it.

  • [SUDBRACK] Oh, yeah, definitely.

  • Definitely, yeah.

  • Perfect. Thank you.

  • If I'm able to spend a whole day just painting,

  • that's, like, the paradise day for me.

  • Like, this traditional idea of the artist--

  • the painter.

  • [HAMAIDE-PIERSON] I like these little, like,

  • marshmallow teeth. [LAUGHS]

  • No?

  • [SUDBRACK] You know what that is?

  • [HAMAIDE-PIERSON] No.

  • [SUDBRACK] A reference to Duchamp.

  • [HAMAIDE-PIERSON] The glass panels?

  • [SUDBRACK] Yeah.

  • [HAMAIDE-PIERSON] Yeah yeah yeah...

  • [SUDBRACK] The two panels.

  • [HAMAIDE-PIERSON] Yeah yeah yeah...

  • [SUDBRACK] Right? And the large glass.

  • The top section, what the bride is...

  • [Christophe Hamaide-Pierson, avaf]

  • [SUDBRACK] There's like these fumes coming out of the bride.

  • [HAMAIDE-PIERSON] Right.

  • [SUDBRACK, VOICE OVER] I keep thinking, like,

  • how would it be

  • when I use different paint?

  • Am I going to be

  • working right on the canvas

  • and do something that's more spontaneous?

  • [SUDBRACK] ...fumes that drag them up--

  • they're wet, or something--

  • that's what that comes from.

  • [HAMAIDE-PIERSON] I see...

  • Marshmallow.

[assume vivid astro focus: Learning to Paint]

Subtitles and vocabulary

Operation of videos Adjust the video here to display the subtitles

B1 wilcox paint bride painting christine applicator

assume vivid astro focus: Learning to Paint | ART21 "Exclusive"

  • 507 45
    Chihyu Lin posted on 2015/10/09
Video vocabulary