In case any of you were wondering what the masking fluid looks like when it goes on, here’s an example. The reason I’ve gone with such a thick application is due to the type of paint going over it. Traditionally, masking fluid like this is used with very light-bodied paint (e.g. watercolors) so if it is brushed on too thin and a heavy paint is applied — which can then dry into a film that’s stronger than the thin masking layer — then removing the masking after the paint dries is incredibly arduous.
Here’s the bottom console piece after the FLESH coat and masking peel. Now, DETAIL, SHADING & HIGHLIGHTS.
(Source: qwantzfeed)
FLESH coat… This is the last spray paint step before the brush-work begins.
This is the lower portion of the VW console piece after the first masking peel following the coat of SHOCK RED. This serves as a rough outline over which a second masking layer will be applied… Then that will be dusted with a coat of FLESH; and then the final peel after that. At that point, the fun part begins.
LUST No. 3 - ‘UNBUTTONED’ / by John Slaney / oil on canvas / 16” x 24”
AVAILABLE HERE
LUST No. 1 - ‘CORSET’ / by John Slaney / oil on canvas / 16” x 24”
AVAILABLE HERE
Thanks so much. I think you’re the first person to send me a message through TUMBLR. And such a lovely one at that. It also means quite a bit coming from someone so well-versed in wounds and mutilated, fleshy textures (judging from your posting habits). Honestly, if my work meets with adoration from an avid Dahmer enthusiast, I feel like I succeeded. After all, I paint these things for myself and people just like you. If you ever wanna snag something from my shop just message me and I’ll send you a coupon code. Thanks again, you made my afternoon.
- John
NEW PAINTING
“Elizabeth Short, The Black Dahlia - 3” / by John Slaney / oil on panel / 2012
Available HERE