Sunday, January 15, 2012

Conan commission, part 3

by Petar Meseldzija

It’s been a while since my last Conan commission update (click here if you have missed the previous updates). I wish I could show you more but, as I already announced, there are some other jobs that I had to attend to. However, since a few days ago I am working on the Conan painting again. Beside tackling some other parts of this composition, I tried to define the final position of the Conan figure as well, especially the position of his leg and his arm. Because of the specific reasons, that I will explain later when the painting is finished, I wanted to keep Conan’s left leg as stretched out as possible.  

Here are a few images to illustrate the progress and the slight changes in the Conan figure that happened during the process, and as you can see, much of it is not finished yet. But anyway, for you who are interested in how I move from the underpainting to the next step, here you go.



  1. You know, Petar, I think your marks have always been energetic, but lately it seems to me a certain "wildness" is coming into play - it's very exciting to see. It's like you're letting something loose, or perhaps giving over control for passion. A good example here is the way you've handled Conan's fur wrap... it has so much life, yet you've achieved that with such minimal description and fuss.

    I find this kind of brushwork very engaging as a viewer. The energy and looseness immediately draw me into a piece in a way that hyper-realism usually doesn't. Whatever you're tapping into to do this, keep it up, because it's wonderful...

  2. I just love your style.Cant remember one thing though (or have never read it at all) and it is as it follows: Do you do your underpainting in oils or in acrylics like some other illustrators. If you do it in oils how to u aprouch further in the painting- wet to wet, or u wait for it to dry? Thank you
    Best regards

  3. Hi David – As you definitely know, it is always rewarding for a hard working artist ( who spends much of his life in solitude and working for days, weeks, even months on his art piece, often having no response, or a very limited amount of it, during the process of creation) when people react positively to his achievements by saying that they like it. But it is for me a special treat when I come across somebody who likes it not just because “ he likes it”, but also because he understands it, and on the top of that, he is also quite competent and able to explain why! You, David, understand, you can put it into words nicely and you have an eye of a painter…!

    Hi Gollorr – I don’t do my underpaintings in acrylics, I used to do that long time ago, but not anymore. Although, I must say that because of the dangerous and unpleasant turpentine fumes (for I use a lot of turpentine which I mix with the painting medium, when doing my underpaitings), I might be forced to start using acrylics again.
    I usually paint wet-on-wet and try to finish as much as possible in one layer. The finishing touch is done after the paint is thoroughly dry.


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