Hello, I've been following your 30 min Spitpaintings (and previous work) and I was wondering if you could shed some light on the technique you're using. At first I thought you were painting an entire area with a colour/texture and then erasing or masking cutouts to create buildings or ships, but now I'm not sure. In the work you do that has a very organic atmosphere and natural flow: closer inspection reveals a lot of geometric shapes. If you don't mind my being so forward, how is this done?
what i am going to say below might be interesting for others, so i will publish your message publicly if it’s okay with you.
my process for these is to actually go from light to dark, progressively. i start by laying out the big shapes, using direct color tones. i force myself to keep the whole image light. when the big shapes are in place, i start refining with slightly darker tones, blocking my composition once again, with the use of darker areas that will appear through the image. when this is done, i do it again a third time, using an even more darker tone. at the very end, i often use a layer in multiply in order to add what i call my “shadow pass”. see, very often, i use my shadows and lights in order to establish the “dynamic pass” vital to obtain an attractive image. these strong contrasty lines will emphasize the composition, especially if you use them in a diagonal way. adding diagonals to your images will emphasize dynamism. on the contrary, strong horizontals and verticals will introduce more static. you always need to chose wisely as to where to put both, depending on what you want to express. concerning the geometric shape, i like adding primitive shapes into my pieces: triangles, circles etc. the eye loves being able to bounce between chaos and order, between textures and flat surfaces. on the technical side, i use simple custom shapes to introduce these forms to my paintings. finally, when you do a 30 minutes painting, you have no time to obtain your colors via multiple layering tricks like overlays. i of course use overlays, but not to start blocking the tones. only to emphasize specific areas of my image, way after I have started. the best approach for me is to chose a single tone, and then play with it, extracting several additional tones out of it. you can also introduce a complementary color to make the image pop, but only later on in the image. there are many other ways to find your tones. this is the one i am using at the moment, but it can change. it is always wise to keep your process organic, and changing. not for the sake of change, but in order to permanently make you remember that art is all about surprise. it’s about seeing fresh, and adding new visual surprises on the table.