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Tiki Central Forums Creating Tiki Other Crafts Tiki Tiger Studios: Big long Egyptian trip report!
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Tiki Tiger Studios: Big long Egyptian trip report!
tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-08-28 11:57 am   Permalink

Wendy you are just too awesome for words. Thank you!

Thanks Cy! Your master carvings are wonderful to look at too!


 
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danlovestikis
Grand Member (6 years)  

Joined: Jun 17, 2002
Posts: 4816
Posted: 2013-08-29 09:11 am   Permalink

I love compliments but you are doing something so wonderful for the theater its fun to join in with a bit of paint. Dan shipped the box yesterday and it should be to you within 5 working days. Just in case you needed some I sent you gold acrylic too. Wendy
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Sophista-tiki
Tiki Socialite

Joined: Sep 13, 2005
Posts: 1723
From: Seattle WA
Posted: 2013-08-29 09:47 am   Permalink

I've got all the paints in a box too and will be sending them in a couple of days.

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MadDogMike
Grand Member (6 years)  

Joined: Mar 30, 2008
Posts: 7340
From: The Anvil of the Sun
Posted: 2013-08-29 10:36 am   Permalink

I love this place

 
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Gene S Morgan
Tiki Socialite

Joined: Jul 18, 2011
Posts: 342
From: Midwest the navel of the USA
Posted: 2013-08-29 7:05 pm   Permalink

Ditto .... what Mike said .... Some of the nicest folks here .....

 
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-08-29 9:44 pm   Permalink

Thanks so much Dawn! I really appreciate your help with the paints. Ditto what Mike and Gene said, the people on here are just darned nice folks. Here's to the tiki tribe!

 
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-08-30 5:07 pm   Permalink

Thanks to the speedy arrival of Wendy's package I will be painting more for sure this weekend! I cannot believe all the paints you sent Wendy, these are the expensive ones too that I have never bought because I could not afford them (heavy body paints) I usually buy the medium weight or even thinner because they are lot cheaper. It will be fun experimenting with these heavy body ones, thank you so much!

 
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-09-06 05:44 am   Permalink

Well I felt a little overwhelmed with all the minute details I still had to get done and it took me a while to get into the groove, but once I did I boogied down the road. I really did not feel up to tackling the second harp strings, so I decided to do the other piece that I knew was going to be a pain: the pillar.

But first, I noticed something that needed correcting. I erroneously thought that the stripes I did before were alternating red,green, and tan. I looked closer at one of the photos and noticed there was one more color: blue. So the order should be: red, green, tan, BLUE. A fairly easy fix turning one set of green stripes blue, just time consuming.





It does make the picture work better though. I see now that it is part of the intended color scheme of the original painter, because those colors are used throughout the theatre design.

Next I started the general basic pillar with a start to shading and light to give it dimension.



Then the really time consuming part; sketching in all those tiny hieroglyphic details on the pillar, and trying to make sure they stay in correct proportion. I had to erase and start over a few times.







You may have noticed I also blocked in the audience seats, and front stage to get a better idea of the lighting overall.
After that I started in on the basic dividing lines and some of the simpler hieroglyphic foundation colors. To really give volume I made the far side shades darker, and the side facing the theater screen lighter.



Then I started in on the more intricate black details and outlines.



After a little while I got into the zone and really went to town.



I saw that it needed more light reflection from off the screen, so added more brightness to that side and made the other darker. I also deepened the theater stage, and added reflection on the stage from the movie. I studied it for a while, then added a bit of yellow tinged light to the dark side shining off the pillar by the wall sconce. It still didn't seem right. Then I realized I didn't have light bounce or proper shadow on the inside of the arch. I fixed that and called it a night.











And that is where our camel caravan stops for now. Take a break and relax in the oasis until we meet again.

And once again thank you Wendy for the paints!

And... OH YES! I almost forgot, I just launched a Facebook fan page for my art! There will be some redundancy of what is posted here, but also all new projects I don't post on here such as a Scooby Doo villians card project I recently did. Head on over to
https://www.facebook.com/pages/Tiki-Tiger-Studios/524934474245882 and like the page to follow along.







[ This Message was edited by: tigertail777 2013-09-06 06:10 ]


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danlovestikis
Grand Member (6 years)  

Joined: Jun 17, 2002
Posts: 4816
Posted: 2013-09-06 08:58 am   Permalink

Tiger you could have been an architect. I've done a few paintings with buildings, none this difficult but even still they were so hard. You are pulling this off to perfection. Talent is your middle name. You are making a masterpiece. I can see why you wanted the pillar just right.

Are any of the people involved in the project to save the theater watching this because they should. I am thrilled to have been able to keep you going. I couldn't have found a better person to ship these paints too.

Pat on the back here, you have floored me, Wendy
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-09-25 3:31 pm   Permalink

Thanks so much for the compliments Wendy, if I wasn't blushing before I sure am now! Funny you should say that; my brother is an architect. The joke in my family goes that he draws the straight lines and I do the curved ones.

Well I am not entirely sure where I left off on my posting, so I will just have to go with my last session. I worked on the upper wall: adding more of the stripe/box design, and finally putting in those dreaded hieroglyphics that I have been putting off. Dreaded because of the tiny intricacy of the darn things, I thought I was going to have to get a magnifying glass a few times. I also added a bit more depth in the hi-lights of the pillar, and might add a bit more. I am probably going to have to lower that stage just a bit because I decided I am going to put the block under the pillar that I am sure was there originally from the floor impression I mentioned earlier.

First... yet more stripes, of a different type. See the pattern at the top edge of the wall that is like little red boxes made of stripes?



As I said before, I am learning all kinds of new things on this painting. I really should have painted all of the wall background color before I penciled in and painted the hieroglyphics. Trying to match the paint color between the details was very time consuming. After a while on some of it I gave up and did just that, essentially starting over. I did that on the scarab beetle with wings because it was just getting too frustrating painting between everything.



Next was all those boats with gods in them. I still am not entirely happy and may do some touch ups, but the overall image is there now. The papyrus flowers motif at the top of the dividers was the easy part.



Then came the other boat. I noticed there are only 3 gods making for a shorter boat. I am guessing this was done only on the far corner end walls, either because they ran out of room, or wanted to make the ending of the wall distinctive.



Finally, the last boat another 4 god one. And the half of the scarab beetle with wings motif.



And that ends where we are for now. Put your camels in their full upright position and thank you for flying scarab airlines.



I did after much searching found an approximate correct time period (1930's) postcard of the same type of pillar which has very little supporting top brick under the arch, and a block pedestal base supporting (HA HA) my theory of how the pillars were originally under the arch before the move.



So I am going to lower the stage just a bit and add the block pedestal. It is the only thing that explains the square impression on the current stage precisely where the original pillars are. I may also come up with some kind of hieroglyphics to add to the arch as I am convinced now more than ever that it was painted over due to a detail I found hidden away on one of the photos. Might be a bit hard to see at this size, but if you look at the following photo, closely look at the top of the arch just under the pillars. You can see bits of hieroglyphics very sloppily painted over, with the paint not even reaching into the far corners of the arch. It's almost like they figured no one would see behind the arch above the pillar and gave up painting that far. Also those weird block things on top that I mentioned before, would not fit under the arch and if you look close at some of the pillar photos I posted before you can see sloppy "paste up" of some kind that I am sure they used to attach those funky blocks to the tops of the pillars, possibly in an effort to conceal their sloppy paint job on the arch. I kept thinking with all the detail already on the walls, and knowing that the very essence of art deco design is to cram details everywhere, that the arch HAD to be painted with more details. I am almost sad to say I was correct because lord knows what kind of beautiful artistic details were painted over so sloppily especially since the arch is the focal point of the room.



That's all folks till next time!











 
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MadDogMike
Grand Member (6 years)  

Joined: Mar 30, 2008
Posts: 7340
From: The Anvil of the Sun
Posted: 2013-09-25 3:39 pm   Permalink

Part artist, part architect, part detective - great attention to detail Tiger! Keep up the good work.
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When you hurry through life, you just get to the end faster.
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danlovestikis
Grand Member (6 years)  

Joined: Jun 17, 2002
Posts: 4816
Posted: 2013-09-25 4:22 pm   Permalink

MDM put it perfectly so ditto from me too, Wendy

 
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-10-04 02:28 am   Permalink

Hey Thanks MDM and Wendy! Yet another vocation that endlessly fascinates me. I think it would be fun to be a detective if it were all like in whodunit books... but I am wise enough to know the real thing is a lot more messy and complicated. I'll stick to Agatha Christie.

A little bit of an update, but I am using a different camera right now which sucks all the color out of the picture unfortunately. I'll get back to the other camera soon. I did a little bit of paint organization, the older thin paints I had left I put in bins. Bet you can't guess my favorite game.



The ones Wendy was so kind to send I had shelves built for. I will be putting in more hanging nails on the sides to hang the ones I use the most like the red one is now.



Okay so now on with the show...

The first thing was, I realized that the arch needed to come over just a little bit more to meet the corner of the building, and also need more "weight" to it. So I penciled a line closer in and carefully painted down it.



Then I added that bottom pedestal block to the pillar, and lowered the stage just a bit. The angle is ever so slightly off on the pedestal because if I lowered the stage more to accommodate the actual angle, the stage would be too low in comparison to the audience. I can live with it being slightly off, but the perfectionist in me can't help but notice it every time I look. I'm probably the only one it will ever bother.



After that it was more intricate tiny brush details: the painted designs on the moulding edge above the screen. First green.



Then red.



Then black.



Having finished that, I went in and adjusted some of the light reflection for when I do the final stage which will really help give punch to the "night time" effect. I also put some more of the decorative painted elements on the nearest exit pillar.



Shadows were then added to in the corners, and I put the winged sun hieroglyphic on the stage arch. That arch really bothers me; I have fully confirmed in my mind that it was painted over, and had more decorative elements originally but I just don't know what kind it had. I am going to have to guess to get it anywhere near what I think it may have looked like, but I really don't have much to go on. What really bothers me is the sides of the arch are vertical so would need some kind of vertical motifs and the only thing really vertical that has already been used is the cartouches on the ends of the little "arch" above the exit door. Unless they repeated some of the other border designs; I am thinking that probably the edge at least had the same design as that of what I just painted on the top of the stage arch. If I only had a higher resolution close up photo of those unpainted corners above the current pillar positions I could do a much better educated guess. It really bothers me that I will be having to "fudge" it since it is so obviously the focal point of the entire room. I'll try not to worry about it too much though and get on with the really difficult challenge coming up: the audience.




Welp... until next we meet in the swirling desert sands, ta ta for now.







 
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danlovestikis
Grand Member (6 years)  

Joined: Jun 17, 2002
Posts: 4816
Posted: 2013-10-06 07:08 am   Permalink

tigertail777 I just love this painting. Your step by steps are excellent. Good luck on the fudging. I wish you had more contact with the restorers so you could have copies of all their photos. It's so easy now to photograph a photograph or to run it though a scanner. Have you contacted the local newspaper in that town? They may be willing to do an article on your painting, the project and to supply you with more photos. Our paper here is all about the community.

You've done an outstanding job and I'm ready for more, Wendy
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tigertail777
Tiki Socialite

Joined: Nov 25, 2004
Posts: 671
From: Oregon
Posted: 2013-10-15 10:08 pm   Permalink

First off, thanks again for dropping by Wendy! I have tried to repeatedly get more information or better photos, and it is a complicated situation. The end result is I have what I have and there probably won't be anything better forthcoming. My solution is that I am going to paint hieroglyphics on the arch, but ones that if you can read Egyptian say silly things, and I will also be putting my signature in a cartouche on the arch. This helps fill the gap of what I know was there, without obligating me to have it be accurate because it says in so many words "I don't know" without being distracting to the rest of the composition.


Let us once again cross the desert sands to that mystifying ancient place of magnificence.

I am so very nearly finished with this very long journey. It's been over three months, longer than I have ever worked on any single art piece. I am very restless to finish this darned thing and start something new.

The main thing I worked on was touch ups, adding some blue tinting to the areas where it would be darkest, and of course that oh so difficult audience.

And awaaaaay we go!

First off I filled in those gaping white audience "holes", and taped a bunch of 1920's period research above for inspiration. I really didn't have a very definite audience sketched out so just decided to wing it for the most part.



I took my handy liner brush and started making outlines of audience members. I didn't want them to all be just watching the movie though, I wanted to have little story vignettes like Norman Rockwell used to do. Very few of the photo reference pictures were outright copied, I made an exception for the lady by the exit with her hand to her mouth grinning in excitement. I thought that particular pose was perfect as it was. One of my favorite made up vignettes is also by the exit sign: the father absorbed in the movie while one of his twin girls is trying to talk to a boy behind her seat, and other with a disapproving look is trying to tattle on her. I've noticed pretty close to that exact situation play out numerous times in public spaces. It is quite amusing to watch when it is someone else it is happening to (first rule of comedy), but not at all funny if it is happening to you (I've had many occasions where nieces and nephews have tried to do this exact thing to me).



Another vignette I found amusing was the couple behind the two in the front seats trying to peer around the hats they are wearing to see the movie. The posture says it all, and I am sure we have all experience something like it. I often wear a 1940's style fedora which I remove as a courtesy in theaters for this very reason.



Towards the back of the audience I screwed up a little bit, but did not find out till later... so we will get there shortly.
For now, here is a shot of the full audience in outline.



I am really starting to get into film noir, which has been helpful in understanding how light and shadow plays upon the face. This is a dark auditorium with an audience in the dark, the only lighting being the bounce of light from the screen in front, the projection of light towards the screen OVER the audience, and the fake torches and upper lights on the wall. So the shapes of the audience members are composed entirely out of light and shadow. There is very little color that shows of the flesh or clothing.





And there there is the back of the audience. I like the couple in back laughing, and the col. Sanders old guy, but I committed a few cardinal sins I need to correct. Some of the heads towards the back by the wall are too big, some are too small. To bring off the perspective of a "deep view" the heads should be uniformly smaller as they recede away from the eye. And I could not find the precise reference I needed so some of the head shapes are not right, and little boy next to the laughing couple looks too old, and is impossibly twisted around in the seat. Worst of all the seating grid starts to lose its coherence towards the back and some seats are where they should not be. This is a difficult seating grid because it is in a slight curve shape, not a straight line. The real seating in the theater has this curve, most theaters historically did this until anamorphic widescreen came into being in order to provide the best viewing situation per seat. What this means for me is essentially taking a straight row grid of seats and bending it slightly into a half moon shape, which makes the sight lines of the seats all over and head placement must be strategic in order to show all the vignettes and expressions correctly without one head completely blocking another.



I saved the audience for last because I knew it was going to be ridiculously difficult to pull off.

I still need to work on the audience corrections, but meanwhile I went back and made Charlie Chaplin a zombie. Which, around THIS place would mean I mixed him a drink.... but no... not exactly what I meant.



I still didn't like the eye direction and some of the shape so I redid them. I also thought that the Chaplin image was in too sharp of a focus for a projection, so softened it and added some grain. In photoshop speak: I added a gaussian blur and grain filter.



That's about where I stopped for now. Don't have much more to go; crowd correction, and adding foot lights to the stage (unlit). I may also add a small slice of the Wurlitzer organ at the front of the stage, on the edge of the painting. I have been working under my special arm lamp that has both fluorescent light, and incandescent in order to balance the color spectrum.... but dummy that I am I did not realize the overhead lights are also fluorescent tubes, which would be why things seemed so blue to me. I will need to add an overhead incandescent in the future to balance out the light color fully. After realizing this, I wanted to get a truer sense of the color under proper light so I turned off the overhead lights and only used the balanced light to take the last photos. These give a much truer sense of how it really looks.







End of the line for now, everybody off!








 
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