Her full name is like “Estellise Sidos Heurassein”. I can never help but read that last part as Hussein. As in Saddam.
Estelle 2013 is more or less a linear development of the Rita 2013 painting and more or less a remake of the same from 2009. One of the concerns over Rita was whether or not the more fluid drawing and painting style would “scale” well to more static content and lighter colors, and Estelle tries to move in that direction. Another thought was whether or not a more fluid (and this is really a boilerplate word for the painting: I’m not actually sure how different it is) painting style would scale well to a more conventionally scaled and finished (ie inked) lineart, and there was an intermediate painting that tried to address that.
It was pretty decent, but obviously not okay enough for me to make a post (maybe more in that direction later).
On the other hand, I’m pretty happy with this one.
In fact, I’ve been pretty happy on the whole with how painting has been going recently; I was commenting to J that I think I’m finally hitting my stride for painting, though I hope I’m not jinxing myself by saying that. For the most part I haven’t really had a dud or even mediocre painting since this experimental pseudo cell-shade from September, six paintings ago (no experimentals). Historically, the dud or mediocre rate has been a lot higher (again, no experimentals):
Everything before 091229 I consider “legacy”. The cutoff is tied to the “modern” era of drawing, since painting methodology is basically just as fluid now as it was then. This is actually all “real” current paintings (not all are posted, and you can see that the bulk was 2012). “decent” and “good” are good. “bleh” and “mediocre” are bad. The previous longest run of good paintings was just three. Likewise, knock on wood.
I always talk about this holy grail of lineart-less painting as if it is something really far away, but it might be closer than I think:
This is the final (as in post-processed) paint layer without the lineart, and it really doesn’t look that much different from the final paint layer with the lineart. It’s not that the lineart isn’t important, but maybe that it should be the wood scaffolding used to build the stone arch, rather than the stone arch itself. At the same time, there are still parts of the combined painting that I like more with the lineart, so I’m not even sure what I want to do with this whole lineart-less business. There is always backgrounds, of course.
Even in the crappier original, you can still tell what’s going on, though the lineart carries a lot more weight:
My final comment is that the lineart actually had a lot more debris in it at paint time. But I guess because it was light pencil, a lot of it just went away after I added some color at post-processing, which could be why it doesn’t have that much weight anymore: