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An Original Oil Painting executed in the studio from a pencil drawing and from memory by Fine Artist Jeremiah Jolliff

Keeping a Universal Sketch Book is a way of life. An artist should fill at least one sketchbook per year. Of course, that is a subjective statement. It has worked for me. I love to look back and gain assurance from the things that i have thought before. Eventually a pattern develops. The same themes re-occur and can therefore be cultivated to a higher degree. The elements of nature that have moved us in the past will move us in the present and as a result move us in the future, if they are in accord with spirit. Walking in the moonlight seems to have always been an operation intimate to my heart. Unfortunately, owing to logistics, is not always practical at night. Fortunately, a good old fashioned number two pencil and sketchbook along with a healthy dollop of memory work, can pay dividends back in the studio.

transfer the drawing onto a suitable painting support and cover the transferred drawing with a color that will add vibration to the color that will be applied in later steps.

Here is the contemplative aspect. At this point, a lot of groundwork has been completed and a solid foundation is now available for the artist to re-invigorate the memories that had led to the indelible experience. Painting from memory should be considered a mystical experience. There may be several days before the event can be recalled or it may be strong that it is fully realized immediately.

The whole premise of this operation is to step back and re-live the experience. The artist must grasp ahold of the quintessentials that were moving. With time it will become readily apparent and the feelings and splendor will return to an extent that will surprise even the most skillfull master.

Start applying color onto the support and minding the drawing all the while. Remeber to keep paints thin and “build-up” the drawing. with each subsequent layer of paint, the medium should be decrease. in other words, the paint is thin at first and covers the drawing. each subsequent application of paint becomes thicker and thicker. This is the “fat” over “lean” principle, which is only a way of saying “Thick” paint on top of “thin” paint.

Stay diligent and re-establish the drawing with each layer starting at first in shadow and progressing toward the light. Such is the nature of art. The Neophyte begins in darkness and moves always to light, from ignorance to knowledge. Allow to dry and frame the experience. Let go of the psychological content because the testament to the memory has been made manifest on the physical plane and the confidence can be placed on the path to a new project.

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