ZISSOU LOST IN THE VOID (OF IT ALL)

MY PAINTING PROCESS

Using the original graphic as a template, it’s simply a matter of tracing off the image—in reverse. With the help of my ’70s Industrial Animation light table, you gradually build up the black layer filling in from your outline trace. This creates an organic look and texture that will never be seen by the viewer.

Usually, 3 – 4 coats are more than enough for a dark acrylic fill for a solid base. This base, on the viewer’s side, appears as a solid vinyl-esque layer with no texture—just a smooth fill—like an animation cel.

Frames are primed and painted 3 times to ensure coverage. I use Interior Satin Enamel paint. These particular 105-year-old frames are in fantastic shape but they do need to be stripped, sanded, joints strengthen, holes & carves filled using wood filler and carpenters glue.

The background is relatively easy. I used a large chrome bowl to get the circular fade relatively correct. Creating a grove of a gradient.

You can see here the glass is already glued in place and chalking is sealed to the glass. This is 105-year-old handmade glass and since the frame has been reinforced it takes some convincing and last minute carving to get it back into its home. It’s not pretty but once a layer of chalking is laid down and dried a sharp razor blade will clean up the glass. Always cover this up with a layer of frame paint before sealing.