This painting is dedicated to one of my favorite Assamese singer, composer and producer Angarag Mahanta, but he is popularly known by the stage name Papon. He doesn’t need any introduction when comes to Indian music. He was born to the famous Assamese folk singer duo Late Khagen Mahanta and Shri Archana Mahanta. He has its own folk-fusion band called Papon and The East India Company. Other than Assamese he has also sung in many languages like Hindi, Punjabi, Tamil, Marathi, Mishing, and Bengali.
Papon In Bollywood
Some of his Bollywood songs include “Labon ka karobar” in the film Befikre (2016). “Bulleya” from the film Sultan, “Moh moh ke dhage” from Dum Laga Ke Haisha and “Humnava” from Hamari Adhuri Kahani (2015). Again “Lakeerein” from Kya Dilli Kya Lahore and “Sun ri Bavli” for Nagesh Kukunoor’s film Lakshmi. In 2014 “Sun le re” and “Khudse” for Madras Cafe (2013). His hits include “Kyon” for the movie Barfi!. He sang the title song from Inkaar (2013). His first big song in Bollywood was “Jiyein Kyun” from the movie Dum Maro Dum.
As a big fan of him and his singing from the day one when he releases his first Assamese album “Junaki Raati” in 2004.
Happy New Year
A new year, a new month, a new day and a new beginning. In this first day of the year 2018, I am very much glad to write this article about a painting which is very close to my heart.
I am wishing you all a bright and prosperous New Year 2018.
The Reference Photograph
I have searched across many of his photos on the net. But didn’t find one for my painting inspiration. I don’t have any reliable source to get one from anyone also. At last, I got this photograph from my photographer friend Mr. Shantanu Dutta. He shoots this wonderful picture of Papon in a stage show in Sivasagar.
Though this is not my ideal profile to explore him in my painting, I have decided to paint this acrylic painting. I will love to paint another painting of him in more live action in it. Hope I will shoot one for myself one day.
It’s messy, right? It is. I love to use the same palette again and again without cleaning the leftover paints from the palette, I mean a plate in this case. It gives me a feel of colorfulness.
My palette for this painting consists of very limited colors. Like Ultramarine Blue, Cobalt Blue, Burnt Sienna, Scarlet Lake, Crimson, Cadmium Yellow Medium and Zinc White.
First Few Sages
Stages of a painting are not always the beautiful parts to admire. But the reality and techniques lie behind these stages itself. So it is always necessary to reveal the stages for the better understanding of a painting process. That is what I am posting always in all my Art articles.
As I mentioned in my earlier posts that I never follow a strict path while starting a new painting. It changes from Artists to artists. But according to me not following a definite path in a painting progress sometimes help you coming out of fear of failure.
Blocking the underpainting with a light coat of Burnt Sienna. I am using just water as a medium.
In this stage, I have worked on the face with Burnt Sienna and White. Just quickly blocking the darker areas with Burnt Sienna and highlighted areas with a White mixture.
Leaving the face at this stage, I have shifted my mind to block some of the areas like hairs, shirts and some of the backgrounds. It gives me a value and depth of colors.
It’s time to work some of the detailing on the faces with the use of Crimson, Cadmium Yellow Medium, and White. I have achieved the darker shades of the face using Ultramarine Blue, Cobalt Blue with a little mixture of Crimson and White because the face reflects the purplish environmental lights from the stage lighting. Which will also be the most dominant color for the whole painting as well.
Final Stages of the Painting
After getting the desired shades and highlights on the face, hands and mostly in the clothes I have applied layering or glazing method to achieve the final textures.
I have used one fine number 6 golden nylon brush for glazing. Number 3 and 00 brushes for finer detailing like eyes, lips, nose, beards, hairs etc. For the background, I have used a flat hog hair brush of size 10. For achieving the skin and shirt textures I have used the round hog hair of size 6. Which gives me an immediate textured impressionistic look for the shirt and skin as well.
The Final Painting
I am happy that I have able to achieve the environment of this painting which I was looking for. But I am not yet satisfied. Because a little aggressive profile of Papon on stage will give a more dramatic painting. I think.
This is a painting on Acrylic on Canvas board of about 45 X 60 cm.
Please go through the YouTube video listed above to see the time lapsed painting video in progress.
Please don’t forget to comment on this painting. Your comments will be my fuel to go farther in this field. And please don’t forget to share this article, if you really like it.