Being part of the Abstract Expressionism and Minimalism movements at art school, Fischal never really learnt the skills of figurative painting. As a result he self taught at a later date when abstraction was no longer of interest to him, and he was looking for something new.
Today, all his work is figurative, and inspired by the suspended narrative and movement in photographs, which he then tries to capture on canvas. He will spend a lot of time photographing with models on location, then will photo shop and change the images if he feels they are more provoking of the question – what is the narrative?
Fischal will also be inspired by photographs that he sees. It may be that from the photograph he creates a sculpture which he then further translates into a water colour painting.
As Lucian Freud was not given to interviews, it is only from his sitters that we can learn something about his process. Most of his sitters were family and friends, who all give an account of long sitting hours over a period of months, or years if more than one painting was being worked on.
The key comment of all them, was that he was easy to sit for, conversation being a part of it, by also the concern on the part on Freud that his sitters were comfortable, and ensured that they where well looked after in terms of food and drink.
It was pointed out by one sitter, that this long process was perhaps an important aspect to Freud, who was pedantic about detail, in catching the story of the sitters life, at the time of sitting, in the painting.
It was also noted that he was obsessive about painting, and would work extremely long hours – a day time shift, for paintings using the day light, and a night time shift where he was utilising electric lighting in the work.
Renowned for his cartoon paintings, Lechtenstein is one of the leaders into the Pop Art Movement in the 70s. Always a lover of comic books, he decided one day to experiment in a more literal way with the comic imagery.
The process he developed as a result, always starts off with identifying interesting panels that he would like to work with, and cuts them out. He then creates a pencil drawing in the same size of the panel, using colour pencils. This is when he is making is colour decisions about the painting. It is also at this time he starts to imagine the size of the final piece.
Having created the drawing, Lichtenstein then projects it onto the canvas and finalizes the size of the final piece. He then traces the drawing from the projected image onto the canvas with pencil. It is at this point that he will start to make alterations so make the piece more compelling.
The image is now ready for painting. Where bendi dots are a part of the painting, so these decisions are made during this time but stenciling first onto separate paper, then sticking them to the piece to find what will work best for the image.