Thanks so much for all of the kind words, everybody.
Drew, there hasn't really been much of an update on the book (to my knowledge), but I'm hoping it's still something that's being worked on. Sometimes, Dean keeps me in the dark about a few things, as he knows I can get emotional if they don't work out.
Ty, this one is most definitely the most ambitious painting I've ever attempted. There's just sooooo much going on here. Before, I could say that the large Gehrig farewell paintings took up that slot. In those, Gehrig and Sid Mercer end up being the most important figures in the painting. So, they have to be pretty crisp and their portraits pretty tight. With the other guys, since they stand pretty far back in the composition, I can be a lot looser with them.
Even though this team photo might have the same amount of figures, since it's a straight-up team shot, they ALL have to be fully realized. One can argue that maybe only the 'important' players should be super tight, but I'm of the thinking that each one is just as important as the next, accentuating the team concept.
So, they're 31 main figures in the painting, 30 of which are wearing pinstriped uniforms. If they were all standing, it would be a lot easier, as the stripes would just follow a vertical sweep. But here you have people sitting in chairs and then on the clay. That adds up to a bunch of crazy angles to work with.
Then they're the seats and rails in the background, all of which have to be straight and parallel to each other. And of course, those spectators in the back, all of whom are wearing different clothing and are doing different things with their bodies. There's the unique metalwork of the grandstands, too.
All in all, it's a pretty daunting task. I just hope that in the end, it looks the way I hope it can, and that the client is pleased!
Graig