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  1. #166
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    cecill - dekui ;]


    speedy


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  3. #167
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    Good stuff good, good. Maybe you could go around the edges of the figures with a bit harber brush to knock out those smudgy edges. It would benefit your paintings a great deal i think.

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  5. #168
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    Placeboast - Hey, thanks for the tips, never really paid attention to that, sometimes blury edges looks great

    Yesterdays oils

  6. #169
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    lovin the paints man, great colors!

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  8. #170
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    Oh goodness,

    I love the brush marks Doc.
    And the pencils too.
    Sweet inspirations man. hmmmm!

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  10. #171
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    Bristol, UK/Kaunas, Lithuania
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  12. #172
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    great oils man really like em
    cheers!

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  14. #173
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    Flaskpost - Thanks !
    dwardo - Thankyou
    pijus -
    Peter Berkovski - Thanks, I appreciate it.

  15. #174
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  16. #175
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    im loving ur brushes dawg, keep it up

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  18. #176
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    Apr 2005
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    Hey Rokas,

    Extreme improvements since I last posted like 2 years ago. Your drawing skills have really come along.

    I'm digging that you're working in traditional oil, it's looking pretty good. Right now you're drawing with the paint, not making the actual physicality of the paint work for you. Since paint has the benefit of actually existing as opposed to just being colors on a screen, it provides the opportunity for some neat tricks that'll make your life easier when using it.

    It's thickness can be manipulated to your advantage with a few simples things in mind. Thicker paint comes forward, thinner paint recedes. Both literally and visually. Thick paint catches and reflects more light and therefore can be used in the light areas to great effect. For this reason, you want to save the heaviest application of paint for the most important areas. You've done this well on the girls face on her cheeks, nose, upper lip and whatnot, but there are areas which counteract this well thought out application in the background where clumps of paint catch light and become visually heavy where I assume you'd rather them not be, such as the edge of the hair, or on the right side in the ambiguous colors. These heavier applications of paint also read as harder edges where they probably shouldn't. This brings me into edges, and using them to adequately direct the viewer where to look. Normally, the eyes on a portrait tend to be the selling point, so make sure you use an economy of edges and really define all the little important parts so there's no guessing about where we should be looking. One more thing about the eyes, save the actual white of the tube for the wet highlights or you can flatten things out quickly. Namely, the whites of the eyes tend to be a bluish grey instead of bright titanium white, as I'm not seeing any cast or form shadows on the eyeballs, just a flat shape of white.

    Just to ease my own thoughts, any negative things don't mean I don't like the painting, it's well drawn and shows good color theory. I just know you can make the next ones even better.

    ~Andrew
    Last edited by That fat kid; August 8th, 2009 at 09:36 PM. Reason: Because I'm responsible for the failing economy

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  20. #177
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    Jesus Food - Thankyou

    That fat kid - Thankyou thankyou and thankyou. Before i started the portrait on the canvas there was lots of thickness left from previous painting on this canvas.
    I really like that portait too.
    Thanks !

    My friend

  21. #178
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    Cute bird. Really liking the muted colours in those portraits-more of the same!

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  23. #179
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    daveneale - Thanks!

    Heres some scans of my old drawings, thanks to a friend for scanning.

    Soon there gonna be more scans

  24. #180
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    way the go! very good use of colors, nice and naturel, jsut how i love it! only thin that i noticed is that your digital stuff is more advanced then your pencils, so maybe some more of those couldn't hurt, ( give us some more eye candy )

    keep on updating, man

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