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Thread: My oil journey

  1. #31
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    I hope that's 5 x 7 feet.... otherwise it'd be tiny

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  2. #32
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    Hey,
    you are really getting somewhere.
    I can see great improvement.
    Those Lemons look really yummy
    My crits would be, that in some paintings the contrast could be higher.
    Maybe you could try to light your subjects harsher, to get some more drastic shadows, it's much easier to show form this way!
    and what you said about having problems on painting small sapes/lines and stuff,
    maybe try working a bit larger (I think my favourite size is at around 50x70cm since it's not too big but you can still get alot of detail in it!)
    and try to "cut" those small shapes! e.g. when painting the eye, after blocking in the whole eye work from inside out. start with the pupil and if it gets messed up simply cut it with the eyeball's color! always keep reworking and fixing shape with their sorrounding shapes. (hope this made sense)
    Keep on doing your oils, they look good!

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  3. #33
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    nice work..you have a good drawing hand..instead of using photographs..try paintings from masters..you will learn more ..skin tones..brush strokes, form highlights,colors etc..something the photographs dont offer..good luck..

    my new site, is crazy stuff but is my own space, I can say whatever!! hehe:
    http://theallejo05.spaces.live.com/?_c02_owner=1
    One of the art schools I respect the most:
    http://www.mimsstudios.com/philosophy.htm
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  4. #34
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    Santon: hehe .. it's 5 x 7 inches

    Katz: thanks working a bit larger now but can't go too big due to space constraint. yep I understand what you mean by using one shape to shape adjacent shapes.

    the_allejo05: thanks painting from the masters aren't going to do much good since I'll probably be using photos anyhow .. don't think the museums would appreciate me making a mess there

    ----

    A couple of limited palette studies with titanium white, burnt sienna, and ultramarine blue. The first one 8 x 10 (didn't come out all that good ) and the second one is 8 x 12.

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  5. #35
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    I'm horrible for only using burnt sienna, ultramarine and white... some day I will use other colors...I have them...

    Something seems a little off with the facial features...I think I'd like to see less background for the figure one.

    But really good stuff...sometimes I limit my palette to only burnt sienna...but I wouldn't say I recommend it

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  6. #36
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    thanks Santon I actually like using this limited palette, it simplifies the process a lot where I don't have to worry about color that much. i done monochromatic sketches before with burnt umber ... came out pretty decent

    -----

    Another limited palette painting with titanium white, burnt sienna and ultramarine blue

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    Last edited by Lee W; July 18th, 2008 at 02:30 PM.


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  7. #37
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    The latest one is just beautiful. was it done from a photo or from life?
    I do think that you aren't using the blue to it's full potential. Yes a limited palette does simplify the process but you aren't trying to make monochromatic looking paintings- you're trying to make more with less.

    "A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
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  8. #38
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    That last one is really good. Good value, proportion, style. The cropping bothers me though, I really want to see the other shoulder. The partial head and hand makes me really uneasy which doesn't compliment the expression of the portrait at all. The vertical composition is good though, just enough space above the head and whatnot.

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  9. #39
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    Chris: thanks so far all my stuff is from image refs. I'm trying to muster up enough courage to go paint plein air, not much luck with that so far.

    Santon: thanks I don't know, I sort of like it cropped like that (though don't have much choice in the matter, its all the room I had).

    ----

    A couple of small paintings, both 5 x 7 inches. The first one was a 1 hour painting with 4 colors plus white and the second one with 5 colors plus white took 1.5 to 2 hours because of the difficulty I had painting the facial features.

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  10. #40
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    a couple more small ons, both 5 x 7 inches

    the first one is a monochromatic portrait sketch and the second is a rough sketch

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  11. #41
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    A couple more 5 x 7s

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  12. #42
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    Lee is clear you are confortable drawing and painting from photographs..I dont understand why dont you take up the courage to start doing lifework..even if you say its tough..start doing more still lifes..
    Again i dont understand why not copy mastersworks..there you learn tons more from than a mere photo..yes..most of us dont have the money to go to museums,so we use good reference or buy some books..really you are not helping yourself..
    i mean look at this vermeer ,bougerau,or sargent , give it a try copy them see how much you learn...good luck regardless




    my new site, is crazy stuff but is my own space, I can say whatever!! hehe:
    http://theallejo05.spaces.live.com/?_c02_owner=1
    One of the art schools I respect the most:
    http://www.mimsstudios.com/philosophy.htm
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  13. #43
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    I just saw your stuff on WetCanvas lol! I like the blues on the first in your latest post

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    some stuff

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    Like the_allejo05 said, copy master works. A good photograph of a painting by a master is different than a standard photograph. It gives you the chance to study how the Master uses edges, renders different textures, creates focal points, creates depth, their pallet etc. Try to break from your comfort zone.

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    couple more oil sketches .... first one is 5 x 7 and the second one is 6 x 8, both on board

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  17. #47
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    Really really like the one with the red hat and beard. Good work.

    I've had to pack away my oils for the last while 'cause I got kicked outa my studio... been working with pencils though... you make me miss paint.

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  18. #48
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    first of all the overall quality is good and I think you are ready for the next step.

    It is hard to put the finger on it but your paintings are kind of flat. looks very much photoreferenced. having a model that moves slightly and light that is wandering around will make you see the depth more clearly I think.

    just want to help

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  19. #49
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    some more ... spent about a hour each on the first three and approximately 2 hours on the last one.

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  20. #50
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    2 hour oil study on illustration board, 5 x 7

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  21. #51
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    oil on board, 4 x 6 .. approximately one hour

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  22. #52
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    oil on board, 6 x 8
    titanium white, yellow ochre, venetian red and french ultramarine (was supposed to be payne's gray, but grabbed the french ultramarine by accident).

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    Last edited by Lee W; September 15th, 2008 at 02:31 AM.


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  23. #53
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    everything becomes easy once you figure out that shadows are complementary colours instead of mixing in black to darken pigments. the rest is just like drawing with a pencil.

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  24. #54
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    This newest one is very nice, I think its actually a good thing that you accidentally picked up the french ultramarine - I think it will work a lot better for you than a payne's gray would, which I think is just a convenience mixture anyway.

    "A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
    [[Sketchbook]]
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  25. #55
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    first one is oil on canvas mounted on board, 4 x 6

    and the second one is a quickie oil on colourfix primer, 4 x 6

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    Last edited by Lee W; September 22nd, 2008 at 04:50 PM.


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  26. #56
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    The brushstrokes in the one with the rose and wine glass are very lively. Keep it all up!

    "A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
    [[Sketchbook]]
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  27. #57
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    thanks Chris

    ---

    more stuff ... every one done within one hour
    first two are 4 x 6 and the rest are 5 x 7

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  28. #58
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    Hey Lee,

    I just saw on your blog that you built a pochade box, it looks great! I bought a 6x8" box from Dean White (coltydesa) but I have no idea if he's still in business. I'm not sure when I'll have time for plein air painting, maybe on Saturdays (I'm in my last year at university). It would be wonderful to get a little plein air group organized in Boston.

    Stephen

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  29. #59
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    thanks Stephen I actually built a few with each having a different method of holding the canvas. Trying to figure which one I like better before investing in a professionally built pochade box. But so far, it seems to be one of the models from http://www.allaprimapochade.com/. A plein air group would be nice .. really don't like going out painting all by my lonesome .. kind of boring. Fridays and Saturdays aren't good for me, Sundays in the late afternoon or any other day (temporarily) at any time.

    ---

    since I'm here, might as well post this one ..

    oil on canvas, 5 x 7
    using a variation of the Zorn palette (instead of cad. red, I used venetian red).

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    Last edited by Lee W; October 2nd, 2008 at 05:15 AM.


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    Beautiful

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