Page 11 of 35 FirstFirst ... 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 ... LastLast
Results 151 to 165 of 515
  1. #151
    Join Date
    Jul 2008
    Location
    Rotterdam, The Netherlands
    Posts
    693
    Thanks
    307
    Thanked 326 Times in 182 Posts
    Dear William,

    I must say looking at your work and reading about your knowledge and expertise makes me shed a tear. Not because of the fact that I'm jealous or anything like it, no, I can't tell you how grateful I am of you sharing your knowledge to anyone who is willing to learn. I admire how humble you are and know that art itself is a process and you never stop learning. It really inspired me to get further and get better. I want to take this opportunity to ask you something myself.

    I love to see other artists work and to see their work. I always think and hope that I'll be able to reach their level of expertise somehow. But that goal lies to far in the future for me to keep me exited. I also get stuck the moment I pick up my pencil and want to draw. If I make studies, the studies look like cr**. I tend to quit drawing the moment I feel awkward about what I'm drawing in that moment. It results into not drawing at all because I'm not confident of my skills at all... My question to you is: Did you ever experienced something similar like this and how did you break out of it. Or can you please give me some direction how I should break out of it? I'm only 19 years old right now and I know that I'll get better as I grow older and wiser. But right now I'm stuck in a bad cycle of denying that I can draw and therefore not drawing at all...

    Anyway, thanks for putting some of your amazing art in your sketchbook and sharing your knowledge with all of us.


  2. Hide this ad by registering as a member
  3. #152
    Join Date
    Jul 2008
    Location
    singapore
    Posts
    639
    Thanks
    88
    Thanked 70 Times in 50 Posts
    Hi William, could i ask you an oil painting question?

    Im currently using a limited palette of Titanium white, Red Vermillion, Yellow Orche, Ivory black. For the skin tone, i usually mix white, vermillion and yellow orche for the base which looks quite skin tone like for me. But for the shadow area, i just couldn't get it to look skin tone like. I mix white, black and some mixture of the base skin tone, it became very greyish or is shadow area supposed to be greyish with this limited palette? Is there a nice formula for mixing skin tones or its all about experiment Or should i start with even lesser colors like what Aaron Coberly did http://www.conceptart.org/forums/sho...hlight=limited


    Thank you very much!

  4. #153
    Join Date
    Feb 2005
    Location
    Germany
    Posts
    2,573
    Thanks
    364
    Thanked 731 Times in 384 Posts
    beautiful new pieces! I love that last portrait so much it's not even funny.thanks for the process shots
    -----------------------
    Available for freelance work! contact me via : cgrobelski@gmail.com

    PORTFOLIO

    cgbrush.org

    deviantart

    Follow me on Twitter!!

    aaaaaaaaand

    friend me on Facebook!!!!

    .....bitches!

    Finally Finished

    Da sketchbook

  5. #154
    Join Date
    Feb 2008
    Posts
    67
    Thanks
    2
    Thanked 16 Times in 12 Posts
    Thanks so much for sharing all these phenomenal pieces of art!!! There is no greater form of inspiration really than to see a master at work...
    "How satisfying it is to leave a mark on a blank surface. To make a map of my movement -- no matter how temporary." -Blankets, Craig Thompson
    Sketchbook
    DeviantART
    Blog

  6. #155
    Join Date
    Jun 2006
    Location
    tekirdağ in turkey
    Posts
    613
    Thanks
    54
    Thanked 88 Times in 86 Posts

  7. #156
    Join Date
    Jan 2006
    Location
    New York City, NY
    Posts
    1,185
    Thanks
    34
    Thanked 178 Times in 138 Posts
    Quote Originally Posted by William Whitaker View Post
    ThabisoMhlaba and grenappels: good, bad, or indifferent, you only keep yourself going if you really love doing it. I've done a tremendous amount of work, most of it indifferent or bad. Fortunately, I've hit a few good notes too. I'd love to go out and gather up a lot of my work and burn it though.

    This business is a mix of talents. You will be strong in some areas and weak in others. The weak areas will eventually draw you to them and someday they will be your strengths. Initially, I couldn't draw or paint white drapery, bare backs, or the bottoms of feet. When I learned to do these things well, I really felt a sense of accomplishment.

    Our brand of art is indeed a lonely thing. Too much solitude is torture. That is why a forum like this is such a blessing. You should find like-minded spirits here. I'm fortunate to have a few young apprentices like Emily G who keep me company. I think they do me more good than I do them.

    The thing to do is to help others. Reach out and be a friend to someone. There have to be young artists where you live who would benefit from your friendship. Find 'em!
    Thanks a lot I'll definitely be on the look out for more people with similiar interests. Its just getting tough doing things conceptart related with no one really around doing the same but doing the summer I can do some Internships hopefully.

  8. #157
    Join Date
    Feb 2004
    Location
    Utah
    Posts
    281
    Thanks
    1
    Thanked 799 Times in 161 Posts
    Thank you everybody. This is often a solitary business and the encouraging comments you post are a great kindness. I appreciate it. I'm sure others do too.

    I'd post more, but I've had a long day at the easel.
    William Whitaker
    www.williamwhitaker.com

  9. #158
    Join Date
    Feb 2004
    Location
    Utah
    Posts
    281
    Thanks
    1
    Thanked 799 Times in 161 Posts
    Before I go to bed, I'd like to answer Krytos' oil painting question. I hope this might be useful for some others too.

    Your basic four colors comprise the so-called classic palette. To be 100% sure of the following information, I'd have to see your red-vermillion. However, if your paints are quality, I'm sure your red-vermillion is just fine too.

    Mix some secondary colors.
    Black plus yellow ochre = green.
    Black plus white = blue.
    Both those secondaries are good to modify and tone down your basic flesh of white, vermillion and yellow ochre. When mixing your basic flesh, start with white, add just enough yellow ochre to get the right pitch, then add a tiny bit of vermillion to get it just right. Add more vermillion and you get pink cheeks and even lips.

    Now mix black and vermillion. You get a lovely dark brown. Use this unmodified for your darkest shadows in the nose, ears, and lip line. Apply it thin and transparent for your darkest flesh.

    A useful color for turning your form from the light flesh to the shadow is raw umber. You can make a good raw umber by mixing black, yellow and a little red. Add white to it and it approaches grey.

    Play around.

    But remember, the best way to learn is to paint from life. Con a friend into sitting for you. I've done that for years, then given the sitter the results. If you are smarter than I am, you can sell the sitter the results!

    Work in natural indirect light. Place your figure against a dark neutral background. (A piece of cloth will do.) This will give you Old Master light and shadows, which are the best for painting the figure.

    I've posted a head I cropped from a fairly recent 10x8" painting on panel. (A lot of my current stuff is small.) I did this with a fairly limited palette. Remember, value is more important than color.
    William Whitaker
    www.williamwhitaker.com

  10. The Following 19 Users Say Thank You to William Whitaker For This Useful Post:

    + Show/Hide list of the thanked


  11. #159
    Join Date
    Mar 2005
    Location
    Santa Monica, California
    Posts
    521
    Thanks
    15
    Thanked 197 Times in 168 Posts
    It was such a pleasure to be able to meet with you at the Dallas workshop. Thank you for your advice. Your statement about copying is very important. I am part of that "Must be original" mindset. You are helping me break out of that and just focus on being good. Also thanks for the painting tips in the last post, I have been itching for that advice for a while.
    For Science- Sketchbook!

  12. #160
    Join Date
    Sep 2003
    Location
    ILLINOIS the land of lincoln
    Posts
    2,296
    Thanks
    1,583
    Thanked 310 Times in 306 Posts
    What a Fantastic post ,informative and inspirational. Many thanks Mr. Whitaker.

  13. #161
    Join Date
    Jul 2008
    Location
    singapore
    Posts
    639
    Thanks
    88
    Thanked 70 Times in 50 Posts
    Thank you Mr William Really grateful for passing down your knowledge

  14. #162
    Join Date
    Mar 2009
    Location
    Córdoba, Argentina.
    Posts
    5
    Thanks
    1
    Thanked 0 Times in 0 Posts
    Thank you sir again for sharing your knowledge, I'm very interested in your "painting from life" advise, I was doing some sketches and trying to work fast with a few medium in a "solid" way, but I noticed than my paint broke very fast, I saw your sketches with solid paint, how do you keep your solid paint with those nice brush strokes without break?
    What I'm doing wrong?
    Daniel Bejarano Casarino
    www.bejaranocasarino.com

  15. #163
    Join Date
    Apr 2009
    Location
    San Antonio, TX
    Posts
    114
    Thanks
    0
    Thanked 12 Times in 12 Posts
    Wow,
    I went back to school late in life and unfortunately I didn't take full advantage of it due to life responsibilities and just plain old stupidity. I find myself trying to play catch up now more then ever. I know art is always going to be a learning experience and due to your words I am learning a great deal and thank you for them, along with your wonderful ability. Thanks you for sharing it is really amazing. I wish I would have listened more before.

  16. #164
    Join Date
    Feb 2004
    Location
    Utah
    Posts
    281
    Thanks
    1
    Thanked 799 Times in 161 Posts
    alesoun, oh the lauguage barrier! I suspect greaseproof paper is simply a more elegant way of saying tracing paper. I'm not entirely sure however. The tracing paper I use won't allow oil paint to bleed through, so I believe that would pass as "greaseproof."

    Mydrako, copying is a good way to learn. Copy what most interests you and follow your feelings. You will thereby master one thing after another very naturally. Mastering art is so difficult that we really have to indulge ourselves. If it isn't fun, we will not do it. Gittins was originally from England. He was a brilliant portraitist and draftsman. He kept sound craftsmanship alive after it was finally and completely pronounced dead in 1950. Nobody in the 1950's could imagine you guys in 2009! Nobody!
    Gittins died at fifty-nine - smoked himself to death.

    maldrin, this particular drawing was done from a rather inferior photo. However, I've certainly done this from life. It's very useful because it's fast. I currently have Emily G and another apprentice drawing each other using this technique.

    Lostlimeturtle, I sympathize with you. It seems like only yesterday I was nineteen. I was the only person on the entire planet who thought I had any talent - and I was delusional! All I can say is that you will continue if you are driven to it. If your life leads you in another direction, be thankful for that too. So many of you here remind me of me (or a past version of me). When I was a teen, I did hundreds and hundreds of crazy drawings - just like many of you. It added up after a lot of effort. Remember too that an experienced professional will never sneer at your efforts. No matter how bad your drawings are, mine have been worse! This isn't a horse race. It's more a crazy compulsion.

    Gloominati, crown, destinyapocalypse,
    have I ever told you that you are some of my favorite people? How I like to read nice things! Thank you.

    ForScience, originality is fine, but master your skills and tools. When you are in charge, your built-in originality will get you somewhere. Schools that promote self-expression and originality and forget skill turn out lots of graduates that go nowhere in the visual world. Never feel guilty about copying. You will learn faster and grow farther that way.

    Victor B, I will have to quote you! Thank you for the nice words.

    bejaranocasarino,
    I would have to see you work to know exactly what your problem is, but I suspect you need to paint with a light touch. I heavy brush stroke will simply dig a hole in your wet paint. A light stroke will leave a wet layer over a wet layer. It is hard to do well, but try it. You might find some answers in my post here: http://www.conceptart.org/forums/showthread.php?t=83405

    IronFistGoon, just take heart that art is still an old man's business. We only go one direction in life. As long as you can strap a brush on your wrist, you can paint.
    William Whitaker
    www.williamwhitaker.com

  17. The Following 3 Users Say Thank You to William Whitaker For This Useful Post:


  18. #165
    Join Date
    Nov 2007
    Posts
    1,216
    Thanks
    772
    Thanked 464 Times in 226 Posts
    o my that last piece is truly inspiring time to get out the oils.
    Ill be back when iv messed to much stuff up...umm u might just wana wait here

    And another o my im gonna need to copy down all the info your giving you
    are a truly wise person.
    -Demo-
    -Sketch Book Updated Sporadically-
    My Blog
    Tumbler & Wookmark (finished pieces and Cool stuff I find)
    -Facebook(always on but never post)-

    If you see me on FB, or CA Talk to me, never to busy to talk and love to hear from you, chat me up about anything (Music, Games, art, ect)
    If anyone is interested in streams or hangouts let me know!

Page 11 of 35 FirstFirst ... 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 ... LastLast

Similar Threads

  1. William Whitaker Classical Painting Workshop
    By William Whitaker in forum Education & Schools for Artists
    Replies: 1
    Last Post: November 9th, 2011, 11:30 AM
  2. Reverie: Venue Announced for the Dallas Workshop!
    By Jason Manley in forum Artist Lounge
    Replies: 1
    Last Post: February 23rd, 2009, 05:28 PM
  3. SketchBook: Working with Whitaker
    By StacyLes in forum Sketchbooks
    Replies: 22
    Last Post: August 17th, 2007, 10:27 PM
  4. Whitaker workshops -- Scottsdale, AZ
    By William Whitaker in forum Artist Lounge
    Replies: 16
    Last Post: May 3rd, 2006, 01:15 AM
  5. William Whitaker on Ali G show??
    By fukifino in forum Artist Lounge
    Replies: 13
    Last Post: July 18th, 2004, 06:16 PM

Members who have read this thread: 17

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  

Developed Actively by the makers of the Best Amazon Podcast