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.
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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!
beautiful new pieces! I love that last portrait so much it's not even funny.thanks for the process shots
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
thanks for your last posts
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.
Originally Posted by William Whitaker
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.
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.
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.
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a la bapsi,
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.
What a Fantastic post ,informative and inspirational. Many thanks Mr. Whitaker.
Thank you Mr William Really grateful for passing down your knowledge
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?
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.
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.
The Following 3 Users Say Thank You to William Whitaker For This Useful Post:
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.
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