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  1. #211
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    Hope you had a great time at Illuxcon. You guys in America get all the best events, it's not fair.

    Seeing your paintings framed up like that really makes them shine. Traditional work, no matter how well photographed or scanned, just doesn't seem to look as good on a screen as it does in real life. Would love to see some of your stuff for real. Get up close and personal and see all your brush marks and decisions.

    P.S. How do you go about choosing frames? Do you have set types or do you run on instinct for each separate painting?

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  3. #212
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    Quote Originally Posted by Lightship69 View Post
    Hi matey

    I just had to say, your work brings me endless pleasure and teaches me at the same time.
    I think the Elric image is great and the crystals pics are coming on great too. but those landscapes really transport you whislt you are looking at them, great work mate.

    Ok flanelling and grovelling over get back to it I want more now!! ha ha ha ha
    Thanks man I appreciate it.

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  4. #213
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    Quote Originally Posted by The 13th Sign View Post
    These are amazing! The crashing waves one really made me nostalgic of my European experiences. Great work.
    Thanks more seascapes coming up.

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  5. #214
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    Quote Originally Posted by Candra H View Post
    Hope you had a great time at Illuxcon. You guys in America get all the best events, it's not fair.

    Seeing your paintings framed up like that really makes them shine. Traditional work, no matter how well photographed or scanned, just doesn't seem to look as good on a screen as it does in real life. Would love to see some of your stuff for real. Get up close and personal and see all your brush marks and decisions.

    P.S. How do you go about choosing frames? Do you have set types or do you run on instinct for each separate painting?
    Illuxcon was good, no sales yet, but we will see. Had lots of interest. People don't know anything about me because I'm not really in illustration so I spent a lot of time telling people about what I do, but I had good feedback on the work. I was told years ago when I got into the gallery scene to use gold or silver leaf frames which I do for the most part. The black frames were cheap and allowed me to hang more paintings in my space I saved the good frames for the larger pieces 24 x 30 and up. I use American Impressionist carves for my frames since it fits my style of painting. I have about five different carving styles that I cycle through ranging from 1 inch to 5 inches wide.

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  6. #215
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    Some new plein air pieces
    Name:  cabrera_timber_hollow_overlook_18x24_lb_outdoor_web.jpg
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    Name:  sunand shadows.jpg
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    and some gallery work
    Name:  cabrera_evening_on_the_gulf_36x48_ol_studio_web.jpg
Views: 6962
Size:  58.4 KB

    Name:  cabrera_late_afternoon_40x30_ol_studio_web.jpg
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Size:  76.8 KB

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  8. #216
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    Damn, those gallery paintings are stunning. Love the colours and light in them. you guys get some lovely weather in your part of the world.

    Also, thanks for answering my questions and sorry I took so long to respond. I actually forgot I'd asked them, oops. Interesting to hear about the frames you use. I worked in a picture framing shop for a while and was always completely overwhelmed by the range on offer. Choosing a few good types and cycling through them sounds like a good way to go.

    And I've another question, lol.

    When you first started out on the gallery circuit, did you take plein air pieces or finished gallery ready paintings in your portfolio?

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  9. #217
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    I took both because back then galleries wanted to see work from life as well as large studio work. Its changed quite a bit since then (its been fifteen years now) but even now most galleries want to see work painted from life to a finished state especially for landscapes.

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  10. #218
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    Oh wow! The last one in post 215 reminds me of the beach next to our family cottage.
    Going away with the family ain't all that fun anymore now when I am '' older '' so I just stay home ( privacy ftw ) hehe, but I do kinda miss it a tad.
    Beautiful work!

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  11. #219
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    Quote Originally Posted by dpaint View Post
    I took both because back then galleries wanted to see work from life as well as large studio work. Its changed quite a bit since then (its been fifteen years now) but even now most galleries want to see work painted from life to a finished state especially for landscapes.
    Thanks, thats useful info. Makes sense that they'd want to see if an artist is capable of working from life.

    I have one last question for you then I promise I'll leave you alone.

    How do you get such good photos of your work? Is it about a good camera/lighting set up or do you find you still have to tweak things on the computer after?

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  12. #220
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    Quote Originally Posted by Candra H View Post
    Thanks, thats useful info. Makes sense that they'd want to see if an artist is capable of working from life.

    I have one last question for you then I promise I'll leave you alone.

    How do you get such good photos of your work? Is it about a good camera/lighting set up or do you find you still have to tweak things on the computer after?
    I think you learn after making images for awhile how to make them more photogenic. Its mostly having strong value relationships in the painting and clean colors.
    I don't think they're that good as far as color matching the originals, but they work. I go for the overall relationships and shoot outside in shade. I do tweak them in PS but I make sure they don't look better than the original painting when I correct them. I use a mid price range camera and have done so for all of my career. What they call the pro-sumer models in the $800 to $1200 range. I upgrade every couple of years when they double the res or functionality.

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  13. #221
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    Interesting. I have been noticing more lately about how different different colours/paint thicknesses/values etc affect how my work turns out in reproductions. Been finding scans seem to work better than my camera - though thats probably because I'm using one thats not very good and cant get outside at all in winter here. Light levels are through the floor this far north and if it's not raining or snowing, it's just about to.

    All that said, I cant keep limiting myself to 12x16 canvases, so a better camera and more attention to values/colours etc is probably the way to go. Been itching to get back to bigger scale paintings for a while now so this might be the kick I need.

    Thanks again for answering. Really useful info and much appreciated. It does all go in, though it may not seem like it, heh.

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  14. #222
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    Candra

    If you have to shoot indoors I recommend full spectrum fluorescent bulbs. Get the ones that are at lest 90% of the sunlight spectrum and at least 4 feet in length, should cost less than a hundred dollars for a set of four and the housing they go into.

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  15. #223
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    I love the seascapes! I think they're some of your best work. Especially that last one with the dunes and the grass.
    Also, congratulations on the hotel deal!

    I have a question about frames. I'm going to be talking to some local galleries soon, but I'm not sure how to go about framing my paintings. I've been making my own floater frames for art fairs but I'm not really a good enough woodworker to make gallery-quality frames. I also don't think my acrylics are really gold-leaf closed-corner frame quality paintings, but then again I don't just want to go to some random frame shop and have my work encased in crap. How does one go about finding a good middle ground? I've looked around online but haven't found any solid information.

    *** Sketchbook * Landscapes * Portfolio * Store***

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  16. #224
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    Vineris,

    I use the 10 percent rule. My frames do not cost more than ten percent of the retail price of the painting. Galleries are going to take 50% on average. So 60% of your cost is right there. What I did when I got into my first gallery is I doubled my prices to cover the cost of the gallery commission and framing.

    I don't know about Canada, but here the US if you have a resale license you can buy things wholesale. That is how I buy my frames. It helps to buy in larger quantities of five or more than just one frame at a time.I can get most of my metal leaf closed corner frames for 30 or 40 dollars for small ones and under 200 for large ones plus the shipping cost which is another reason to buy in quantity.

    I just looked at my framers site, they have a distributor in Toronto so depending on the rules for wholesale in Canada you can buy frames from them. omegamoulding.com

    Last edited by dpaint; November 17th, 2013 at 01:43 PM.
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  17. #225
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    Quote Originally Posted by dpaint View Post
    Vineris,

    I use the 10 percent rule. My frames do not cost more than ten percent of the retail price of the painting. Galleries are going to take 50% on average. So 60% of your cost is right there. What I did when I got into my first gallery is I doubled my prices to cover the cost of the gallery commission and framing.

    I don't know about Canada, but here the US if you have a resale license you can buy things wholesale. That is how I buy my frames. It helps to buy in larger quantities of five or more than just one frame at a time.I can get most of my metal leaf closed corner frames for 30 or 40 dollars for small ones and under 200 for large ones plus the shipping cost which is another reason to buy in quantity.

    I just looked at my framers site, they have a distributor in Toronto so depending on the rules for wholesale in Canada you can buy frames from them. omegamoulding.com
    Thanks dpaint! It looks like I just need to register my business with Revenue Canada to be able to buy wholesale. I haven't so far because it's well under the registration limit, but I had to buy the license anyway so I might as well.

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  19. #226
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    Hi matey just checking in, and I am glad I did! those last landscapes are great, the dunes on the beach is the best one for me as it feels like I have been there!!

    great works as usual and thanks for posting.

    A great kind hearted lumbering bullock



    http://conceptart.org/forums/showthread.php?t=209918 = my Sketchbook
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  20. #227
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    Quote Originally Posted by dpaint View Post
    Candra

    If you have to shoot indoors I recommend full spectrum fluorescent bulbs. Get the ones that are at lest 90% of the sunlight spectrum and at least 4 feet in length, should cost less than a hundred dollars for a set of four and the housing they go into.
    Thats a great suggestion, dpaint, thanks.

    Looking into it now and you're right, I can get bulbs and housings pretty cheap. Just need to figure out all the different bulb types and which ones are full spectrum and I'm good to go.

    Thanks again.

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  22. #228
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    New stuff in the works getting ready for a show in Pasadena on May 3rd this year.

    Name:  cabrera_heavy_surf_24x30_ol_studio_web.jpg
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    heavy surf 24 x 30 oil on linen

    Name:  cabrera_lifting_fog_24x30_ol_studio_web.jpg
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    Lifting Fog 24 x 30 oil on linen

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  23. #229
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    Wow nice matte painting, I like how you used the colours!

    Last edited by Black Spot; January 18th, 2014 at 06:26 AM. Reason: remove link
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  25. #230
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    Man this is amazing this sure deserves its spot in the top row of epicness. The colour are so bright and the landscapes are just breathtaking. Just sitting behind my desk staring at those beautiful blue waves you painted, well done and good work all I can say.

    Ma Sketchbook brings all the girls to the forums, damn right its worse than yours.
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  27. #231
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  28. #232
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    Here are a couple of more paintings for the show in Pasadena may 3rd
    Name:  cabrera_rushing_tide_12x16_oil_on_linen_studio_web.jpg
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    Rushing Tide 12 x 16 inches oil on linen


    Name:  cabrera_windswept_surf_30x40_oil_on_linen_web.jpg
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    Windswept Surf 30 x 40 inches oil on linen

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  30. #233
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    Beautiful updates, your seascapes are stunning.

    Thanks for sharing and good luck at the show.

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  32. #234
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    Quote Originally Posted by Candra H View Post
    Beautiful updates, your seascapes are stunning.

    Thanks for sharing and good luck at the show.
    Thanks Candra. I always appreciate your comments.

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  33. #235
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    You're welcome!

    I'm a huge fan of your work, and hope some day to be able to capture light even a fraction as well as you. So I keep popping up like the proverbial bad penny, drooling over and analysing your paintings. Seems kind of rude to visit and not comment.

    Last edited by Candra H; February 7th, 2014 at 10:46 AM.
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  35. #236
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    The last few pieces for my show. Now it is on to Illuxcon paintings.

    Name:  cabrera_shadows_and_sunlight_24x36_oil_on_linen_web.jpg
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    Shadows and Sunlight 24 x 36 oil on linen



    Name:  cabrera_towards_the_coast_24x30_oil_on_linen_studio_web.jpg
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    Towards the Coast 24 x 30 oil on linen


    Name:  cabrera_shadow_creek_16x20_oil_on_linen_web.jpg
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    Shadow Creek 16 x 20 oil on linen

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  37. #237
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    Hey dpaint,

    Thanks for posting, it's refreshing to see someone working in a traditional medium, and so effectively! I'm not sure if you agree but I feel like the paintings have matured a bit as the years have gone on. For sure the nuance of your brush is still there, but they feel much more vibrant with their contrasting colors now. Do you think there has been a noticeable change in your work over just these few years? Thanks again.

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  39. #238
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    Quote Originally Posted by RomanRiot View Post
    Hey dpaint,

    Thanks for posting, it's refreshing to see someone working in a traditional medium, and so effectively! I'm not sure if you agree but I feel like the paintings have matured a bit as the years have gone on. For sure the nuance of your brush is still there, but they feel much more vibrant with their contrasting colors now. Do you think there has been a noticeable change in your work over just these few years? Thanks again.
    Thanks. That is always my goal but I leave it up to other people to decide if they find my work compelling. I hope I am. I am making a conscious effort to have more complex color and simple value plans right now.

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  41. #239
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    Another digital study for a traditional painting.
    Ancient MuseName:  AncientMuse_web.jpg
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  42. #240
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    Quote Originally Posted by dpaint View Post
    Thanks. That is always my goal but I leave it up to other people to decide if they find my work compelling. I hope I am. I am making a conscious effort to have more complex color and simple value plans right now.
    Definitely compelling, Sir! It has just enough to keep you coming back, but not too much to make it too realistic. And I think the complex color simple value thing is working, it really makes a for, mid and background apparent and makes each piece pop.

    - - - Updated - - -

    Quote Originally Posted by dpaint View Post
    Thanks. That is always my goal but I leave it up to other people to decide if they find my work compelling. I hope I am. I am making a conscious effort to have more complex color and simple value plans right now.
    Definitely compelling, Sir! It has just enough to keep you coming back, but not too much to make it too realistic. And I think the complex color simple value thing is working, it really makes a for, mid and background apparent and makes each piece pop.

    "It is ten per cent how you draw, and ninety per cent what you draw. "
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