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  1. #16
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    Quote Originally Posted by Candra H View Post
    I tried to bump your rating back up on that previous post. Pretty shitty thing to do, but maybe someone hit the rating button instead of the thanks by accident.
    Or considering they rated the post "2" instead of "1" and it was the last post it's possible that they thought it would take to a second page, that has happened occasionally.

    I tend to treat them like fast acting oils, so I don't mix them with water other than using a damp brush and a bit of medium to make them spread further.
    May I ask what sort of medium you use for the paints? Like mentioned I really don't use these often so I have no knowledge of what can be done with them, so I'd be interested in that!
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  3. #17
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    I think Candra might be talking about Acrylic retarder - a substance which slows the drying time of the paint so you can 'blend' it a little more like Oil, but not have the really long wait times of oils. Having tried it I personally hated it, but then I've always used acrylic like watercolour to come degree, in pale washes going from light to dark, and using it more thickly and opaque to go from dark to light. The dark to light method is probably one of my favourites to look at with acrylic, best example I can find at the moment is Jeff miracola's work though there were a couple of guys who used it on the WOW tcg cards to great effect.

    I've personally found there's a little more room for correcting mistakes with acrylic, but it still takes almost as much preparation as watercolour for knowing which colours you're going to put down.

    Also from a crit point of view, Loki's head feels a touch large and his hands a bit small. But kudos to you for trying traditional at that kinda size I'm terrified of anything larger than A4!

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  5. #18
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    Hmm, I've not tried that retarder zephyri mentioned. It sounds interesting.

    I've been using Atelier Clear Painting Medium. Thats a UK site but maybe you can find something in your area. I'm finding it odd to work with because I don't have a lot of experience with mediums and it's the first one I tried (I used to just use the paint straight out of the tube and mix it on the canvas). It's got a bloom to it before it dries and it thins the colour more than I'd like but it does spread the paint further. They've got a few more types that I'll check out once this bottle runs out. Probably the Slow Medium first, which would give the drying time retarder effect Zephyri talked about. Atelier's also the cheapest option I've discovered so I don't know if that affects the quality of the product (I'm a cheap bastard sometimes).

    Anyway, I'm no expert really, so I'm not sure if my advice is useful to you. Others might have more insight so hopefully they'll pop in here soon.

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  7. #19
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    Hi TinyBird,
    The important thing to remember when working with any kind of paint is that you need some kind of systematic approach to rendering in order to produce a predictably good result. Just slapping paint to board will almost never result in high quality results. Another thing I would highly advise against is buying cheap paints. Even if you are using them to learn; higher quality pigments just respond differently, more predictably and in most cases more satisfyingly than cheap or 'student grade' paints.
    There are many approaches to acrylic painting and I'm sure everybody has their own method, but if you have any technique-specific questions I would be happy to share. Here is a pdf book from Liquitex's website.

    http://www.liquitex.com/acrylicbook/

    I have used their paints for about 18 years and found them to be of consistently good quality. The book has a lot of stuff geared towards selling their products, but it also has a lot of solid technical advice about acrylic paints in general, mediums and their uses, techniques, etc. Hope this helps.

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  9. #20
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    Quote Originally Posted by zephyri View Post
    Also from a crit point of view, Loki's head feels a touch large and his hands a bit small. But kudos to you for trying traditional at that kinda size I'm terrified of anything larger than A4!
    Yeah, I noticed I made them even smaller in the painting stage (it's so easy to lose the original lines I had put down) so I'll work on making them larger.
    Ha ha, I have to say that acrylics for me are easier with large sizes because I don't have to use a small brush! Even at this size I'm afraid that finishing his face will be really hard, same as that stupid can-opener scepter.

    Quote Originally Posted by Candra H View Post
    I've been using Atelier Clear Painting Medium. Thats a UK site but maybe you can find something in your area.
    I'll definitely give it (or any other replacement I can find) a try, if not with this then with later paintings!

    Quote Originally Posted by JavierP View Post
    Hi TinyBird,
    The important thing to remember when working with any kind of paint is that you need some kind of systematic approach to rendering in order to produce a predictably good result. Just slapping paint to board will almost never result in high quality results. Another thing I would highly advise against is buying cheap paints. Even if you are using them to learn; higher quality pigments just respond differently, more predictably and in most cases more satisfyingly than cheap or 'student grade' paints.
    There are many approaches to acrylic painting and I'm sure everybody has their own method, but if you have any technique-specific questions I would be happy to share. Here is a pdf book from Liquitex's website.

    http://www.liquitex.com/acrylicbook/

    I have used their paints for about 18 years and found them to be of consistently good quality. The book has a lot of stuff geared towards selling their products, but it also has a lot of solid technical advice about acrylic paints in general, mediums and their uses, techniques, etc. Hope this helps.
    I have definitely noticed that. I have a really bad habit of "jumping around" paintings, like you probably noticed that I added the little coat rim details already and it's giving me trouble now so from now on I'll try to consciously avoid doing that.
    For the paint quality I'm not sure since I haven't tried many brands, the current ones I'm using are Winsor & Newton "Galeria" paints since they're the ones that can be found from almost every bookstore, but I'll give the Liquitex paints a try too, if I can find them from the actual art store. I did buy the Liquitex acrylic inks which Grunler mentioned earlier (though the FW brand which I found only one bottle because apparently our store has a weird stocking policy) since I happened to see them.
    Also thanks for the PDF, it had lots of stuff I hadn't ever even considered (like varnishing) and if I ever manage to come up with a technique question, I won't hesitate to ask you!

    Anyway for a small update, I continued this a bit last night and mostly followed my digitally adjusted version. The actual painting technique probably isn't any better and like mentioned I noticed I had totally lost the original lines in some points (and the photo has some glare on it too). I dumped all the armor details and will work on adding them later.
    Attachment 1493113
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  10. #21
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    It's starting to take shape nicely now. I like the effect you're getting on his arm coverings (not sure what they are but I don't know the character so that doesnt mean anything), but I wonder if the blue on his face and hands might be too bright in comparison to everything else?

    I've used Winsor & Newton acrylics too, mostly their finity range which is quite nice to work with. Also used Daler Rowney Cryla and Atelier Interactive, both of which have different properties. The Cryla paints can be a bit heavy and difficult to work while the Atelier is lovely and smooth and creamy, and stays wet longer without adding a retarder (I'm learning more about this the more I study), but can be a bit garish in the colours. Though, thats probably because I havent used them since I started learning to mix properly.

    It's interesting to hear about those Liquitex paints from Javier. I've seen them around but felt they were too expensive so havent tried them yet. Let me know how they go if you pick some up.

  11. #22
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    Quote Originally Posted by Candra H View Post
    I like the effect you're getting on his arm coverings (not sure what they are but I don't know the character so that doesnt mean anything), but I wonder if the blue on his face and hands might be too bright in comparison to everything else?
    You mean the green/black strap-thingies? I have no idea what they are either (except cloth and leather in texture, not that I actually managed to paint it) but just neatly complicated clothing design!
    And yeah, the blue is kinda bright, I'm not sure whether that's more correct or wrong when it comes to the character because there's no proper scene in which the blue wouldn't be completely overtaken by the dramatic/mood lighting of the scene itself. I may try working on it, if I'm not too afraid of mucking everything up at this point.

    It's interesting to hear about those Liquitex paints from Javier. I've seen them around but felt they were too expensive so havent tried them yet. Let me know how they go if you pick some up.
    I shall! I'll venture out to get some supplies this week and see if I can find couple tubes of this paint.

    And an update. The purple (I don't know man, I just really like the colours purple and green together) is bit more red-ish in real life and it's totally stealing the scene and will be painted over with white washes later.
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  12. #23
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    It's looking really nice, I love the purple. What's bothering me is that it doesn't seem like the upper hand is really gripping the spear.

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  14. #24
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    Quote Originally Posted by TinyBird View Post
    I shall! I'll venture out to get some supplies this week and see if I can find couple tubes of this paint.
    I would only add one more thing. Try to get the soft body acrylics from Liquitex instead of the high viscosity 'tube' paints. The 'soft body' formula is more fluid, flattens out more when it dries, is easier to cover large areas with, and has a higher pigment concentration. They are usually the type of paints used for more commercial work because they are so much easier to work with. I included a pic. Hope this helps.

    edit: I tried to post this with a picture earlier, but something strange happened and the attachment didn't post. Must have been a glitch with the site. Here is a link instead:

    http://www.jerrysartarama.com/images...1-liquitex.jpg

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  16. #25
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    Thats really good advice, Javier. I'm paying attention too - hope you don't mind!

    Quote Originally Posted by TinyBird View Post
    You mean the green/black strap-thingies? I have no idea what they are either (except cloth and leather in texture, not that I actually managed to paint it) but just neatly complicated clothing design!
    Yeah, thats the ones. They look nicely rounded and solid with the way you worked the colours.

    And yeah, the blue is kinda bright, I'm not sure whether that's more correct or wrong when it comes to the character because there's no proper scene in which the blue wouldn't be completely overtaken by the dramatic/mood lighting of the scene itself. I may try working on it, if I'm not too afraid of mucking everything up at this point.
    I hear you. It's something I worry about and do in my own stuff a lot - muck up colours and tones by trying to fix or change them. Maybe it'll balance out with the rest over time.

    And an update. The purple (I don't know man, I just really like the colours purple and green together) is bit more red-ish in real life and it's totally stealing the scene and will be painted over with white washes later.
    We must have the same eye for colour marriages because I also like purple, green and blue together. I think it works here too but like you said, maybe a bit bright and needing toned down later along with the blue. But because you're painting it in sections, those differences probably show up more because there are areas that are still white.

  17. #26
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    Well, here's a little update, I finally thought I would be done with the background, only to notice after removing the tapes that I had totally forgotten the background vines and now that I look at the previous WIP the backgrounds feels way too busy. So I'll be re-attaching the tapes again...
    Attachment 1497089

    As for the Liquitex acrylics, our art store had like four different brands but not Liquitex, and the only Liquitex paints I could find were in this sort of hobby-"we sell everything" type of store, but they carried only the basic, student grade paints there. I'll try one more paint shop I know, which is one of those "we're only open X amount of hours in X amount of days and none of those days is Saturday or Sunday" shops so it might take time until I get there, and with my luck they won't carry those either and I'll just end up ordering it from Ebay or that Jerry's Art-A-Rama or something.
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  18. #27
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    After looking closer at this last post, I realised what I thought was white paper was actually white paint mixed with purple. Sorry about that and fell free to ignore my previous crit.

    I do like the colours in general but I think the background and the snow arent reading believably. It all looks very similar and if he's standing in a snowstorm, the colours on the figure are too bright so it looks like he doesn't belong there. Maybe work on either incorporating more shadows and defined light on the snow, or soften the figure so he blends in better.

    I also noticed you didn't address the issues people pointed out with his hand and the staff. It looks like the staff is bent at the bottom and that his hand isnt holding it at the top. Even just extending his knuckles to the right a bit more and using a straight edge to paint along the staff to straighten it up would help with that.

    P.S. I also think you need to get some light and shadow going on his face because you've lost the solidity there by painting it all blue.

    Anyway, just some thoughts and suggestions. I hope they help a little.

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