Here is a video of my first animation in Vue.
I like that, the crash of 2015. I had to re register and lost around 80 posts. Sucks big big lol. Anyways man, love the plein air paintings, they are plein air right?
The traditional works I am painting in a style I largely developed painting plein air, but all these traditional paintings done in 2015 so far are done in my apartment from photos that I took for the purpose. I have simply been too busy on the weekends to go outside. In the next 50 days I expect to try some around Pasadena, perhaps with that ultramarine, lamp black, yellow ochre, titanium white palette I used on the statue of a horseman. That painting came out much better than I expected and it would be nice not to have to lug around so many tubes of paint.
Here is some recent work. Sorry. Some number 9 pencil turned blue in the photograph from light reflection. Time written in the headers is only the time spent on that particular day. Only the middle image reflects the total time spent on the piece.
Last edited by arttorney; March 27th, 2015 at 08:52 AM.
Now I am just getting in time here and there working on shadows so this bunch of boulders reads convincingly. I also have to do some more drybrushing in the halflight areas of these rocks before I get a small brush and paint on tiny cracks and details like that.
Last edited by arttorney; June 23rd, 2015 at 09:56 AM.
Hey arttorney. it's kind of hard to see that those are rocks in the foreground. the shapes are very important when painting boulders and in yours it looks all over the place, hard to see the individual forms.
I get it's still a WIP so I'm curious to how you will develop it further
Keep it up!
Check out my Sketchbook. Or don't.
Thanks for dropping by. I tend to start toward the middle values and work outward toward the extremes. As I proceed with the highlights and core shadows hopefully forms will begin to read a little better. Right now, in the dead middle of the painting, there are some errors in the relative position of some landmarks I had underpainted that I am in the process of reworking. That will be the last area to come into focus.
Last edited by arttorney; July 5th, 2015 at 01:55 PM.
I had gotten a little bit side tracked by a big trial and some other stuff and kept forgetting about this thing. I have prepared the wires and connectors for my power supply, but left it unplugged from both the wall and RAMPS for now. I have connected wires to all the end stops and to the RAMPS circuit board and attached the end stops to the frame. I have the hotend and the hotend thermister in place. I have plugged in the stepper motor driver circuits and placed heat sinks on them. I've organized and labeled the wires. I have also built a two spool filament reel structure so I can change colors between prints without disassembling the reel structure. I'll probably make another of those because I have black, gray, green, and white filament spools available. Why not have them all ready to go?
I need a session soldering wires and thermister onto the heated bed, working out how much play I need in the other wires before I cut them to size, solder splice them together following the labels, and then connect a few more wires to the RAMPS from the hotend, heated bed and fan.
At that point I can download and configure the Marlin firmware, download and configure my slicing software, and calibrate the machine. I will later need to download and print a mounting piece for my LCD Display and then install that apparatus. I can print without the display in the meantime. I think most people put the X axis end stop on the other side, but I have been following a guy called engineglue on Youtube who puts it on the side I did and he seems to have his act together. He says just a tweak to the firmware configuration is needed to tell the machine where it can expect to find that endstop.
Last edited by arttorney; 2 Weeks Ago at 09:05 PM.
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