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Just because no one has questioned you doesn't mean you're not really a sick, twisted individual...Originally posted by MindCandyMan ...the whole time thinking, "Man if the neighbors see me doing this..." heheheh
MCM- more power to ya, at least you have some place to bury it. I have an aunt who has a farm and she used to send me bones. I've heard of a couple of different ways to get down to the skeleton without hurting any of the bones, somebody told me I think grub worms?? It speeds up the process cause you'll probably have to bury it for a while to get to the skeleton.
I cant wait to see the painting from that.
It's worth it though, seeing the structure really helps to understand a thing. I'm sure you know a lot of the old masters like Michelangelo, dug up bodies and disected them in order to learn how the body was put together.
Keep up the good work. :thumbsup:
And I don't want to hear about any grave robbing in your part of the states.
mcm: nicest work i thinki've seen from you yet dude. very well done. keep up the good work. and as long as you're not having intercourse with the dead animals, its perfectly okay to have them in your posession.-c36
I agree. Thought the same thing,should've said it, but since I'm kinda new on the block....Originally posted by el coro
mcm: nicest work i think i've seen from you yet dude. very well done. keep up the good work.
bojee - thanks man I appreciate it...I'm new on the block when it comes to oil painting myself that's for sure ...I wasn't sure how I would get the skeleton so maybe grub worms is the best way to go I actually wasn't quite sure how to go about it...maybe I should look it up on the internet hehe...if you can make a bomb from stuff on the internet I'm sure you can learn how to preserve the bones hehe.
coro - Thanks so much man. I get a lot of inspiration from your work and I love the oils you have posted in here. Yeah...I definitely don't wanna be known as the necropheliac (spelling?) heheh...you gonna be at the workshop in austin? It will be cool to see you paint up close!
drdarrow - Don't tell...please...I painted it plein air I swear!
this is a killer thread. i'll have to come back for some more later.
I'd like to credit my success to all my failures in life. Without failures, success would not taste as good.
I was reading the advice on thinners, vehicles, oils, etc. a few pages back and thought that I would post another painting suggestion for people to try:
If you are doing paintings with oil in more than one sitting your palette tends to dry between sessions....and you have to scrap the paint. I like to have giant blobs of paint on my pallette when I paint (its the only way to do it, if you ask me)...and don't want to waste the paint.
So anyway, you can use one of those "tupperware-esque" "stay-wet" pallettes with the lid....and those are all fine and dandy, but the paint will still partially dry-out if your painting sessions are more than a week apart. So, you can use a drop of clove oil per blob or "oil of clove"...you can get it at wild oats, health food stores, or any hippie shop with essential oils. This will increase the life of your palette paint to a couple of weeks or longer when used in combination with the tupper-palette thing. No irratating "skin" on your colors and a nice spicy aroma that some find pleasing. You shouldn't need more than a drop or two per blob, unless you want it to last longer. Take it or leave it, but I find it usefull. :fruit:
Last edited by illustr8r; April 21st, 2004 at 10:14 PM.
Here's some more life stuff, the first couple are around 2 and a half hrs.,the rest are right around 5hrs, 2 sessions actually.
sorry a lot of the colors are washed out, I'm still getting used to the whole digtal thing.
Here's a few more.
The first 3 are of the same model, probably pretty obvious. The first 2 are from the same session, the first one a couple of hrs, the second is about 1hr give or take.
The 4th one was around 5hrs, 2 sessions.
The 5th was 2 1/2hrs.
All of them are in oil on paper.
Hopefully the color is better on these.
Still too washed out, sorry guys I'll play with more and try to do better on later posts.
You need to work on developing a bigger signature...
That's the best that you can do?? I sign my work cause I show a lot and it saves me the trouble of doing it later. I also work in a lot of different styles and the signature is recognizable thoughout, but if that's the only way I'm going to get a decent response I'll crop it out next time.
No, I can do better than that.
I could have been mean.
I was just yankin' yer chain.
You keep apologizing for the washed out nature of the images, and really, I was going to comment on the apparent lack of contrast, but the washed out digital photos kinda explains that, so I was reserving my critiques until you figure out your camera, and give us something more representitive.
By the way, I don't know how "I sign my work cause I show a lot and it saves me the trouble of doing it later" is a response to my "big sig." jab...
With or without good photos, I find the cool shadows disturbing. I like your brushwork in general, and your abstract drawing, but the blue is so foreign to me as shadows that the flesh looks like that of a suffocated person. If that's your signature coloring, or style, I have no criticism for that -- it's wide open. But if you are trying to achieve visual realism, cool isn't cool. Shadows are warm, usually.
Thank You. Sorry if I'm a little sensitive, I thought it was strange that that was the only thing you said.
No I haven't mastered my digital camera, but in the mean time I didn't think it was a reason not to post ,just anxious I guess.
I liked the comments you had said to someone else on how to get stronger whites and blacks when shooting digital photos ( I think that was you?).
I'm here to learn as much as anybody else and I know I have a long way to go, I'm not always going for exact realism but I definitely appreciate the input and will think about what you said.
Sorry if the explaination of my signature size doesn't make sense to you but it does to me,it's reconizable, many people have told me that they like it and more importantly I like it, it varies from piece to piece.
I used to have trouble figuring out what to do with the signature,or how to sign it, and then got the idea from some of the Viennese artists like Scheile (one of my artistic heroes)on how I could approach it , although his signature may be not as big ,Others have also said it looks like a chop(chinese stamp), but that's cool if your not into it.
Thanks again for the critique.-B
Last edited by Bojee; April 23rd, 2004 at 01:36 AM.
Wow, nice piece Adam, easily the best work I've seen of yours so far, but I've only seen what you've posted on this thread. Great Job ! :thumbsup:
This one seems to have more depth, I guess it's the extra time. How many sittings?
Bojee- Thanks. I really enjoyed doing this painting. I was influenced by steven assael and tony ryder. It took me 4 sittings.
looking at your lasts 2 posts of images; I feel that you would benefit by spending more time on 1 painting and really rendering it alot more than you are comfortable. Even if you think you are done, keep going. Doing that myself has dramatically help me. Also, if you are shooting for a more realistic rendering; watch your porportions/anatomy. If you study anatomy enough, you will get really fast at rendering the figure too.
I agree that the signature is too big and prominate, it takes away from your paintings.
I like your colors and values in the second painting, the guy with the scully hat and beard.
sorry, accidently posted twice. browser problems.
Adam thanks for the comments, glad you like the one with the with the scully hat. I know tony ryder's stuff but not steven assael( know the name but not the work),I met tony once.
I'm sure I'd benefit from longer poses, the trick is that everything I've posted so far is session work so it's either one or two 3hr sessions.I've worked from a model up to 4 sessions before , 12hrs, but that's about it. Love to work on longer more involved things but I've yet to do it.
I work from a live model 4 days a week right now but i'm going back to school in the fall and will hopefully be able to devote more time to it then.
I know there's a lot to be learned there, but honestly I've always been into the quicker stuff (not hard to figure out right?). I like the immediacy of the moment and feel that sometimes some of the freshness and life is lost if it's overworked. Some people do it just fine,but I've yet to master it.
The signature well I guess it's a judgement call, but I'll try to crop it in or take the picture before i sign it next if it's too distracting. I actually get compliments on it all the time but that's why I'm posting here to get new opinions.
I'll wait a while before I post again and see what you think, and also think about what you and drdarrow said in the meantime.
Like I said great job on the painting, I think this one is stronger cause your values are better, but again maybe that's cause you had more time.
I'll work on it, thanks again for the comments.
Well, let me be more to the point:Originally posted by Bojee
The signature well I guess it's a judgement call, but I'll try to crop it in or take the picture before i sign it next if it's too distracting.
Your signature is HUGE.
It *IS* the focal point. It's like those damned MSNBC (and everyone else) logos in the corner of the screen, distracting away from the reason you're watching TV. And now they have ANIMATED logos with SOUND! I can't tell you how offensive that is.
My philosphy: if you signature says "Look at me!" your artwork is lacking, and you know it and are advertising it.
By contrast, if your artwork is outstanding, you signature can be single letter, and the viewer will want to know WHO DID THIS?
Your signature, however clever, is obtrusive and detracts from your art, in my opinion. It's kind of like making your phone number the biggest thing on your business card. How desperate does that look?
Make a big name with great art, not with a big name.
Well let me clarify, "It's my judgement call. " At this point I'm pretty amused that it offends you so. I was here to talk about the work but I guess I hit a nerve.
okay, i gotta chime in here and say i couldnt agree more with the doctor. your signature is gigantic and very distracting. i did the same thing when i began canvas painting. being an ex graf writer i couldnt put my name on the canvas big enough, all gigantic and in cad red and shit,, but thankfully one of my teachers called me on it, and it made me realize that i should not only make it smaller, but tone down the contrast between my sig and whetever the painting was. trust me dude it makes a huge difference. come to think of it, i cant think of any great painters or illustrators who signed their work that big. maybe leyendecker, but his signature was insane and often every bit as beautiful as the paintings alot of times. i also think the signing with pencil or pen or scratching your name into the wet paint is kind of a no no, as the application and execution differs too much from the way the rest of the painting is executed, thus popping it out even more. i think the paintings overall are nice. you have a good grasp on the medium and are making it work for you. your brushwork is nice and you're edges are pretty strong, i think you have alot of potential. but you need to be more willing to listen to criticism, its the only way you'll grow and learn. drdarrow is a very experienced illustrator and painter, and he's giving you golden advice that i had to pay money at school to hear, take it and use it. thats what this place is for. -c36
El Coro- Sorry, I seem to have gotten off to the wrong start, Thank you so much for the comments on the work. I'm beginning to think posting was a mistake.
I am listening, I guess I'm just having trouble with the way some of it is being given.
Didn't mean to offend. Again Sorry.
no harm no foul man. your work is a very welcomed addition to our humble forum. i dont want to think i was slamming you in any way. this forum is for learning and swapping info. please dont think your posting was a mistake. this being an internet forum, people can come off somewhat abraisive sometimes, when the true intention was casual ribbing. drdarrow is a funny guy, please dont mistake his humor for hostility. and dont be so sensitive! we're a casual and friendly community, theres not any reason to pad comments or mince words, we're all artists here...this is shop talk. i hope to see more of your stuff on here. you have been very active on the boards lately. we need you.-c36
Thanks Coro- This isn't how I expected to be first talking to you but I appreciate it. I'll post more but you guys have given me a lot to think about so it might be a while before I post artwork again.
Were you one of the people that started this? If so I just want to tell you it's an amazing thing you've done.
I apologize for my sarcastic remark about your signature. My comment, which is an educated opinion (and hopefully you posted your work here for opinions, not just praise), was meant to say, had I been direct: Your signature is too big and dominating, distracting and deperate-looking.
Neither you nor your signature are offensive. My remark was about the damned TV station logos being offensive and obtrusive. I see no reason for anything to be on my TV screen except the show I am watching, and I hate the trend toward eating up bits of my viewable screen area with advertising and station info. If I want to know what station I am on, I can glance at the lighted digital number outside the image that is always there.
Likewise, my opinion is your signature should work withnot against your art. It should blend in. I should become incidental. The idea is that if someone likes the work, they will want to know who did it, and they will find it.
Thee are so many famous artists who sign their work illegibly, knowing that it doesn't make a difference, as long as it works with the art.
You want to be different? Be different. I don't care. But if you want an opinion, put on thicker skin, leave your ego in the garage, and post more work. You'll grow faster as an artist with your work on display here, than with your tail between your legs.
One guy here, among many, who has my admiration for both courage and enormous progress is MindCandyMan. I talk about him to my students in class. Two years ago, he started a thread called Journey of an Absolute Rookie in which he cast all pride aside, layed his guts on the table and committed himself to stumbling through an art education, naked, as it were, for all to see... from really bad work (at the beginning) to very remarkable work over a relatively short time.
MCM is living proof of how setting a goal and listening to people's criticism, working hard, studying good artists, and sticking to it can make someone into a good artist.
Now, to some praise for you: You are doing a LOT of paintings, and you deserve great respect for that. You get it from me, and many others I am sure. Painting all the time is a sure way to get better. No doubt.
The caveat is that painting wrong every day will tattoo bad habits into your brain. There's no room for growth when you insist on doing your stuff the same every day. You must welcome change.
Experiment. Post. Listen. Decide.
You will not be able to please everyone, but you will find your "voice" one day.
I only mean well, and I didn't communcate that through my first sarcastic message about your signature. I'm sorry.
PS. Coro, twice you have referred to me as "the Doctor" -- which is fun, but not true. the DR in DRDarrow is my first and middle initials. Just wanted you to know. You can keep calling me the doctor if you want, but to be honest, my medical practice license was taken away from me after a botched brain surgery I performed under the influence of turpentine.
Last edited by drdarrow; April 24th, 2004 at 04:36 PM.
oh i know you're not a real doctor...it just sonuds right...-c36