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Thread: the life painting Thread.

  1. #365
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    Re: Lemon and Silver

    Originally posted by SebSprek
    Glazing is cheating??? That is crazyness... Glazing is an art in itself...
    I know, but I was busting Coro's chops. He needs a little reducing every now and then.

    I can tell by Coro's work that he is used to achieving many of his colors by layering or glazing, but that he is attempting "direct" painting (mixing the colors that should be). The result is a mixing of styles, and misses the direct approach. It's a new skill to learn to mix the color you want, keeping it vibrant, and so I called it cheating, because in his case, it was.

    I admire good glazing, but it is often a crutch—I know, because I was an airbrush artist for two decades, and when I started painting, I couldn't make colors without transparent layers. I had to adopt (and learn) a whole new way of mixing, and learning the qualities and properties, and even the chemistries of individual tubes of paint.

    Every oil color acts, reacts and interacts differently. It's a lifetime education.

    You watch Coro. He is destined for direct painting greatness.

    --Doc
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  3. #366
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    No doubt.
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  4. #367
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    Originally posted by MindCandyMan
    Attachment 155785

    Sparrow Still life

    Attachment 155786

    I don't have time right now but I need to come back and read all these comments in the past couple pages...tons of fantastic info!!!

    Tag Coro...you're it
    MINDCANDY MINDCANDY MINDCANDY!!!!!

    hahahhaha....homie i am so proud of you. seeing your sparrow painting was the highlight of my entire day.


    J
    Last edited by emily g; June 19th, 2007 at 03:04 AM.
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  5. #368
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    Re: Re: Lemon and Silver

    Originally posted by drdarrow


    I know, but I was busting Coro's chops. He needs a little reducing every now and then.

    I can tell by Coro's work that he is used to achieving many of his colors by layering or glazing, but that he is attempting "direct" painting (mixing the colors that should be). The result is a mixing of styles, and misses the direct approach. It's a new skill to learn to mix the color you want, keeping it vibrant, and so I called it cheating, because in his case, it was.

    I admire good glazing, but it is often a crutch—I know, because I was an airbrush artist for two decades, and when I started painting, I couldn't make colors without transparent layers. I had to adopt (and learn) a whole new way of mixing, and learning the qualities and properties, and even the chemistries of individual tubes of paint.

    Every oil color acts, reacts and interacts differently. It's a lifetime education.

    You watch Coro. He is destined for direct painting greatness.

    --Doc
    Okay... I take it back then...

    I know I definantely need to go back to direct painting... In some ways direct painting is a great basis for using glazing as an addition rather than a plan...

    I've decided to take a year off of painting... I'm only going to do drawing, and get my sense of value back up to par... I've strayed from applying good composition, having a focal point, dealing with edges, etc... My hope is that if I step away from my bad habits, I can start anew...
    Sebsprek
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    I know you... hahahaha!!!
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  6. #369
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  7. #370
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    Re: Re: Re: Lemon and Silver

    Originally posted by SebSprek
    I've decided to take a year off of painting...
    What a wasted year that will be.

    Well, no... drawing is critical, but if you don't paint, it will still take that much longer to develop your calligraphy.

    At the very least, have a stack of good books by your bed: Schmid, Harley Brown, Sorolla, Fechin, Rockwell, and Kruetz' "Problem Solving for Oil Painters" ... and put yourself to sleep every night reading, looking, discovering and imagining yourself painting.

    Then, while you work on drawing, you'll be absorbing good painting strokes, too, in your sleep.

    I'm not joking. I started painting in oils in December of 2000. Before that I didn't paint or draw for over two years after my divorce. (I couldn't do any good art -- I thought I was a has-been). But I read, and studied pictures by great artists, when I finally sat down to paint, as I picked up my brush and started mixing paints, I thought: I know I can do this.

    And a new painter was born.
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  8. #371
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    Attachment 155166

    Attachment 155167

    Ok, part two got busy so I posted before and after...if you can read my writing, there are things in there that might be helpful.

    A counterpoint is an accent of some kind, either a color or a lighter value that illuminates or colors an entire area a brighter hue or value without having to paint the entire area that color.


    Since the face is primarily warm, to make sure the highlight sings, it is opposite in temperature, offsetting the warms, making the head less analogous in the painting...

    The accents are the other big deal, they are pure out of the tube dark value colors, ultramarine blue, alizeron, viridian...colors that start almost black. In little portions, the highlights and accents add the additional two values to the painting necessary to make it feel full value since we cannot go full value if you brighten the chroma.

    Anyway, the picture shows an observation to the two parts of each area of a surface so I can light it, or paint it correctly. The surfaces are 1. local color, the color of the object, 2. the color of the light source, or 3. the color of the indirect light source, and the same applies in the shadows. Local color + indirect light source or bounce light. THink of all objects being colored lights. These colored lights effect their neighboring surfaces, or color them up with their local color, regardless of whether it is in the light or in the shadow. Everything effects everything else. And as artists, we can take total advantage of that and heighten those colors, adding an additional beautiful aura of color to the atmosphere between objects, or forms in our painting.

    I love color...


    Ron the limes coming up.
    Last edited by emily g; June 19th, 2007 at 03:05 AM.
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  9. #372
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    MCM, a couple of dark accents in and under the bird, maybe in the wood slit above the bird to show more depth in that, and thin the string. ITs a nice work, did you site size this?

    Ron
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  10. #373
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    Bojee, in the tutorials section here on the forums, I have a color theory tut. along with many others. But that might get some of what I am saying to stick a bit...maybe.

    Attachment 155168

    here is the lime experiment. Trying to stay high in the chroma scale. This is how you might end up approaching these subjects, handling the theory of warm and cool of each color...

    Let me know what is confusing and I will clarify best that I can.

    Thanks,

    Ron
    Last edited by emily g; June 19th, 2007 at 03:05 AM.
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  11. #374
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    [QUOTE]Originally posted by fredflickstone
    [B]
    A counterpoint is an accent of some kind, either a color or a lighter value that illuminates or colors an entire area a brighter hue or value without having to paint the entire area that color.

    Where does the accent come from?reflected light/color??

    Since the face is primarily warm, to make sure the highlight sings, it is opposite in temperature, offsetting the warms, making the head less analogous in the painting...
    analogous = Flat ??


    The figure diagram is a little harder to follow but with your words I'm starting to get it, a lot of this I've heard before it's just taking a little time to get used to some of the language your using in context to color, analogous for instance. I feel like I'm learning a whole new vocabulary.

    The lime/lemon diagrams are much easier and I'm going to try it. Is it best to have the object and the background as close as possible in color and temperature for this kind of experiment?

    I like the new additions to the figure by the way
    Doc's not the only funny guy around here.

    I've checked out the color theory tutorial but haven't spent enough time with it. I'll look again.
    Thanks
    Last edited by Bojee; May 8th, 2004 at 04:36 PM.
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  12. #375
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    Wow, this thread is really rockin!

    I'm a bit intimidated to post in here, especially since I don't have any life paintings yet to post, but I wanted to offer a few things.

    Bojee, I really like the way you paint. I think I see what you're reaching for, but I wonder if you could explain it in your own words? As you continue to develop, what do you want to see change and how? Do you feel that your work is cohesive enough? I ask because to me it seems a bit loud and crazy (as drdarrow already mentioned). I'm not sure if that's your intention, or if you hope to harmonize it more. Don't misunderstand, I'm not saying it sucks... I really do like it. Just trying to help cause I know you want to improve.

    I understand where drdarrow is coming from, as far as not really being able to help much since you're working in a different technique.... it's hard to teach what you don't know. My thinking on the subject is that, when trying to learn how to paint (even at the more advanced levels) it's best to stick with a more traditional/ realist approach, so everybody can see how close you're getting to what you want to achieve. Would you be willing to do some more realist stuff, that would probably be a lot easier for people to critique? And of course continue with your own style, in other paintings.

    I'm sure you're well aware of this, but I like to say it a lot. All the great painters, no matter how bizzare or abstract their work became, started out painting realistically, and got damn good at it before branching out into the modernist stuff. Look at Picasso's early work... incredibly beautiful and completely realist. It's the only way to really see your progress, and then take the lessons learned and apply them in your more avant garde work. I think there's a danger in working in a heavily stylized way before fully learning the principles of art.

    One thing I got from Loomis in a huge book at the school library (not one of the Heads&Figures books): He said it's important to unify your colors. One method he mentioned was by choosing one color as your basis and mixing some of it into every color you use. I don't know... maybe you're going for a more jarring effect with your wild color combinations, but I still think harmony would improve it. Not necessarily a traditional kind of harmony, but some way of making the colors play well together.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  13. #376
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    Originally posted by Bojee
    analogous = Flat ??
    Ouch! That red against gray really makes my head spin.

    Someone take away Bojee's vbCode chart.

    Now, if that red lettering had, maybe a coolish transition, say, Alizarin, or ...

    ;-)
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  14. #377
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    manley - Thanks bro hehe...glad I could make your day. Just trying to follow your advice and work from life

    fredflickstone - Thanks for the encouragement and critique Ron...this isn't sight size I'm proud to say hehe. I do a lot of sight size with my casts and such so when I get the chance to do something like this I always pass on sight size hehe. My teacher, in essence, brought up the same shortcomings (except about the slit above it which is a great idea). Do you think it was a product of not seeing the values correctly in real life or do I need to learn to embellish the right things?

    endregan - Thanks bro
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