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  1. #61
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    nice chaos!I did my first plein air painting today, and had such a blast! Union squar ein nyc. Good tip about greyscale. what i do is I have a pretty nifty 3.2 mgpx cameraphone, so i just set that to b/w, and then i simply check the viewfinder. If you wanna go analog, get yourself a red sheet of acetate, that will flatten everything and you can see the values very clearly. This works great from life too.
    [url=http://galleryonefone.blogspot.com[/url] This would be my gallery in Sweden

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  3. #62
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    Thanks Chaosrocks, even if I don't fully understand it, um...

    By saturated, you mean that they're pure colour? To make it less saturated, I would make it more of a gray, right?

    I dunno, it's just that it looks to me like it was the right value, since it went from bright, to dark.

    Eh...Are there any good threads on this subject?

  4. #63
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    well your light isn;t very light and your dark isnt very dark, I took the sliders and move the dark one down till it was black and the light one upAttachment 218034

    see the difference....

    shall we talk about composition? no this is an oil painting thread..lets not
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

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  5. #64
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    Quote Originally Posted by chaosrocks View Post
    well your light isn;t very light and your dark isnt very dark, I took the sliders and move the dark one down till it was black and the light one upAttachment 218034

    see the difference....

    shall we talk about composition? no this is an oil painting thread..lets not
    Really? My brightest highlight was pure titanium white, and my darkest dark was burnt umber, I think.

    How would you suggest getting darker value? Should I use a bit of black mixed with some brown and green?

    I'd have to go get black though...Don't have any at the moment

  6. #65
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    You can mix ultramarine blue with the burnt umber to get a nice black, that then can become grays that lean to cool blue or warmer browns
    [url=http://galleryonefone.blogspot.com[/url] This would be my gallery in Sweden

    This would be my Pleine Air blog

  7. #66
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    I have no black either.... never use it. personal preference. have you ever made a value scale? even jumps? do you have Photoe shop? I wanna show you something
    .... and I'll do it in screen shots if you cant look
    or here... if you squint at your image it becomes a grey blur there isn't much varioution in the middle values. there is a tiny spot of pure white and a little curve of sort of dark but the structure of all the ranges in between is such that your piece looses visual clarity.
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

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  8. #67
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    What exactly do you mean by structure? You mean, like they way the strokes are applied, or how everything is going in the same direction?

    Sorry =/

  9. #68
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    actually I was speaking of the value structure, the stages or stepps of your middle tones, the clear transitions at the edges of the object. edges are really hard to make crisp in oils (I struggle withthat too). your brush work is pretty nice.
    chaos
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

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    http://conceptart.org/forums/showthr...ight=chaos%27s

  10. #69
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    Quote Originally Posted by chaosrocks View Post
    shall we talk about composition? no this is an oil painting thread..lets not
    should always talk about composition. It is potentially the most important thing to an image.


    Really? My brightest highlight was pure titanium white, and my darkest dark was burnt umber, I think.

    How would you suggest getting darker value? Should I use a bit of black mixed with some brown and green?

    I'd have to go get black though...Don't have any at the moment
    you shouldn't use straight tube colors for anything really, unless you are going pure impressionism or that is the exact color you need (which rarely if ever happens).

    Your whitest white isn't going to be pure titanium white, not even on the highlight. Look closer there will be a little color in there.

    Same with the darkest dark. It will have color don't just use burnt umber in there cause its the darkest color you have. Do like Tim said and mix it with ultramarine to get a black whose warms and cools you can control.

    By saturated, you mean that they're pure colour? To make it less saturated, I would make it more of a gray, right?
    either more grey or more brown. To desaturate a color add its compliment (will brown it) or grey. It all depends on the color you see for which way to go. Do some color matching exercises by getting a paint color swatch thing from the hardware store and try to color match to it.

  11. #70
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    Also, because it's a simple piece of fruit with a flat background, making the background very dark or very light will help give the fruit more depth. With the background and the piece of fruit having so much identical mid-tone values, it flattens everything out.

  12. #71
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    @Oblivion: Thanks for all the help, I really appreciate it. I think i'm starting to get a better hang of colour mixing and stuff now.

    @Bowlin: Thanks for this piece of advice (Which I think Chaos also helped me out with) I went on you two's words and made the background darker then the subject by a significant amount (or at least I think so)

    Okay, here's my next oil painting, 2 slices of bread. I have two shots. The first shot was done with a flash it has a glare, sorry. The second was done without the flash which unfortunately made it more brown than it really is. There's a lot more blue in there, like in the glared up one.

    Can anyone help me out with what I should do to take pictures of my paintings with a digicamera?

  13. #72
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    I take mine on bright cloudy days. I use a tripod and the self timer. and then adjust the values in PS.

    my hands shake and I can't handhold in natural light

    chaos
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

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  14. #73
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    Quote Originally Posted by chaosrocks View Post
    I take mine on bright cloudy days. I use a tripod and the self timer. and then adjust the values in PS.

    my hands shake and I can't handhold in natural light

    chaos
    Yeah, that's what I need, a tripod. There's always that slight blurring, I can never keep my hand still. Thanks for the tips.

  15. #74
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    OR you can use a camera phone like me!

    oh yea but they turn out like shit though..
    [url=http://galleryonefone.blogspot.com[/url] This would be my gallery in Sweden

    This would be my Pleine Air blog

  16. #75
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    1. Take pick from an angle to minimize glare.
    2. In PS, use the crop tool with the "perspective" box checked to remove the keystoning.
    3. Adjust the image size with "constrain proportions" unchecked.

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  17. #76
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    Also, from what I hear, make sure you are as way far back as possible, with the zoom at maximum. This should eliminate alot of lens distortion, or so I'm told.

  18. #77
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    What is your opinion on water soluble oil paints Seedling?


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  19. #78
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    Quote Originally Posted by wheezy View Post
    What is your opinion on water soluble oil paints Seedling?
    You'd better ask someone else. I've never tried them, but I find the idea to be irrationally icky.
    I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.

    Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.

  20. #79
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    Quote Originally Posted by Seedling View Post
    You'd better ask someone else. I've never tried them, but I find the idea to be irrationally icky.
    More icky than working with chemicals?


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  21. #80
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    I like chemicals
    c
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

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  22. #81
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    Quote Originally Posted by wheezy View Post
    More icky than working with chemicals?
    I wouldn't be working with oils if I weren't comfortable with the risks. Just ask Elwell about how paranoid I am.
    I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.

    Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.

  23. #82
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    Quote Originally Posted by wheezy View Post
    What is your opinion on water soluble oil paints Seedling?
    Unnecessary. The vast majority of the population can use solvents safely with some basic, common sense precautions, and for those few who can't, there are solvent-free ways of using oils. Water-miscible oils (note that there is no such thing as a "water soluble" oil) simply introduce a new, unnecessary set of problems, like wet/dry color shift, while providing no real advantage.
    Quote Originally Posted by wheezy View Post
    More icky than working with chemicals?
    How do you clean your bathroom?

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  25. #83
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    ...takes a few steps back...

    I wasn't asking to be attacked here, I was just curious about your opinions because I was looking to buy some oils from jerry's artarama and I came across these water oils. Before I purchased anything so that I can participate in this thread I wanted to rule out this option.

    Thanks for your insight on what they are and all, my comment about the icky factor on chemicals was not one of ignorance or fear of chemicals, it was a joke really.


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  26. #84
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    Quote Originally Posted by wheezy View Post
    I wasn't asking to be attacked here,
    You were attacked?
    I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.

    Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.

  27. #85
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    Just to be a bit contrary to chaos's comment about adding contrast to the apple painting, I would suggest that it's not necessarily required that you do so. Making works where the tonal range is very close can be quite interesting and dramatic as well. Not every surface need be bright and shiny or lit with a spotlight. If you don't introduce some color variation, however, it can become rather dull and uninteresting. It depends on what you're after.

    The one thing I'd suggest about the apple and something I see in the others, is to consider the directions of how you lay down the brushstrokes, especially in the background. With the strokes around the stem of the apple, it looks like it's stuck in mud. With the planes of the slices of bread, having the strokes go in opposite directions can help separate the forms more clearly.
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  28. #86
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    wheezy luv.... your joke was answered by more jokes and some solid info
    don't be so touchy dear

    DB
    I agree entirely. But for soemone just starting to embrace a minmal value range, would be difficult. I can be very interesting. And I heartily concur on the brush stroke thing. the actual direction ond texture of the brushstrokes is the great joy of oil painting.

    chaos
    To see the world in a grain of sand, and a heaven in a wildflower, hold infinity in the palm of your hand, and eternity in an hour.

    Sketch book

    http://conceptart.org/forums/showthr...ight=chaos%27s

  29. #87
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    drd - I wasn't saying the same thing as chaos. I meant more like this...

  30. #88
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    Hi... i've been around CA for quite some time now. Sorely under devolped artist heh, but i'm working on correcting that. Just started oil painting. Been doing wet on wet landscapes kinda like bob ross. Just getting a feel for oils before i try anything like portraits. But i was curious, i hadnt seen anything on it so thought i would ask. Has anyone heard or a bob ross product called liquid white? He also has liquid clear, black yadda yadda. anyways the real question is if you have heard of this is made using say for liquid white, just white paint and linseed oils mixed a certain way? I didnt feel like buying something that i could just make. If anyone knows what i'm talking about please reply. also i dont recall much wet on wet technique discussions on CA but i could have just over looked em. a point in their direction would be greatly appreciated. If there isnt a discussion perhaps a few ways to make wet on wet apply to painting something other than happy trees will eventually post up some of my finished painting got two in the works now. have a good one.

  31. #89
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    I was an avid fan of Bob Ross as a kid i will admit it. However, from what i have read very few people use his wet on wet technique. It certainly isn't what i am being taught in school.
    Liquid white is white paint that is much more liquid then your standard tube white. Liquid clear is just a colorless liquid mixture. Both are used for underpainting so that the canvas is wet when you start painting the actual piece.
    Also, from what i have heard, Bob Ross products are absolutely horrendous. I would avoid buying them. If you want to paint wet into wet from the beginning, then i would take the color you wish to tone your canvas with, mix it with some turp and brush it on in a nice wash and start painting before it dries.

    hope that helps.

  32. #90
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    Ok thanks thats pretty much what i was looking for , just trying to find out if i could make something similar at home. I didnt much want to buy his products, cause i figured that would be easy enough to reproduce with what i had. Oh and i dont really know what i'm doin as far as oil painting materials goes.. so far as paints and paintbrushes. What is linseed oil for? makin paint thinner? or slower drying? off to paint whee !

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