Awesome gesture work, i can't help notice your subtle applications
I'm astonished! What a privilege to be able to work with Mr. Whitaker!
Life is a long lesson in humility.
Beautiful works as always, Miss G.
Thanks for the shots of your palette setup. I never thought of mixing correctly valued grays into colours. This is very helpful.
I can never quite get my head around how people can paint like this! It's just amazingly real looking, especially using oil paints. I've tried using them but my paintings always looked thick and clumpy with broad strokes. You manage to make it look so smooth and beautiful. Thanks for sharing your work, it's a joy to look at.
beautiful work.. and what a great studio space!
Blending with oils is a pleasure and you've proved that.. if only they dried quicker and didnt stink out the house ; ) thanks for sharing
Gorgeous Work, Ma'am.
Breathtaking work! I couldn't take my eyes off your new portrait, it's so captivating. I'll have to go browse through the rest of your sb now, your work is fantastic
O.M.G.!!! Great workshop!!! I love u'r stuff, especially latest oil work... it's really awesome!!! Please visit my sketchbook if u can and tell me what u think I'm subscribing 2 this topic!!! 5 stars!!!
So Emily, you use a 2B pencil right?? How long can you draw before you have to sharpen it again? I find that the point smooths out so quickly that I'm re-sharpening it every moment.
You guys are having way too much fun over there
Great to see the work. Top notch!
Emily, Your work it's AMAZING! a great masterpiece...So I have one question if you don't mind...For your draw, by pencil...do you use some PAPER BLENDING STICK (ESTOMPES)...to you get this precious render? And is really nice use one of it? Thank for your attention. Best wishes!
really nice to see a glimpse of the stuff you've been doin with whitaker... and as everyone says that last portrait is beautiful. Thanks for posting the color palette too, always interesting to see!
Wow. That last portrait is absolutely amazing. Bill is a good teacher I presume?
I have a sort of strange question but it I can help but be interested in this as I go along my "art journey" and decide what paths to follow: After your studies with Bill are over, thus concluding your fine art training, are you planning on continuing the path of the fine artist or are you going to pursue a career in concept art or illustration?
Are oils easy to "figure out"? My school doesn't teach them so if I wanted to learn I would have to teach myself with the help of CA.
I would really appreciate it, if you have the time of course, to take a look at my sketchbook. Do it at your convenience, I know you must be quite busy.
It was nice meeting you at the workshop. You checked me in if you don't remember. I wish we could have talked more as our conversation was extremely brisk. You seemed like a very nice person.
Your most recent painting is beautiful.
I have been lurking here for a while, and have signed up to CA today to show my appreciation for your work.
It has been a joy watching you develop your skills.
that is great finishing ...
That portrait is niiice. Neo-Classic even.
Are the alizarin crimson and red oxide on your palette replacing what would traditionally be rose madder or red lake and burnt sienna? And why? Alizarin leans way too cool for my taste, and it's not as nice in transparency or in pinks imo. And Transparent red oxide is really nice, but I haven't found it to be as fitting to life painting as the slightly oranger and softer burnt sienna. Trans. earth orange is nice too, and more transparent than modern sienna.
Also, is the old practice of using transparent pigment in shadows ever touched upon in your studies there? I'm wondering cause it looks like WW's work (in fact much of current realist work) is painted relatively opaque or solidly across the whole picture.
Can't wait to see more.
Last edited by ArtznCraphs; April 23rd, 2008 at 09:24 PM.
yowzas emily! awesome work in here.
I absolutely love this thread, it has so many great things in it!