Yoo Hala wicked update digging the oils! As for your take on quantity over quality. I think it's more a matter of where you feel comfortable stopping or saying 'hey i'm happy with the way this looks and want to show it'
I'd focus on getting things accurate as possible and spending more time on observing, because it's like taking an exam u don't just glance over the material but you study it in depth. That kind of focus helps to store it in the memory file where as a quick glance just goes in one ear an out the other. I feel like when I try to focus on getting things more accurate I learn something new and I get that 'AHA!' moment if you know what I mean. I feel like this is the most rewarding part of art because you're always challenging yourself to learn something new, of course some days are better than others but the most important thing is to push yourself to be the best you can do!
That's not to say that quick gestural studies should be omitted. This is an important aspect for looking at the picture as a whole or figure for that matter and focusing on big shapes rather than detail. I think a fine balance of both is really important to grow. As for gestural drawing, I notice that you go over some lines that you don't like; rather than fiddle with a curve or line you don't like force urself to make a decision and stick with it or else you'll miss the big picture. Also the same with the take out box oil paint, it looks like the brush strokes are a bit overworked on the sides. If it's a flat block in just load your brush with a good amount of paint and lay a stroke down don't overwork it. Because the side of the box looks like it has texture on it, and that is going to confuse you when you go back into put the designs on the side. It's like if you were doing a speedpaint then your trying to focus on all things at once, like composition, color, tone, texture; but when doing an observational sketch try to simplify things and work from there to more complex.
Another point on the take out box oil paint is that, it does appear to be darker on the side facing us but it isn't, if I'm correct on the light source being up and facing toward the box on our point of view that cannot be darker than the left side. It appears that way at a glance but a good technique is to squint your eyes (your probably familiar with this) and let little light enter into your pupils so that you are only seeing abstract simple values without the lettering or cast shadows. Another note on color is that as more light is available hitting a surface it will expose more of the base color in terms of saturation and value all the way to the point where if it was extremely bright light you'd get almost white, but left side doesn't have as much light source so the color starts to lose saturation and retains a darker value. Also don't forget about bounce light, the green paper is going to bounce back some of the green onto the side walls of the box so slightly mixing (better not to mix thoroughly and let some of the paint mix on the canvas) so that you get the bounce light coming up from the green paper. That's the great thing about oils is that you can work wet into wet but requires a bit of prep as colors can mix on the canvas
As for picking colors, it's good to break it down systematically:
1. decide what is the hue - red orange yellow green blue violet, in this case the box looks red orange (leaning more towards red so mix more parts of red into yellow)
2. next decide how saturated it is - this goes back to what i was saying about determining saturation which is determined by the amount of light available on the surface it is hitting, in this instance the top of the box appears to be hit by the most light so it's gonna lose saturation because it's getting closer to white (which is the warmest of all the paints), so it's not super bright light but still hit with a lot of light so it's gonna be a less saturated or greyer version of red orange (if it was to be mixed straight out of the tube) so you would need to add a little black and white to the mixture to neutralize it or if you have a payne's grey you can add a dab of that to the red-orange color mix
3. you need to determine value (this can be done before saturation, there's no hard rule just depends what your used to recognizing first) - so look at the paint u've mixed up so far and the color your trying to get and adjust the value accordingly
Here's a picture to visually demonstrate all that gibberish above, hehe; oh if you want me to remove the pic from ur SB just let me know and i'll take it off asap
hope this helps, sorry if this is redundant and stuff you already know; i could be really wrong about this stuff as well, since i only started painting about 3months ago
Here's a picture to visually demonstrate all that gibberish above, hehe!
keep at it cragee Hala!
ps are you chinese, i notice the Ai ya?!
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