|Color and Light||1.1||Do Assignment|
|Color and Light||1.2||Do Assignment||1.3 | 1.4|
|Illusion of Space and Atmosphere||1||Do Assignment|
|Personal Art||1.1||Do Assignment|
Ryan: Thanks! I kind of want to keep the hair, one of the things I really liked about that scene was that the guy looked... well, dorky .
Parsakoira: Thanks .
ThomasM: Thanks man! Haha, it's been a bumpy road with oils, but man is it fun.
Dope Fiend: Thanks! All practice, yo .
Here's some more work on the painting. Still lots to fix (*cough* hand *cough*), but it's getting there. Also, a very quick study (I think 20-30 minutes) of some tables at the cafe across the street. It was raining and almost 6PM, and I wanted to paint something from life in that weather. I wanted to try to capture some of the color that you really end up missing in photos, but I had to work too fast to do that, since it was getting dark. I'll have to give myself more time on the next one.
what an amazing SB .. hours to see from start to finish.. but i always enjoy seeing oil paintings... i love it allllll ..
i love to do everything and learn everything... i hate to be cornered in one place.. i believe u can be anything u want... Your mind is limitless... check out my sketchbook ... u will find a bit of everything
the last study of the café tables might be quick and only a sketch, but I totally adore it. I can see everything from how you wanted to capture colours a photo couldn't depict, the rainy mood and the evening light. Makes me want to paint on-location so much. Thanks for that!
Rain Walker: Thanks!
Zeitwolf: Thanks, I'm glad some of the color effects come through . Painting on location is great, and it really refreshes your sense of color. Too much studio work makes everything you do turn brown.
Ryan: 'Sank you, sah!
Another one done in the rain. I spent longer on it, and this time I didn't have much cover, so me, my easel, my palette and the canvas were getting rained on the whole time. That's one of the nice things about oils, the rain won't kill what you're doing, although it does make it a little tricky to push the paint around the canvas.
great job with ur latest oils they look awesome, every time i see stuff like this it makes me want to get into it. keep it up
I'm in love with your artwork! D: so amazed
Ryan: Don't you rat me out, man! I can't go to prison!
Pierce9: Thanks! The reflections on the wet surface depend on a lot of things, including angle, distance and the material of the reflective surface. The wet road is reflective, but not as reflective as the sidewalk was- from where I was standing it was comparatively blue/violet.
Some tweaks on the 2nd relationship painting, and the progress on the 3rd one.
Your oil paintings are gorgeous. Where'd you go to school in SF? AoA?
Talent and Creativity are yours to use and keep
[S K E T C H B O O K]
The couples series is some good work; i like the light from the tv in the couple on the couch and also the reflections on the street for the couple under the umbrella - incidentally i like the painterly feel of the first one
Some more work on the sofa piece, after getting a long critique on it from my teacher (Huihan Liu). It's amazing how so many of those fixes make so much sense in hindsight, but I never thought of them before. The biggest ones were the fact that the sofa arm needed to be much bigger to establish a sense of depth, and that the girl's mouth was too low. The only thing he told me to do that I'm still uncomfortable trying is punching up the lights. The brightest light in this piece is really midtone, a value 4 at most, and that was intentional- I premixed the brightest note before starting the painting. I might see what punching the lights looks like in photoshop before trying it on the painting. My gut's really saying not to make it any lighter, but at the same time Huihan's the more experienced one and his suggestions have all made the piece better so far.
Also some more work on that battle painting. I'd really run into a wall with it, so today I tried to go at it more boldly, really punch up the lights and darks in some areas, get some more mud flying about, arrows in the ground, etc. I tried not to think so much while working, and went with intuition instead. It feels more like having a conversation with the painting and figuring out what it needs, rather than forcing ideas on it. I'm finding more and more that my work turns out much better when I'm not worrying about every little thing. Something I'll need to remember... go with instinct.
Like with this male nude! We've started a 3 session pose in Huihan's class, and the first day hasn't gone well. The shadows were way too dark, they turned muddy once I corrected the value, and for some reason I couldn't for the life of me get the orange color in the lights that I was trying for. A lot of this is overthought, again.
Ryan: Thanks .
This is one of my many failures, so I figured I'd post it so that I can point out what I did wrong. This whole semester I've felt like I've forgotten how to paint, so I decided to do a master copy of one of Velazquez's later portraits of Philip IV. I've attached an image of the painting, along with my copy below. The very first thing that's wrong with this is that I've overstated the midtones, giving it a dirty look. This happened because I didn't back up enough while painting. When you're sitting right in front of what you're working on, it's difficult to see your notes within the context of the whole painting properly, so a beginner (me) ends up painting midtones as you judge them against the note next to them. When you back away, you can suddenly see the note as it looks compared to the rest of the painting- since i didn't do that enough, my midtones all came out dark. The same goes for the lights being too bright.
The second problem is a result of the first- because I wasn't judging my light notes in the context of the whole painting, I kept pushing to make them lighter and lighter, effectively killing the color and making the painting look chalky. This is despite using lead white, which doesn't turn chalky as fast as titanium does.
Those are the main problems. Another issue is more minor, but important to me because I'd been trying to tackle it from the get go. The color temperatures in the midtones, while not muddy, still aren't entirely accurate. I can see a whole lot of variations of pinks, violets and greens in the picture reference that all turned to a kind of uniform gray. This is something I'll learn to tackle with experience. The way this was painted was by establishing the drawing and the shadows, and then scumbling a middle value orange into the light areas. Then, I started painting the lights and midtones into that wet scumble. This is a great way to control your modeling, but I haven't yet learned how to predict the color that comes about from painting a note into a wet base.
Hope the wall of text is useful to someone .
Sweet, images are back up! Here's week 2 of 3 on the figure pose in Huihan's class, and a copy of Bouguereau's Venus that I've started. This first stage is just the scrub in, massing in the large shapes and not paying attention to details and a lot of the subtlety. I've already run into trouble at this stage- I don't know how visible it is in the photo, but if you compare it to the actual painting, I've either gone way too chromatic on the pinks, too chromatic on the gray-greens/violets, or both. It's also proving difficult to judge whether to fix that with a thin gray scumble on top when it's dry or to just repaint.
I've posted a picture of my palette while working on this just to demonstrate something about color relativity though. When I say the midtones are "too chromatic," they only look that way because there's a hue contrast between red/green going on, and because the paint is scrubbed in sei-transparently over a light ground, raising the chroma. The pinks and grays I'm actually using are pointed out on the palette- they're both actually extremely dull mixtures with only the slightest of hue separation. I've never appreciated the command that Bouguereau had over his subtle values and colors as much as I do now.
The other point to make with this is something I was explaining to ryanoir the other day in a Velazquez- skin is basically made up of tinted grays, especially white skin. Except under extreme lighting, you're almost never going to see it get overly chromatic, if you're going for realism.
dude, FUCK. Your brushwork has gotten SO SO MUCH BETTER. The edges in the sofa couple and really all of your paintings are outstanding. You've leveled up so hard since the last time I visited your sketchbook. I'm jealous.
"A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
maybe try flake white for the lights? you are right its darker, but on the first one its also very blue his is much more yellow.
cool stuff man!
Thanks for the feedback man, but I'm not sure which of the copies you're talking about? The Velazquez or the Bouguereau?
I'm using a lead white for these yeah, love that stuff !
Engaging color work. I think something's up with the model's left leg. It doesn't feel it's attached right. Look it over, to see if I'm right.