These Dreams - 48" x 36"

[ADCook]

I just wanted to post one more painting... this time in color. This is a recent piece titled "These Dreams". In the painting she’s just slightly larger than life-size, painted in airbrush acrylics on a 48” x 36” canvas. There are some pastels on top of the airbrush work for flavor.

I'm wrapping up another figurative painting soon (emerald greens on a 24" x 72" canvas), and as soon as it's finished I'll start the step-by-step article on a 48" x 48" canvas of a realistic figurative piece. I'll try to outline every step and make it as thorough as possible.

A.D.

[Milo]

Beautiful piece! thanks for sharing and look forward to seeing the step by step (and all your work) I have enjoyed your articles I have read before.

Where do you locate your models?

Milo

[ABStan]

AD,

Really REALLY nice as usual :clap: :clap: Like all here, really looking forward to the step by step. :) :)

Stan

[ADCook]

Where do you locate your models?

Milo

Milo,

I'm a member of OneModelPlace.com, which is an excellent resource for finding models. I've worked with a couple that I've met through OMP. I also have a few models that I've worked with over the years and I ask them to refer other models. In Portland (where I'm from), we also have The Willamette Art Model Guild - an excellent resource as well. If you're looking for a model and none of those options are available, try visiting a life drawing studio, or get to know a couple photographers.

Models are amazingly easy to find actually, providing you treat them respect and maintain a professional-minded environment.

A.D.

[Penny220]

:clap: This is great, I love the softness and the colors. :clap:

[pr1130]

Your work is exceptional. Also looking forward to seeing your step by step, and thanks for your willingness to share your experience.

Your website is terriffic as well. Excellent articles. I'll be following your directions on canvas prep soon.

thanks again
Peter

[Caterwallin']

Hey AD,
In addition to the overall composition, I like the soft, well blended skin tones and the attention you pay to the ever changing tonal values! Of which, there are too many to mention!

Is there a given reason that you prefer to work on a larger scale? Dose it have advantages?

Sam

[hinddee29]

Hey AD,

I'm a member of OMP also well not a paying one yet, but I will be. I have a couple of questions. You being a member has it help you far as getting work?
Also the models you get from there or the ones that you use. Do you take
the photos or do you do trades or buy the rights?
I'm trying to get into the pin-up thing airbrushing and drawing them and I'm
not sure which way is the best way. I can't take a picture to save my butt.
So I'm thinking a trade in some way or buying rights. What do you think.
I have talk'd to a few models from OMP and have permission to draw some
to make up a portfolio. Since I don't have one I think before I even think about it I should have a good portfolio made up. If you could, can you give
me any help. If you want to send ma an email its in my profile. Thanks.
I really love your work. I know what I want to do I just seem not to be able to reach it yet.

Shane

[ADCook]

Shane,

OMP hasn't helped me to find work, but that was never my intention in joining. I have worked with a few models from OMP though, and in that regard it's been great.

I shoot all my own photos either at my studio or on location. Sometimes I pay the models, and sometimes I work with them on a TFP (time for print) basis. Starting models need portfolio shots and experience and it's a win-win for everybody. They get prints and you get good reference materials.

I only work from photos I shoot myself as opposed to buying rights. I guess you could buy rights but then you're going to have to work with someone else's ideas and shots. I, personally, wouldn't like that limitation. You may want to invest some time in a photography class or you might consider creating an alliance with a capable photographer - they take the shots - you create the paintings - everybody wins. Just an idea.

Also... keep in mind that if you use a photographer, unless otherwise agreed, they as the artist will own the rights to the shots they take, so make sure you get everything spelled out in writing - who owns what. As far as the model goes, you'll want to get a model release signed as well. It's important to cover yourself up front. (don't worry - it's not as intimidating as it sounds)

There are also several great books out there in regards to shooting models.

You can also read a little about how we work with models on my site at http://www.adcookfineart.com/modelingopps.html

Good luck,

A.D.

[hinddee29]

Thanks AD,

That helps alot, and I just might take some classes if I can find some where
that offers them with out signing up for all the other classes.

Shane

[cat1hat]

"These dreams go on when I close my eyes
Every second of the night I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake the further I'm away"

:clap:
Cat

[ProfessorGreibowitz]

I like the skin tones and the sheet wrinkles. The hair seems a tad ... I don't know... maybe not enough individual strands? Just my opinion (which you didn't ask for!). That's really my only "critique". I'd love a wip or info on this one for mainly how you did the skin and what colors you used to get the skin tone. I have yet to try creating skin colors but I have some paint to mix some shades ... just haven't tried yet. I think I'll try burnt sienna, vermillion, yellow, black and white to get 7 flesh tones and use black and white as highlights. That's my plan anyway.

This lady must be an olympic runner. She has very narrow hips which equal more power!

Nice piece. Also, can you post a few detail pics when you do your wip? Inquiring minds want to know!!!!


Thanks,
Tim

[Caterwallin']

LOL Cat!!!!!! (the funny thing is that I was thinking the same thing!)

Great info AD, I'm checking into OMP. I have discussed this with a local artist. He just runs an ad in the local paper and says he has to use a whole day interviewing and culling through the applicants!
He is well known and respected, so he has no problem. Me, an unknown, they might think I was a perv! LOL!!!

Sam

[ADCook]

Cat: Love the Heart reference.

ProfessorGreibowitz: I'd recommend not using any blacks when mixing skin tones. It'll kill the richness of any flesh color you mix - even for dark skinned people. You might consider a drop or two of blue or green as a darkening agent instead. The model in These Dreams is a professional dancer/entertainer.

Sam: OMP is a great source for models - new and experienced alike. When contacting models there, just make sure to contact the ones who mark that they pose for nudes, or or art models, etc. They won't think anything bad of you unless you give them reason to. Most of them are professionals too.

Shane: Community Colleges offer classes, and photo workshops are available in most big cities. You could contact the local photo supply shop and they'll point you toward one that'll work for you.

A.D.

[hinddee29]

Thanks AD I will see what I can come up with.
I do think taking my own pic is the best and smartest
thing to do.

Shane

[ProfessorGreibowitz]

Well, you know I thought of the Heart song immediately being one a dem muzitshuns. heheheheheh


Thanks, AD, for the tip. I know that mixing too much black or spraying black can really dull it down but I was only going to add a little and shadows are usually a tad dull anyway (I don't like overly saturated colors in a painting). I will try to add some purple and green and dark colors to see what I get. Once I get a base of tones that I like, I'll alter them more yellow or red w/transparencies and add local colors and that might at least start me off in the color arena.



Thanks and I'm looking forward to some wips of your work!


Tim

[AlpineAirbrush]

Hi A.D. Thanks for sharing not only your excellent works with us, but also your knowledge and skills.

I hope to make the drive over to Portland soon to attend one of your seminars, tried to get over there for the may class but just got too busy around here.

I downloaded your e-book on chrome, what a great idea, Thank you! :D

Tim, look again at the above picture, there's no black in the entire painting, none. Play with the purples, the blues , the greens, and you'll get the look you're after.

And knowing you that means nothing short of jaw-dropping perfection! hahahah.

Sir, put the black paint down, put your hands in the air, and move away slowly!!! :D

[ProfessorGreibowitz]

Hey, main, watchu got against black, eh????? You be dissin' a valuable color, main!


Oh, sorry. Thought I was one of my college students. hehehehehhehehehHEEEEEEEEE


Boy, we haves us some big fun here!!!



I know there are artists who don't use black as a color in their paintings and are adamant about it and those that do. I also know that if you use the eyedropper tool in PS you rarely get #000000 (black) as a color but something very close to black. If that is the case, it makes a good argument to avoid black in terms of the final color of a section but as a mixing color I would say no problem IF it achieves something you like. I am still learning about color so my beliefs in this area are SOMEWHAT malleable (hehehhe).

But one case in point: Mark Fredrickson often mixes opaque ComArt black with transparent ComArt bright red to achieve his skin tone shadows in much of his illustration. The result is simply a dark brownish red. So, as a mixing agent, I see no reason not to use black but that is my opinion. Sometimes if you want a dark, dull green, mix black and yellow. It's either going to be a dark green or dark yellow (brownish). Sometimes you want less vibrancy, I would think.


But what does I know????? I'm just talking.

Oh, I hope I can live up to your assessment of my ability! hehehehehehhe Time will tell, I spose.




Tim

[ADCook]

Just as a follow up... I don't avoid black all the time, just for flesh tones. Black is a valid color when illustrating mechanical things. I've attached an image of a painting I did of a motorcycle (Indian Summer) where I used lots of black, because the engine and motorcycle frame are really painted black in real life.

Regarding flesh tones and non man-made things, black, in my experience anyway, tends to suck the life out of the natural glow that exists in nature.

There are other ways to create a black look without using black. Mark Fredrickson is an excellent illustrator, but illustrators tend to go for pleasing color, not necessarily accurate color. They tend to punch things up a lot so it looks good when it prints in a magazines and brochures... and there's nothing wrong with that if that's what you want. So, really, it just depends on what you want to achieve and how the finished art will be used. Dru Blair, for example, rarely (if ever) uses black, and he has the most color-accurate eye of anyone I've ever seen.

A.D.

P.S. If you're interested, you can see a larger version of Indian Summer at http://www.adcookfineart.com/mcart_indiansummer_lg.html - the original painting is 48" x 36".

[ADCook]

I hope to make the drive over to Portland soon to attend one of your seminars, tried to get over there for the may class but just got too busy around here. :D

AlpineAirbrush,

We'd love to have you join us anytime. Additional upcoming workshops have been added to this year's schedule. You can always visit http://www.adcookfineart.com/learntoairbrush.html for the latest dates or stay informed by signing up at http://www.adcookfineart.com/stayinformed.html if you want to be kept in the email update loop.

Take care,

A.D.

[ProfessorGreibowitz]

Thanks, AD. I saw that one on your site, I believe. Very nice. Yes, I've viewed every pic on Drew's site and he is an awesome artist. I will play with the flesh colors one day. I want to stick with B&W now because it's easier and I'm praying it'll be a sort of way out of my current job. Hoping anyway.


Yes, the illustrations may be exxagerated in order to catch the shopper's eye quickly but as you say it may not be (usually isn't) all that realistic and it is not something with lasting attraction. But.. it served its purpose which was to sell the mag, etc.

Thanks again for the info and pic.

Tim

[eyeburp]

I'd second the suggestions to avoid black when painting flesh or generally thinking of black as a "shader". However, sometimes I think black is the necessary color for certain mixtures and is an excellent way to get very dark areas very dark.

Also agree that illustrators use colors that serve their purpose and not necessarily colors that look most real. There are also issues with reproduction.

Photoshop won't give you pure black with the eyedropper because the image you're looking at (assuming it's a photo) was created with RGB.

[eyeburp]

The model in These Dreams is a professional dancer/entertainer.
LOL! I can imagine my wife coming home from work to find me shuffling through the photos of my day's "work" and then I have to explain why there was a naked stripper in her house and it isn't even my birthday ;)

"No, Honey, you don't understand. I was taking pictures of the hot, young, naked, struggling model sprawled across our bed for ART! Now I need to spend hours staring at her in these pictures so I can paint her." WHAM! Frying pan in the head.

[ADCook]

Eyeburp,

I read your reply and laughed out loud - it was good.

Research - it's all in the name of art - LOL.

You know what they say... someone has to do it. We do this so you don't have to - ya, that's it.

Perhaps my wife is more encouraging/understanding than most. She works at my studio with me, and when I shoot models, she helps them in any way she can... it helps the models to be more relaxed knowing there is another woman there. Ironically, she even tries to recruit models on occasion if she sees someone that she thinks would work out (for art).

But I have to admit, no matter how you type this, it sounds kind of abstract for anyone outside of the studio to believe. Not sure I would if I didn't know it to be true. So far though, no frying pan across my head (that sounds a bit painful!).

Oh ya, my wife rides Harleys better than most guys I know, shoots handguns like she was born to it, plays a mean game of pool and is dangerous at the poker table. So I guess if she ever takes up juggling frying pans I'm in trouble.

[Caterwallin']

EyeBurp, LOL, I can see this happening! I guess it takes a special spouse to be understanding of these situations! If not, you should remove all bludgeoning objects from the house?

Ad,
Although I don't think it's going to be a problem for me anytime soon, I guess the best situation would have to be a professional "type" photography studio with other women present. I know that in an operating room, you can't have a female patient in the room unless there is a female nurse present. Sad to think that somewhere this precedence was established.

Since I don't know, what is the proper etiquette for photographing (nude) models for reference and what have you learned from experience?

Sam

[ADCook]

Since I don't know, what is the proper etiquette for photographing (nude) models for reference and what have you learned from experience?

Sam

Sam,

Not sure if I can adequately quote proper etiquette, but here's what we do, and it seems to work for us (we shoot about a model a month here, sometimes more);

1) Let the model know what to expect before the shoot - no surprises. I try to meet with my models before the day of the shoot. I have them read the Model Release, introduce them to my crew; me, Kathy (my wife), Doug (my assistant), and Dargo (my dog). It's rare that I shoot with a model that I haven't met with first. It happens, but it's rare (usually, only if she travels from out of town to shoot with us).

2) Be professional at all times. Anything less and the word will spread fast that you're not. That means be on time, prepared (batteries charged and ready to go, equipment ready, film in camera, etc.), courteous, etc. This doesn't mean you have to be A Professional - just act professional.

3) Treat the model with respect. Just because they're nude doesn't mean they deserve less.

4) Create a comfortable and safe environment. I have Kathy at all shoots unless we've worked with the model before and everyone has a comfort level that allows otherwise.

5) Keep non-essential personnel out of the studio. It's amazing who wants to stop by when they know a model is coming by. We try to shoot on weekends to minimize the traffic, and fortunately, I have a pretty large studio, so we can shut the door to the studio itself to avoid interruption while leaving the lobby accessible.

6) Respect the model's privacy. We keep clean white robes at the studio for the model to wear during breaks and set-changes. Offer her a private place to prepare, etc. Just because she's modeling doesn't mean she wants to be on display the whole time. Many models don't use a robe - others are exceptionally grateful we have them.

7) Don't cross the line. Everyone knows "the line". I guess that could be part of "be professional", but it's important enough to mention by itself. Crossing the line can be as simple as joke in bad-taste, starring, wandering eyes, whatever. Models are there to model - nothing more.

8) Mean what you say, and say what you mean. If you do a TFP (time for print) for example, and you promise her prints in one week, have the prints ready for her then. I hear a lot of horror stories of models who never get their promised prints and they're never happy about that.

9) Use a Model Release. Models see them all the time, and, in fact, if you don't use one you'll come across as less-than-professional. Models expect to sign a release and a good Model Release protects you from future liability as well.

10) Expect your model to be professional as well. If she's way late or doesn't show and then calls a week later to reschedule, we move on. We won't work with her again. It takes a lot of time and effort to set-up for a photo shoot (remember, I'm scheduling four people here, sometimes more). Professional models show up prepared to work, and on time. If they can't make it our something comes up (it happens) the can call. They would expect the same from us. That's why we meet with them beforehand - if she's late for the meeting, or misses it altogether, you'll learn a lot before you ever meet her. On the other hand, if she shows up on time, with her portfolio and a good attitude, then you know you're working with a pro, and you'll probably have a great shoot. "No surprises" goes both ways.

11) Don't talk about other models or photographers at the shoot unless you have something positive to say. Models talk to other models and they talk to other artists and photographers as well. Don't give them anything bad to pass along.

12) Make her feel beautiful in a way that doesn't compromise any of the above. She'll want to feel beautiful. If she didn't she wouldn't be there.

13) Give the model direction, but allow them to contribute. Many models have done this more than you and I. Some of my best shots have come from following the model's lead. A lot of times they know their best side better than you. Tell them what you want and then get out of their way. this isn't always true, but tends to be more so with experienced models.

14) Respect the model's time. If you tell her you're going to shoot for four hours, stop when you hit that time. Don't try to milk another 30 minutes out of her, unless she still wants to shoot and she's compensated for the extra time.

14) No phones - especially cell phones. I ask models to turn their phones off and we do the same. Nothing will ruin a good photo shoot like a long call from grandma.

15) Have fun. Make it a fun experience and they'll shoot with you again and maybe even refer their friends.

Well, that's it (I hope). I just banged these off the top of my head so I hope I didn't miss anything. [For any ladies reading this, I only refer to the model as "she" because that's all I shoot. Please don't take offense.] Mostly though, working with a model is just a matter of applying good old fashion common sense really.

Happy shooting.

A.D.

[eyeburp]

Just one thing I'd add: don't touch them without asking first.

[eyeburp]

AD:
Who sets the rate if they want $$$ instead of photos?

[ADCook]

Just one thing I'd add: don't touch them without asking first.

You know, I knew I missed something... absolutely right on that one. That and you break it you bought it - LOL.

[ADCook]

AD:
Who sets the rate if they want $$$ instead of photos?

Depends on who wants the shots the most. I have a maximum set limit (that I'm reluctant to post) that I'll pay. If she has what I need, then I'll pay what I have to for the opportunity to work with her. There have been models that I'd have liked to work with, but the price was too high to justify. Sometimes a model will contact us and, when asked, I'm amazed in how little she'll want for the day. Some models live off their modeling fees - for others it's a hobby.

Ultimately, like everything, the market sets the price. I live in Portland, Oregon. I'm sure that if I were in L.A. or N.Y. everything would be different.

A.D.

[Penny220]

Excellent information here!!!!

[Caterwallin']

Absolutely AWESOME information!!!!!!!!!!!!!!!!! :clap:

I was not expecting this! Thanks AD!!!!!

This is copied, pasted, and stored!

Hopefully one day I will get the chance to use them!

Sam

[ADCook]

Hopefully one day I will get the chance to use them!

Sam

I hope you do Sam. There's something really gratifying about creating a project that's all yours - from concept photos to finished art. There's also a huge upside... if you shoot it, you own the copyright - it's all yours!

A.D.