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frida
08-02-2006, 11:19 PM
I saw this little still life visiting friends in the countryside, and it told me a story I wanted to put on paper... I call it half WIP because I don't have the courage to post what I do step-by-step from the beginning, and show all my fear of not ending up with a piece I am happy with! But having finished the BG today (I hate to think of how long it took me to get to that point), I decided to go ahead and post. So... I'll post all I had documented so far.

It is on Crescent board 6.5 x 11", and I plan to use only CP.

The BG is going to be really pushed back, so I decided to do a grisaille on it FIRST OF ALL!

We have discussed complementaries before, and were concerned with the temperature of the opposing colours. Cindy (beachwalker)'s only comment on her famous D&S thread was to make sure to use similar values, or rather if the final colour was dark, to use a dark complementary.

As I will have some almost black small areas, and the rest will be dark greens, I decided to start with Tuscan red. I have no idea how dark it needs to be, but this time around I am not worrying about what I don't know :rolleyes: I rather entertain a feeling of happy excitement instead of anxiety, somehow waiting to surprise myself. What will be will be, and I shall learn in the process...

When I went around the lines with the Tuscan, I refined a lot! Some individual shapes (positive as well as negative) struck me as being clumsy from a design point of view, so I changed them. Made sure the corners were sharp where leaves overlapped, refined the edges of intersecting man-made objects, and erased some wires on the BG that I was going to do as a challenge, but decided were not necessary, and rather confusing. Found some leaves that didn't continue across, etc. Just made things believable, instead of leaving them as question marks... The set of French curves came in handy for the wire and the string. They are also very helpful to connect lines across where there are interruptions in the flow. The bottom left corner is still a problem.

Something I always have on hand to protect my drawing from my hand, is an old photograph to which I attached a piece of masking tape as a "handle" to move around easily without touching the paper. I use it as extra protection when the plastic sheet I have across is not versatile enough.

Please comment, critique, ask!!!

Here are my ref, the line drawing, the photo with the handle, and the beginning. The bottom left corner is a problem at this point.

frida
08-02-2006, 11:23 PM
As I started on the dark spots combining all the dark colours recommended by those who do "black" CP BG, I became aware of a recurrent thought: this is going to take a long time, my excitement going down a few notches, and my hand hurting from using heavy pressure. Should I have used ink instead? Yes, it would have been faster, but I never had the experience of making very dark colours with CP. I really didn't like the "black" quality I was getting from the mixture, so I went through a couple of books and did some testing.

I decided not to listen to the purist in me, and give Black :eek: a chance after reading B Borgeson. I am not posting the results, because they won't show the subtle differences on the screen. With all the swatches, I put first a dense layer of Black, a dense layer of a dark colour, and then moved the pigment around with a Colorless pencil until the coverage was pretty uniform. Just medium pressure, to make my hand happy. I tried (one by one on a separate patch of black) Tuscan red, Violet, Dark green, Marine green, Indigo, Black grape, Black cherry, and the one that gave me the most beautiful black was Dahlia purple. Deep, good black IMO...

Actually, I did the swatches on Stonehenge, and was later surprised the pigment moved so well even on this board. Also realized the first layer of Tuscan red was completely unnecessary. Live and learn, or rather work more with CP and find out!

I am using two Colorless pencils. One very blunt for large areas, and another sharpened (not much though) to reach the edges. Also using a Black Derwent Studio for edges or very small areas as needed. I started with Verithin, but the DS has more pigment to deposit!

Now I am starting the grisaille on the leaves, and feeling excited again seeing them emerge from the dark. I need to test the value on a scrap piece of board, because I don't know how light/dark the basic shading should be. Something that also comes with experience. Most of the leaves will be really back, with just a couple coming forward.

frida
08-02-2006, 11:25 PM
Did I say I didn't mind being surprised? I was stuck for two days 'wondering' about the greens. I want the leaves to have some character, and studied how Ann Kullberg, Gary Greene, Barbara Newton and Cecile Baird tackle them. The first 2 don't use complementaries, the second do...

I can't believe I had the patience to do all the grisaille for the leaves, and wonder how much of it is really going to show after I add green. Especially... is it really going to become green??? :confused: That comes next!!!

frida
08-02-2006, 11:35 PM
And this is where I am now. I really didn't know what to expect, and I am quite pleased.

I found the Black Grape, Tuscan and Indigo I used for the grisaille really didn't show that much, so in a way I had to redo the shading with the greens.

I'll probably end up pushing back some of the veins, and maybe the lightest leaf later on.

Now for the rest: I have rust, string, lichen, wood, dirty and clean metal. I hope to finish before Christmas... ;)

I had computer problems a few days ago, and after reconnecting the scanner doesn't work. It will need to be re-installed. This was done on DH's scanner and took some adjustments...

Birdnest_phil
08-03-2006, 12:51 AM
I'm loving this! I like the color combinations you've added! :clap:

TessDB
08-03-2006, 07:47 AM
Ah, Raquel! I was wondering what you'd been working on... I'm really going to enjoy watching this come along.

Great info on doing the grisaille! One of these days, I'll wrap my head around it. :lol: Have you tried using the Artstix blender? Same thing as the colorless blender in pencil form, only bigger & easier on large areas. I've had a lot of fun playing with it.

Ok, Got my coffee, claimed my seat in the front. Anyone have some muffins?

Tess

KathyA
08-03-2006, 08:55 AM
Raquel-this is very very nice! Love your application of the grisalle and what rich colors so far! Can't wait to see the finish.

Chisaii
08-03-2006, 09:23 AM
Great job, Raquel!!! Grisaille is an amazing technique!!

Weezy
08-03-2006, 09:48 AM
Raquel! Way to go girl. Nothing teaches us faster than having and enquiring mind and trying all and any options. I truly applaud your approach. It will teach many, myself included, especially the way you are approaching the step by step. I think I am rating this one. You go girl.:thumbsup:

couturej
08-03-2006, 09:59 AM
This is looking really great!:) Thank you for sharing all the challenges you are expreiencing it is very instructive.

Rita2479
08-03-2006, 11:13 AM
This looks nice so far Raquel. One of these days I'll work up the nerve (and patience) to try a work with grisaille.
I'm curious to see how you're going to work the fencepost because I'm working on a piece right now that has several weather-worn fenceposts. I'll be watching this one to see how it comes along!

Rita

Meisie
08-03-2006, 01:32 PM
I really like this Raquel! You go girl ;) what a job all that grisaille was! :eek:

:)

Mesie

mdefeiter
08-03-2006, 03:10 PM
Wow! This is coming along beautifully.

Mariska

gordoiye
08-03-2006, 03:47 PM
i feel like i'm watching the master chef mixing up garam masala!

the only critique i have is how do you remember all those layers of colour???? ;)

cheers,
gord

brynmr
08-03-2006, 07:42 PM
Nice work Raquel. Does Barbara Edidin use grisaille?

NancyPH
08-03-2006, 08:45 PM
Wowzers!! I love these leaves!! Isn't it great how a complementary underpainting makes a painting look? I used that technique one time for a cat painting. No one thought the colors were going to come out right, but they did.

This is going to be a great painting. I'm always interested in seeing how people do leaves and flowers because I stink at it. :p I'll be watching this one!

frida
08-03-2006, 10:23 PM
WOW! I put on my Grandmother hat today, and didn't get a chance to read all these posts...! Thank you everyone. :) I'll start from the beginning...

Phil - I am glad you like the greens. I aimed for cool on the darkest, a bit warmer on the dark, and warm and a bit lighter on the middle greens. Except for one leaf or two I didn't want them to come forward too much.
Tess - great to have you along! And you thought you were the only perfeccionist? I actually try my best NOT to be anymore. I stop when I decide it is good enough, or I can leave with it. No point in pushing beyond, I think.
Kathy - thank you for your comment! I believe this is only the second time I use grisaille, so I am not an expert by any means! Something tells me that if I cannot see the basic shading when I start applying the local colour, the shading value wasn't dark enough.
Chisaii - Thank you! Do you use grisaille? I find your work has a special "freshness" that probably comes from direct colour application, or in your case maybe great skill...
Louise - Great praise coming from you! I really appreciate it.
Janet - I wish I could give a different example by being more decisive, but this is where I am. I'll just keep at it, and if it helps others not to feel alone in their struggles, sharing is a pleasure.
Rita - I wonder about the fencepost myself, you know? I picture it with a lot of white... It interested me a lot the way Cindy Brunk and Cecile Baird start with a basic layer of yellow for the leaves, which I understand botanical artists do also with watercolour. I decided not to do that, because these leaves are on the dark side. But I thought a technique like that will apply to the post, though. It should be interesting!
Mesie - Thank you! Yes, it was a big job, and I enjoyed just doing it. It was almost like meditating.
Mariska - Good to have you watching!!!
Gord - :wave: Master chef moi? :o I tried to keep doing the leaves with the same values at about the same time. I find remembering what I used, and especially in which order, quite daunting. Honestly.
Thank you Tommy! Yes and no. Barbara Edidin used grisaille at the time I discovered her work. I have an article with a detailed demo, and even though the writer said she used grey, the colour on the photos is definitely sepia. But somehow the colour on her more recent work is more vibrant, more like a colourist approach than grisaille based. My answer? I don't know. Has anybody taken a worshop with her?
Hi Nancy... I wish I could do animals the way you do them!

I hope not to disappoint you (and myself) at the end of this short journey. I should keep you posted! :D

joannd
08-03-2006, 11:32 PM
Raquel, this is so amazing. It makes me want to try it. Your leaves are exquisite. (I love leaves). Thanks for showing us step-by-step.
JoAnn

TessDB
08-04-2006, 07:56 AM
I hope not to disappoint you ... at the end of this short journey. I should keep you posted! :D

Not a chance. You get extra points just for showing up with this one, Raquel!

update update update???
Tess

frida
08-04-2006, 09:44 PM
Hi JoAnn! What a nice compliment...! The way I enjoyed the most ever when doing leaves was by combining different yellows and blues. I thought that was pretty amazing, and worth repeating.
Thank you for your support Tess. I spent many hours today in sunny, not too hot weather, with one of my daughters who took the week off. A special occasion not to be missed... I will post an update as soon as I get back to it for sure! :wave:

Lady_Morgana
08-05-2006, 07:07 AM
Wow, wow, wow, wow, wow... gasping... this does look soooooo good. All i could say would be only whining that i can not do such a work, so better say nothing but... WOW!

Morgana

frida
08-07-2006, 01:30 PM
Thank you Morgana! :)

I am posting to bring the thread back, and to let you know I am working on it, but don't have enough done to show you, and my scanner needs to be re-installed...

I spent a very long time selecting the colours for the rest. Compared to those, the greens were a cinch! But I enjoyed doing that. I ended up picking lots of Derwent Studio for their hardness. And it should be fun to use all those colours!

Why did I see a lot of white on the fencepost? :confused: There is a lot of grey, but so many other colours!!! I made careful notes of what I selected, and it will still change along the way. The hardest part is coming up with the "system" (I believe Ann Kullberg calls it that) to help simplify it. It has numerous crack lines, which I didn't draw in, but I will. Then I believe I need to start with the darkest areas, and probably a base of the lightest Prisma Blue I have. I won't use grey for sure.

pinkrybns
08-08-2006, 03:26 AM
Hi Raquel,
Lovely work so far. Your hand is so delicate (well, imo that is).
I'll be watching.
:wave:

Judy

Amira
08-08-2006, 05:15 AM
Raquel - I finally got to read this thread with enough time at hand and just want to thank you for taking us along on your journey!

'Looking good' is needless to say, 'waiting for an update' goes without saying so.... well...

I'm rating this thread and watching....

Amira

bsnowden
08-08-2006, 06:19 AM
Very nice Raquel! This subject really appeal to me and the commentaries are chock-full of info. Very well done!

frida
08-08-2006, 09:08 AM
You are very welcome here, Judy, Amira and Bernice! Great to have you and your comments along...

This is a digital photo, and it was absolutely blue, taken outside, in the early morning. I adjusted the colour as much as I could...

I just wanted to recap what I felt while starting to work on the post. I added most of the significant lines I could see, shadow edges, knots. The amount of detail was daunting! I did a bit here, a bit there, which BTW is a good way of working, as it allows comparing values all the time, learning a lot. What was bad was the way I felt, like not going anywhere for quite a while, discouraged to see nothing happen, like trying unsuccessfully to find the beginning of the thread in a spool! :(

As I continued adding colour, remembering what I learned from Bert Dodson's book Keys to Drawing (excellent!) to look more at the reference (in this case a photo) than my paper, it started to make sense in a small area, and that was good, energizing and exciting. :clap:

Looking back, I see that probably the best system is to work on the volume of the post first, and THEN take care of the details (I'll get a chance to do that on the top part) Best advice I ever heard from a good botanical artist, which confirms what I knew: that form is more important than details if we want to show three dimensions. But we CPr's almost invariably get taken away by the details, and then we suffer if darker values are needed, and they obscure the details we laboured so hard to get in. Sounds familiar?

In order to have more volume, it definitely needs darker values on the right side. Some tools for finding out:
~ convert it to greyscale
~ squint
~ place red acetate on top
~ remove eye glasses (if worn) and look at it
~ stand back
~ my favourite - look at it, beside the ref, in a dimmed light. Magic! a loooong way to go... (I feel uncomfortable squinting, and my studio is so small I cannot stand back - of course I can take it to another room! But most of the time I need to evaluate on the spot)

I am "itching" to continue now, but today is a personal special day. I get to spend a few hours with my granddaughter, and that's something that even a Grandmother Artiste enjoys... :D

Amira
08-08-2006, 10:07 AM
Raquel - I tend to work a bit here and there too, mainly because I need to get the feeling of 'yes, I can handle that' on one part of the piece in order to go to the next. Once I have that feeling I prefer covering all paper first and then go over it again and again. I didn't think of it in terms of value adjustment, but you're absolutely right, so now I have another reason to work that way!

I just went back to look at the reference, and you're piece is already much more three dimensional than the photo you took. As you had to adjust it that's probably where you lost the 3D effect. Means you can safely push the values even further than on the reference!

Looking great btw. Now enjoy your family day!

Amira

Paapu
08-08-2006, 10:23 AM
Hi ((raquel)) great to see you starting on something totaly new and unique here:D And wow your grisalle is absolutely stunning!. I will be following closely:)

I just have a few things to say.. The reference as you have said is a bit washed out so you must definetly push your values and color in ur work. Did you notice the overall temperature of ur painting? Its a bit cool dont you think? The bg looks perfect with cool tones coz it looks receeding. But the bark(?) can have more warm tones IMHO, What do u think about that?

Also , I think the veins on the leaves to our left can be fuzzied up a bit ( like u have done on the right) so that it does not distract the eyes from the main subject.
Just my 2 cents:)

frida
08-09-2006, 09:54 AM
Amira and Paapu - Thank you so much for looking and commenting! :wave:

I agree about the leaves/veins. I was saying the same thing at the beginning, but I'll do that at the end. By then the main subject may be so interesting ;) that the leaves may complement it, instead of taking away from it...

What concerns me more about the leaves is that, especially the lightest on the right, looks too pristine and stylized! I do have dry ends on most, even holes. I'll see what it needs later.

As for colour, my printed reference is much darker, and keep in mind this is not in the sun, but in a shady corner. In my view, a cool palette helps create a mood, so it is a logical choice. I do have the rust to come, and warm touches on the wood, which is turning to be a lot of fun work to do.

Values, and not colour make the picture, IMO. Do you think your stunning graphite piece needs colour???

Paapu
08-09-2006, 10:37 AM
I am sorry I did not read thru your whole thread before pointing out on the veins of the leaves .. Yes values is the key! I stand corrected :o . I was just reffering to the fact that if the bark and rust is made a bit warmer it will compliment well with the bg.

frida
08-09-2006, 10:54 AM
I am glad you clarified that, Paapu. It is an excellent point! :)

chocolatyclaire
08-09-2006, 10:20 PM
This is stunning. You sure have a lot of patience to do the grisaille effect - it shows it has definitely paid off though. Well done. :D

frida
08-12-2006, 04:23 PM
This is how far as I got after a few hours.

I couldn't wait to try the rusty nail... By its position it may get the attention out, but I trust the interest of it going into the wood to counteract that. What do you think? Not much to look at yet, really. And it is going to be pretty dark when it's done.

I am working on it upside down to do the top end of the post.

I can see a face on that knot on the right. Oh - oh! :lol:

mauricar
08-12-2006, 05:58 PM
THis is really coming along well. I love your technique. I am pulling my chair up to the monitor to continue to watch your progress.
Midge

gordoiye
08-12-2006, 07:14 PM
a face? well if it's the virgin, then you can ask 100X the price for it!
seriously, this is looking great and i'm anxious to know your recipe for a rusty nail ;)

mine's black cherry, goldenrod, henna and a touch of indigo!

cheers,
gord

frida
08-12-2006, 09:40 PM
Hi Midge! :wave: Make yourself comfy... I smile when you talk about technique, because I have never done this kind of texture, so I am just doing it! Sometimes I feel like I am groping in the dark :confused: Section after section still seem like a big question mark. Sure, I know better what pencil to reach for, but it doesn't feel any easier, if you know what I mean. Glad you like it, though. Little by little it should get done.
Gord - I checked Cecile Baird on rust, and she uses Terracotta plus Burnt Ocher (to make it a bit yellowish), and that's it! In that small piece I started, used those two plus Henna, Black cherry and Black grape. I did it light first with the light colours, then added dots of the dark ones. I also used a touch of Mineral orange, which is quite muted, on the light areas.

ams
08-13-2006, 06:48 AM
Raquel, what a wonder ref and a wonderful thread. I don't know how I missed this before today but I'm glad I finally saw it.

I love the texture of the wood and the rusty nail. Your detailed comments along the journey are very helpful. I'm rating this thread too.

Looking forward to the next post.

Anne

couturej
08-13-2006, 10:03 AM
Raquel, this is looking wonderful!:)

Rosa Weitzel
08-13-2006, 10:33 AM
Greens are so hard to get just right and the way you have done your leafs are great. I like the way your putting down your pencil layers its very even and yet very soft and light. Good job, I will enjoy watching this go forward.

Rosa:thumbsup:

frida
08-13-2006, 02:10 PM
Thank you Anne! I just realized that this time around I am not feeling too anxious going out of my "comfort zone", which I feel good about.
Midge - You helped me think about technique, and thanks to you I am becoming a bit more aware of what I am doing and how to repeat it along the fencepost, which is important, even though the bottom is a bit cooler than the top.
Thanks for the encouragement Janet...! :D
Thank you Rosa! It's great to have you along...

I worked more on the nail, and probably will be darker by the end, but I will do something about it if and when I get to compare it with the other nail and the wire.

My darkest colour on the post is Black grape, but I use it sparingly. I favour Black cherry. Actually, the darkest was Polychromos black, which I used for the darkest crack lines. I am using a purple Bruynzeel for the mid tone, but it's turning our too warm, so I mute it with Prisma Cream. As a result I added to the bunch Derwent Studio Red violet lake, which is quite muted.

On the top part there is a lot of blue,for which I am using Cloud blue. I find it makes a nice transition with the Greyed lavender. In general I find that since I am applying the medium and dark violets lightly, there is a lot of texture, more than I want. I put on a heavy layer of the lavender on it (far from burnishing!) and it spreads the pigment nicely.

For the lichens I used a base of Derwent Studio Turquoise blue, with some spots of Deco aqua, White, and even Marine green.

Doing the wood I am also creating texture with lines. Mostly I follow the photo, but when I get lost or I feel like it, I make marks. Lots of fun!!! I have many spots of Sienna brown, some Crimson Lake and even Dahlia purple.

My plan was to do it all last month, but I ran out of July! I honestly didn't think it was going to be so involved... :o

Chapa
08-13-2006, 07:22 PM
Wow... I have been lurking in the background watching this develop...it is so beautiful!:clap:

Thanks so much for sharing it as you progress, it is really interesting to see your choices of colors and textures... Also thanks so much for sharing your experience regarding how to balance details versus volume and form.

Just gorgeous!!!:thumbsup:
Ethel

mdefeiter
08-13-2006, 10:03 PM
So much detail! You must have tons of patience! Hope you don't mind me taking notes for future reference!? Never heard of the grisaille technique before. Interesting.
Thanks for sharing this wonderful WIP with us!

Mariska

frida
08-13-2006, 10:43 PM
What wonderful comments, Ethel and Mariska!!! I really appreciate them...

Some artists do a basic grisaille with grey, others with Indigo blue, or sepia. What we learned at this forum has been mainly a grisaille with the complementary colour of the final one. There are great threads listed on the CP Library. Great lessons all!

And then... there is the "reverse grisaille" done with White on black paper as a base for colour, but that is a separate story. I remember doing a Columbine and being terribly confused. It was the first time I used it. I'll look for the link to add here.

The next update should be the complete fencepost. I have done the right half all the way to the top, and a bit more on the left. That side would be faster, since it is very light and doesn't have any knots, :)

Edit - http://www.wetcanvas.com/forums/showthread.php?t=224017

mdefeiter
08-13-2006, 11:31 PM
Thanks for another great thread. Amazing what you did with the Columbine using the 'reverse grisaille' technique. Such vibrant colors! I defenitely plan to look into the grisaille technique.
Thanks!

Mariska

loralee55
08-14-2006, 01:57 AM
very well done Requel I am enjoying watching this take place. Wonderfu
loralee

frida
08-14-2006, 01:30 PM
Mariska - On the Columbine I used regular grisaille on white paper. That means green as a base for red, red for green, and violet for yellow. I found that utterly confusing, especially where the green and the red were concerned, as in the flowers versus the leaves... :eek:

I just mentioned the "reverse grisaille" in passing. It is a very interesting technique worth learning. It is used on black paper, and it is the opposite of a graphite drawing, let's say. The darker/est areas are left black, and the medium and light/est are covered with graded layers of white, to receive later the colour layers. The CP colours are less translucent that way, more true. Check the CP Library for threads.

Hi Loralee! :wave: Thank you! You are very welcome here (even if you didn't like it...)

TessDB
08-15-2006, 07:49 AM
Looking wonderful, Raquel!

The different textures are really starting to work well together. Can't wait for more!

Tess

beachwalker
08-15-2006, 07:47 PM
Lovely detail work, Raquel, and beautiful colors.:)

frida
08-15-2006, 08:03 PM
Sorry Tess! I got some important stuff in my "to do" list and I will have to keep you waiting!
Thank you Cindy. Great praise coming from you. I so admire your work and your teaching style...

Chisaii
08-16-2006, 09:20 AM
Wow!! I love the way you've done the wood, Raquel!!!http://www.wetcanvas.com/Community/images/16-Aug-2006/62821-cheerleader2.gif So lifelike!!

Grisaille techniques are interesting and totally amaze me how they work!!:D

Stunner!!

wet
08-16-2006, 10:08 AM
This is coming along beautifully Raquel. I agree whole heartily with your values comment. Wanda

frida
08-16-2006, 10:40 AM
Thank you for the cheerleading and your words Chisaii! :D On the wood I am using the colours directly, keeping my left hand busy with at least six different colours, and still need to reach out to make more spots of this or the other...
Thank you Wanda! I can relate to you talking about being busy. I have spent a whole day away from the drawing board and it's starting to bother me. Great sign, isn't it?

Edit - Thanks everyone who rated this thread! Five stars???!!! *big smile here...*

az4ever
08-16-2006, 11:15 AM
Very nice Rachel! You're grisaille paid off in those dark areas. And I love the colors in your wood. Looking forward to seeing more.

gail

Vernon
08-16-2006, 11:33 AM
This really looks great. I am going to look forward to seeing more postings as you progress.

Vernon

FaeLynn
08-16-2006, 11:33 AM
Hi Raquel~
Just found this one! WOW! I am loving it so far! Just beautiful work, your daring use of reds and under-colors is inspiring to me!
Thank you for sharing this!
~Fae Lynn

frida
08-18-2006, 07:41 PM
Thank you Gail, Vernon and FaeLynn...

I ended up missing three (:eek: ) days of work on this! But I will post soon. I am attacking the rust with "gusto"!!!

Another departure from the photo is going to be the handle. It looks like it had a label attached, and used for a while that way, leaving a lighter area. I have no interest in conveying that detail as I find it irrelevant, and why there is a lighter rectangle of sorts may be an open question...

frida
08-20-2006, 02:44 PM
Well... I have another update.

As you can see the rusty nails and wire are done, and I started the trowel itself.

I didn't expect to go through so much detail, but I am having a great time with it, once I get over the puzzle of "when and how" to start, I do a bit and it starts showing that something is happening... From then on I feel as if I am meditating!

It's about time I finish it, and I will probably follow with some colour tests. I have found Color mixing bible, by Ian Sidaway, in my local library, and it has CP mixing charts with glorious colours! This time around I am going to use straight browns on the handle, but I like those resulting from mixes better, even though some of the Prisma and Derwent Studio browns are beautiful...

frida
08-20-2006, 02:54 PM
I decided to zoom in a little...

pinkrybns
08-20-2006, 03:09 PM
I have found Color mixing bible, by Ian Sidaway, in my local library, and it has CP mixing charts with glorious colours! Oh I have that book! Isn't it great!?! I bought mine, in Dutch, a few years ago - it was only 6 euros. I was just lucky to find it for that price, I guess.
Here it is on amazon (in English) if anyone wants one.
http://www.amazon.com/gp/product/0823007235/104-6763066-3079932?v=glance&n=283155
It's very helpful for all sorts of mediums, even though going by a printed page color is not really the same as the "real thing", at least it gives a "jumping off" point. I refer to mine all the time ( it also helped me learn Dutch! :D )

Raquel, this is looking really lovely.
Your patience (meditation) in the detail is showing, and in this case, worth it, I think. :) :)

:wave:
Judy

Herb
08-20-2006, 09:13 PM
This is really something to look at, Raquel. That post will attract termites if you aren't careful...and you really nailed the rust! (Sorry. I couldn't resist.)

boobookat
08-20-2006, 09:39 PM
Shoot Herb, you beat me to that particular punch line! LOL!

Raquel, that post is incredibly dimensional. The rust is right on. But I can't wait to see more of that trowel. That zoomed in view really shows some excellent work. (and I was already impressed back when it was just leaves!)

You didn't get bored, having to repete the leaves in color after having already done them with the underpainting? I haven't tried the technique very much yet.
Marci

TessDB
08-21-2006, 07:38 AM
Absolutely gorgeous, Raquel!

Tess

frida
08-21-2006, 12:39 PM
Hi Judy! :wave: I know it is time to finish this piece when my interest is leaning towards those colour tests... I am glad you recognize my peaceful mood through my work!
Herb - :lol: Keep on looking!
Good of you to come, Marci. I surprised myself having the patience to do ALL the darkest areas first, and then ALL the leaves. After that, the post required a great deal of patience too, as it is the largest area, with far more texture than the leaves.
Thank you for your enthusiasm Tess! :)

I will have an update soon, as the handle is done by now. I am wondering how am I going to do that string. It is about 1mm wide, and I just want it to have hints of the twisting motion here and there. Verithin? Derwent Studio? What colour? :confused:

frida
08-21-2006, 07:08 PM
My latest...

chatfieldstudios
08-21-2006, 11:59 PM
Beautiful Raquel! Love the richness of the leaves..great job...:wave:

frida
08-22-2006, 12:47 PM
Hi Cindy! I have been missing you here... :wave: I am pretty pleased with it. Great learning experience. I never used so many colours and spent so much time on a piece!

This if my final update. Is there something someone sees that doesn't work? I did tone down some of the lightest veins, but not the leaves themselves, as I want part of the BG to help opening up the thrust of the post and get integrated. The colour on the trowel is not as dark as the photo, but I like it this way, and after all, it is well placed to get attention with its "whiteness"... Adjusting the scanned image took a lot, as if I get enough contrast it makes it too violet.

How does your eye travel through it? I don't use the rule of thirds or any other compositional tools, but sense the arrangement/s, forms, direction of lines and so on. Almost always I find something that needs correction at the end, and if it's too late I just minimize it with colour.

I really want to name this one. I thought about Garden craddle, or At the end of the day - I also thought about Job done, but it may be construed about me having finished it. And this time it didn't feel as a "job". I enjoyed every minute I worked on it.

Any ideas about a title? I would appreciate them... (although funny ones don't fit my perception of what I do)

I call it finished. Your comments will be very welcome!

PS - I also toned down the signature, which was glaring white impressed line...

Meisie
08-22-2006, 01:14 PM
Turned out GREAT Raquel!!!

What came to my mind was "Resting" :)

Meisie

faula
08-22-2006, 01:39 PM
Very nice!! The rust looks so real, and the wood post texture it great.

mdefeiter
08-22-2006, 03:58 PM
This turned out very, very nice! :thumbsup:
I enjoyed watching this WIP.
Thanks!

Mariska

frida
08-22-2006, 06:42 PM
Thank you Meisie! Mmmmm... Resting... I like that!
Your words are very encouraging, faula and Mariska. It's been a pleasure to have your company along this journey...

Tazz
08-22-2006, 07:09 PM
Beautiful detail in this, the post, the nail, the soil on the end of the shovel...I like it! :clap:

Lady_Morgana
08-22-2006, 08:20 PM
:clap: x 1000

boah! this is so stunning beautiful ... fantastic details

*picking up jaw from floor*

dotb
08-23-2006, 02:39 AM
Super!!! Please pass the lemonade....

beachwalker
08-23-2006, 06:20 AM
How does your eye travel through it? I don't use the rule of thirds or any other compositional tools, but sense the arrangement/s, forms, direction of lines and so on.

Raquel, my eye travels through this just fine--your diagonals work beautifully. The three-dimensionality and exquisite detail make this a really successful piece. You are going to use it for a show entry, aren't you? :thumbsup:

Wish I could give you another title suggestion, but I couldn't come up with anything better than what's already been suggested.

TessDB
08-23-2006, 07:13 AM
Oh, Well Done, Raquel!

No good title ideas... I like "Resting." "Paused" springs to mind, but doesn't seem quite right... Need more coffee...

Do enter this in *something* somewhere! You're work is wonderful. Just gorgeous.

Yay, You! :clap: (I've got to get some of those cool smileys...)

Tess

chocolatyclaire
08-23-2006, 08:08 AM
WOW Raquel. This is jaw droppingly GOOOOOOD! This is seriously a brilliant piece of work - and those leaves really set it off! :) Lots of claps for you :)

Chisaii
08-23-2006, 08:51 AM
http://www.wetcanvas.com/Community/images/23-Aug-2006/62821-whoo_hoo.gif http://www.wetcanvas.com/Community/images/23-Aug-2006/62821-cheerleader.gif

Raquel, this is WONDERFUL!!! Definitely an entry into something--next year's CPSA???

Exquisite detail and your titles are perfect no matter what you choose. (personally I like "At the End of the Day")

Jomitzi
08-23-2006, 11:33 AM
Fantastic!!!! :clap: I really love the handle, it looks so realistic that I want to get hold of it and lift it away from the post.
Jo

Rosa Weitzel
08-23-2006, 11:50 AM
Well done!!! Simple but beautiful, not over worked, great leafs, the trowel is just like mine in the yard.

Rosa:thumbsup: :clap: :clap: :clap: :clap:

frida
08-23-2006, 12:26 PM
Hey!!! So many great comments to thank for...! :smug: (first time I use this smily)

Tazz - I am happy you like it...
Morgana - So many clappies? :eek: What the heck... I'll take them! Does it seem to you that every piece is better than the one before? (or else it makes it to the garbage bin)
dotb - Thank you! You will have to visit the next one...
Cindy - Thank you for that "movement report". I wanted other eyes to tell me that!
Great to have you at the finish line, Tess. I will definitely think about entering it.
Claire - Your words mean a lot to me. Thanks for the encouragement.
Chisaii - CPSA??? I didn't aim that high... :o
Hi Jo! :wave: (your presence here reminds me I should post it on the UKCPS files) Thank you so much for your comment!
Hey Rosa... That's something I wanted to hear: "not over worked" Thank you!!!

MVLC1
08-23-2006, 01:00 PM
Nice work, been watching the WIP. IMHO, a little more contrast in the forground, but that's just me...I still like the overall composition and the work is very well done.

Title: "Dang Telephone!".....:D