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  #31   Report Bad Post  
Old 11-10-2011, 09:45 AM
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LarrySeiler LarrySeiler is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Quote:
Originally Posted by oldradagast
Larry:

Thanks for another great session tonight! It was great seeing the step-by-step for so many paintings; it made it a lot easier to understand how they were composed and painted.

my pleasure, Matthew...thanks for the affirmation..
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Old 11-10-2011, 09:48 AM
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LarrySeiler LarrySeiler is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Quote:
Originally Posted by Susan Peltonen
I'm still struggling with the brushwork and with trying to give my paintings a more Impressionistic look, but it's coming along.


that is likely to be a lifelong struggle, FWIW...

Sargent was known to repaint a section, scraping each one off...a half-dozen times or more, Manet scraped one section over 24 times...till the brushwork looked right, was just as they wanted, yet appeared spontaneous.

You get your days where your powers of control come to bear, and your painting is sheer genius, and other days its a declaration of war. What is important is that it remains foremost in your mind as important...!

All fundamentals down, one cannot IMHO advance to a recognized level of mastery where brushwork, and treatment of edges are not an obsession...
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Old 11-10-2011, 10:00 AM
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LarrySeiler LarrySeiler is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Quote:
Originally Posted by carol_lee
Thanks for the great session..... I wasn't on my computer but on my daughter's lap and at first couldn't get the sound... my fault not the webinar .... and at 2 AM it was difficult finding my error and not to wake up the whole household...

I have a question about the split complimentary colors... did I see in some of the examples added accent colors that were not part of the palette??? In the Chicago Art image which was based on yellow ,, I thought I saw red accents??? and in another yellow accents.... maybe me at 2AM....


Well..some things I stressed a few times throughout the session was that you are in the driver's seat. You play with concepts, you use them, but don't let them use you. Its all a grand experiment. When I first began playing with these various palette strategies of past masters...I really shackled myself into following jot and tittle. But, paintings work for reasons paintings work...and somethings you want to pull off and work might do so when you break a rule.

Now...early on I mentioned how artists like to break rules, but predominantly that seems to be because we resent restrictions to our creativity and freedom. Edgar Payne has much to say about that, which I shared...but suffice it to say that if you break a rule...it is because you know what the rule is you are breaking, and why.

so...set up on that street of Chicago I did a couple things. If you look closely at the enlarged image on my blog...

http://larryseiler.blogspot.com/2007...nnocturne.html
(click on image to bring up larger view)

You'll see I have a warm oranger-red undertone. You see it coming thru various areas.

I had a predominantly odd green and yellow glow to trees, to everything, and wanted to anchor it with the undertone I did. Secondly...that color of the lion is blazing, and though the sidewalk takes the eye down toward a secodary asymmetrically balancing focal point, the lion (as it should) calls much attention to itself.

If you can imagine the painting without those little spots of red paint...the sidewalk alone at the time I painted, would not have alone resolved the visual balance and variation I wanted in the painting. There were streetlights and carlights in the distance. I could have painted a green go light...but, believed the red would settle what I needed. For this...I went outside the scope of the limitation so the palette...and put a touch of purer red.

A good eye you have...but more important that you understand the color wheel is a model.

So many people in the CYM camp now...or the five primary color camp argue that we are behind the times and act as though somehow in our dogma of adhering to RYB we do injustice to ourselves. My thinking is...we admire the works of the past for good reason...and the RYB existed a long long time. It is however, and always was a concept...an abstract idea. There is no one blue pigment, red or yellow that we open a tube of paint to. There are any number...but working with a simple model, we can better wade thru the complexities of it all...and make it work for ourselves.

Thus...experiment...at first adhere to the strategies strictly...giving your mind and gut a chance to know and understand its actual limitations...then you WILL KNOW when breaking the rule is fitting and even strategic!

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Old 12-01-2011, 12:55 PM
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Thought I would share a lesson I am working with 8th grade students today, a practical way to learn and strike out developing a routine in painting...



I have a screen shot up of a scene in Montana...inspiring...and students are to create a value strip that will help them judge the basic values once we start painting (in acrylics)...


in this case...there are three dominant hues, blue, violet and green...to describe the main color masses. So students create a dark, mid and light value of each...this will account for nine rectangle spaces painted, the last being white...thus ten in total...





I instruct the students not to simply make a dark blue for the dark...but observe the area of blue in the image and judge the darkest blue seen there. So each color mass is judged independently and relative to the scene. The lightest value to compare, mid...etc.,



you see the strip of one student finished, the second picture is after we hole punch it.

As the students then begin their painting, they will have their own value strip to judge each of the three values in the value groups.

This breaks it down and simplifies, the trick is building a routine so this happens in the head...eventually adding halftones...and even a broader value range...without losing the need to unify to a cohesive whole...
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Old 12-04-2011, 10:46 AM
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

I can't believe I missed all these sessions
How can I make sure that I can get notice of future sessions with Larry?
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Old 12-04-2011, 11:52 AM
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LarrySeiler LarrySeiler is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

sorry to hear, Zan...not sure how everyone heard. I think some were already in the loop with Johanne's webinars and F&W..probably on a mailing list. The other was advertising within a few forums and this subforum...

I did what I could to get the word out on my blog, on Facebook, etc

Not sure when the next sessions will happen. We are looking somewhat at February...
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Old 12-05-2011, 10:27 AM
IrmaH322 IrmaH322 is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Are you going to do any wildlife course Larry? I missed this one. Hopefully it will be for download in the future.
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Old 12-05-2011, 10:47 AM
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LarrySeiler LarrySeiler is offline
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

Quote:
Originally Posted by IrmaH322
Are you going to do any wildlife course Larry? I missed this one. Hopefully it will be for download in the future.


its a possibility...wildlife art, my roots, and a genre I return to often...

I'm waiting to hear some feedback from my hosts that I can then confidently share with future direction/options...so, just taking ideas for now. Imagine with the busy time of the year for retail upon us...it may take a short while...
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Old 03-23-2012, 02:42 PM
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Re: Session 5- Color, Values, Brushwork- Strategies to Improve Painterly Realism

I really regret having missed the first couple of sessions this time around, but life happens. I can always buy the series when it comes out...

Thought I'd share a sketch that built a bit on what you've talked about. This is small, 6 x 8, WMO on masonite. I've used various underpainting strategies with acrylic before, but this is a bit of a return to oil for me. The panel was washed with a thin desaturated red in acrylic first, then the big tree masses were laid in with a mud, and the trees painted in and over that, trying to work boldly and directly. I really enjoy the feel of the wet-in-wet, very different from working over a dry acrylic silhouette.

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