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Old 05-07-2011, 07:18 PM
accalmie accalmie is offline
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Large brush strokes reinforce composition and movement!

I want to explore the" learning" techniques to obtain coherent large brush strokes. Looking at a number of successful modern painters I cant miss some of them use large or even very large strokes of paint . This technique is, to my eyes, clearly reinforcing the compositions and brings motion and emotion to otherwise beautiful but static images. See this girl : http://www.cornostudio.com/#a=0&at=0...=10000&s=7&p=2 I think that those strokes channel the light direction and gives life since we have stereo sight and move while looking at a real paintings . This in opposition to most or nearly all photography of artworks. I am quite positive that artwork with some depth should be carefully photographed with two sources of polarized light plus an additional lateral light source to en-light the strokes. Anybody tried this technique. Anybody could direct me to useful information? I am not quite up to that point with my paintings. They are full of "repentirs" corrected errors. But wish it might be the next step. My teacher does that at times although she confess she is unaware of this effect. See her paintings here: http://www.christinenadeau.com/galerie2.html

Last edited by accalmie : 05-07-2011 at 07:35 PM.
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Old 05-07-2011, 11:48 PM
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gomer gomer is offline
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Re: Large brush strokes reinforce composition and movement!

Thanks for sharing the link to Corno. I'd never seen her work before, but it's inspirational. She's now bookmarked as a favourite. I've tried to move a bit in that direction myself (big, fluid brush strokes) but am not there yet. I love it though.

I don't know about the photographing question and I'm not sure I'm understanding you properly. I find it best to take photos outside on an overcast day and for the really glossy paintings I use a polarizing lens. Seems to work.
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Old 05-09-2011, 05:09 PM
accalmie accalmie is offline
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Re: Large brush strokes reinforce composition and movement!

Thanks Gomer!
I am presently more of a photographer than a painter.
I am at the moment fixing my studio lights for the photography of paintings.
And found on the web that one must filter the lights and the lens with polarizing films ( Roscoe) when photographing shiny objects when you don't want glare .
The side light, filtered also, is the recommendation of an expert to show the depth of paint strokes.
Outside filtered sun is great I do just that when not in a hurry. I also climb in a ladder to have direct the sunlight But it is not a consistent manner to work for the varying conditions in a few minutes.

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