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Old 09-05-2014, 05:54 AM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*

If you look under the fence on my photograph above, (*previous page?) you may notice bright sunlight the other side of the fence. The painting is in shade albeit brightly light. Early morning attempts come out too blue and direct afternoon light attempts come out very yellow. The reason I position the painting vertical is to erase as much skylight fluence as I can.

A parallel learning curve is appreciaton of how contaminated the colours we see are from natural light at different times of the day.

Getting good photographs in winter is another story altogether.
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Old 10-08-2014, 03:29 PM
Trumper Trumper is offline
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Re: *Your Hint's and Tips*

Ok ,i will try again regarding the clouds

Reason i deleted the other link was because i had linked all the photos in my photobucket i think nearly 900 of them -whoops and i doubt they would all interest anyone.
Hopefully this will work it SHOULD show a folder with clouds over Europe-England-France-Germany -Kefalonia.
As i said in the other post i wan't sure where to put them ,maybe a library of images of various things that people may find useful or put a request in if you need anything specific.
http://s399.photobucket.com/user/Ben...ideshow/clouds
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Old 10-08-2014, 04:29 PM
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shadwell shadwell is offline
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Re: *Your Hint's and Tips*

all light has its "K" value or it falls somewhere on the kelvin scale also known as light temperature and will favour one position or another in the colour spectrum

this is where knowing the colour wheel is also useful to photography as if you get a blue cast an orange filter can be used ( and vice versa )

in essence this is what white balance does on the camera plus on more technical cameras as well as auto you have manual with much more control

ironicaly the best filtration light "mid day " is also the most un flattering and harsh light to shoot in hence why most like the low down sun of morning and evening

chas is on the right road by using something near consistent , but still not ideal due to clouds , time , season etc

the most consistent is to use a small studio set up , lights , difusers etc that will give the same values time and time again ( expense doesn't have to come into it , ) as you can use all sorts of household items such as tin foil for reflectors , normal lights for lighting old umrellas sprayed with silver car paint for umrella reflectors etc etc

the idea is to get the most consistent and repeatable and reliable result by using simplicity taking notes of settings for each and every painting photographed will help too as when something goes adrift you have a good idea of your starting point
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Old 11-22-2014, 05:27 AM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*



'The Guardian' by artist Nicolas Trudgian:

.....is a good painting with which to demonstrate some of the 'Rules' we allude to often in criticisms.
Rule of thirds:
The horizon is one third from the top of the canvas. The opposite would also work and centreline horizons should really be preserved for paintings that include reflective properties such as a wet dispersal.

Force the viewers eye also known as a lead in feature. In this painting, the lead in feature is the river which takes your eye to the damage on the airframe. The 'story' about this painting is principally about chivalry in that the 'enemy' fighter escorted the stricken bomber to the coast and set him free, when clearly a kill was on a silver salver. Second to chilvary is the damage sustained by the B17 yet it still flew, all the way home as it happens. The artist has forced to viewer to first take in the damaged airframe using a lead in feature. (Which is also one third in laterally)

The ME109 is one third in from the left. Where these vertical and lateral one third lines cross are the optimum points for an item of interest (Stars & bars - Nose transparency with its excellent reflective properties)

Light and shadow:-
Imagine a line from the stationary prop to the shadow on the fuselage and then scan the paining and note that this line is consistent throughout the painting.

Colour temperature:
Warm airframe colours against cool (blue) landscape - create a subconsious belief of depth and 3D.

Movement:-
The cloud top left and the river behind the airframe are both painted along the direction of travel. Again subconsiously this tells the brain there is movement and any line feature - road, river, rail, etc can be used to get this effect.

Distance:-
Note the tone of the distance compared to the landscape beneath the aircraft. Detail erodes and bue grey tone of atmospheric polution plays its hand. This is one aspect that many of our forum contributers do not handle well and is a good learning point.

In summary, few paintings are as academically correct as this one is and I thought it a perfect example to support the comments often repeated on these pages. I hope it is of help to someone.


Tonal study

Last edited by Chas McHugh : 11-22-2014 at 05:31 AM.
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Old 05-27-2015, 07:32 AM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*

****For a limited period only****

Free composition (grid) App.

• ArtGrid on iPad App Store: http://apple.co/1CpiD4T
• ArtGrid on Android Play Store: http://bit.ly/1GY3Ctt

ArtGrid is the new free app, developed by Jackson’s as a gift to our fantastic customers.

Many artists have used grids to assist them in creating larger or smaller scale copies. It eliminates many of the basic problems encountered in drawing such as perspective, proportion and relationship. Leonardo de Vinci and many other great masters used this same method.

Jackson's wanted to update this traditional method, whilst at the same time, conserving what has made it so useful to artists around the world. ArtGrid allows users to choose any image and apply custom gridlines onto it via their iPad or Android tablet.

Please note that the Art Grid is only designed to be used on tablet devices and not phones or laptops. The Android version is only compatible with tablets running Android 4.0 (Ice Cream Sandwich) and above.
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Old 09-03-2015, 01:07 PM
Trumper Trumper is offline
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Re: *Your Hint's and Tips*

I tried doing a forum search as i thought it had been mentioned before but it can't or won't find it.
Regarding photos taken possibly with a telephoto lens and for reference.I guess at some point we have all taken or seen a photo and thought it would make a painting in the future.
If we take the photo you generally know what the settings were but if you see one taken by someone else how critical are you of the telephoto effect?.
Short of having a model aircraft for every project i daresay you look at something and know whether it looks good or not,whether it is pleasing to the eye.I don't know how prevalent telephoto lenses were in some of the iconic aviation photos of the past,maybe wider/portrait lens for ground shots.
Any ideas on what rule of thumb if you don't know the source,if it looks good is that acceptable?

Whilst googling for an answer i found this ,not seen these photos before.
http://www.dailymail.co.uk/news/arti...ng-effect.html
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Old 09-05-2015, 05:00 PM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*



My first port of call in assessing whether or not a photograph can be used concerns the lines of perspective. On this photograph you can clearly see the hinge line of the elevator. Now imagine a similar line a across the mainplane from opposing reference points. Nav light to nav light or opposing aileron hinges for example. These two lines should be parallel ideally or very slight converge ( V or ^ matters not) as long as the two lines would touch at infinity. If the lines diverge; and on this photograph, they would: then I would reject the photograph outright. When I take my own reference photographs; I make a point of having several with what will be the surrounding border (as well as close-ups). If you take a close up and then place it in a setting away from the viewer, it will look very odd. The shape will be correct, but it will not look right. Bottom line, the reference photograph must be in a similar setting (or perspective) to the subsequent canvas. There are artists who will 'fix' errors by elongating offending parts. I have seen this done sucessfully with a Spitfire wing (which is notorious for being difficult to get right) but this is something that I personally would steer well clear of.
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Last edited by Chas McHugh : 09-05-2015 at 05:09 PM.
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Old 09-06-2015, 09:01 AM
Trumper Trumper is offline
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Re: *Your Hint's and Tips*

Thanks for that ,is it me or does the tail plane and elevators look completely askew and twisted ? I guess that's where knowledge of your subject would come in as it could actually be correct on some aircraft maybe to compensate for that aircraft handling characteristics .

Is this what you meant sorry i am no good with photo editing .

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Old 09-06-2015, 11:46 AM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*

What you have done is exactly what I do in marginal situations using Coral Draw. On more than one occasion I have seen an awesome photograph that is totally unsuitable for artwork due to the effect of telephoto lens.

If you filled the canvas with the Mosquito; you might get away with it but then you would have illustration - not art. But then that is another story! It does show that the camera can and does lie; for your opinion of the fuselage being twisted is spot on, yet clearly reality is very different.
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Old 10-18-2015, 11:05 AM
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Re: *Your Hint's and Tips*

Any tips please on keeping Acrylics useable and wet,i have tried extender and water but still seems to be hard to keep working.
I notice alot of artists seem to use acrylic very successfully
If anyone hasn't seen this before https://www.youtube.com/watch?v=W9wW5abfIw8 fascinating -for me anyway
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Old 12-21-2015, 02:21 AM
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Terry 904 Terry 904 is offline
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Re: *Your Hint's and Tips*

Quote:
Originally Posted by Chas McHugh
Straight lines with paint:


This is how I get my straight lines. Purchase a 'scale' ruler, which in the UK is available in any well stocked stationary store. You will note that it is three sided. By placing one edge upon the canvas, it gives a rail upon which to run a brush laden with paint. If painting wet-on-wet, paint the lighter colour first and then use the ruler for the darker colour. The texture of the paint should be viscouse but not dripping. One can complete a dry run keeping the tip of the brush above the canvas to ensure that the line will begin and end at the right spot. A gentle curve if required can be achieved but requires practise. If I make an error doing this, I leave it to dry rather then risk a mud bath. A second coat can be applied afterwards.

Clever man Chas, thanks for the tip. Curvature free hand is not overly difficult with a bit of practice, but straight lines are a bgr. Certainly worth a try, at least, as it appears to have worked so well for you that it may be said to have become a ruling passion.

I know, cheers, Terry.
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Old 01-01-2016, 06:38 PM
Chas McHugh Chas McHugh is offline
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Re: *Your Hint's and Tips*

A way to effectivly do rigging lines is to complete under painting with the colour of the wire and let it dry. Once absolutely dry - paint the desired colours / clouds etc. Then using a ruler as a guide scratch out the top colour leaving the undercoat exposed. This is how wildlife artists do whiskers and fur.

Far more sucessful then trying to paint rigging lines.
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Old 01-14-2016, 06:16 PM
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shadwell shadwell is offline
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Re: *Your Hint's and Tips*

Quote:
Originally Posted by Trumper
Any tips please on keeping Acrylics useable and wet,i have tried extender and water but still seems to be hard to keep working.
I notice alot of artists seem to use acrylic very successfully
If anyone hasn't seen this before https://www.youtube.com/watch?v=W9wW5abfIw8 fascinating -for me anyway


most American acrylic artists on here swear by "golden open" acrylics ,, I use the ausie atelier acrylics ,,, normal acrylics have very unforgiving working times ,, but these two brands can be re wet and re worked up to 24 hours later
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Old 01-15-2016, 06:48 AM
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Re: *Your Hint's and Tips*

Thank you .
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Old 01-15-2016, 11:24 AM
NeilF92 NeilF92 is offline
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Re: *Your Hint's and Tips*

I value the quick drying time of normal acrylics having adapted to this medium from oils many years ago. It would annoy me now if the paint stayed wet for long . I guess I achieve my blends through successive layers until I get the right balance .. Generally I find not too difficult to get near the intended effect mixing wet in wet at the outset of a sky or sea. in any case. I start with fairly wet washes for broad areas and assess them when dry then modify with subsequent layers.
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