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  • #479434
    Zippoah
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        I got an idea to do this from some podcasts and some other things. I’m loosely using a painting by Luke Hilestad to model the owl from but at a slightly different angle. I’m gonna let this dry and probably try some impasto next.

        I’m needing the medium to make the paint as transparent as possible but keep the strokes. Any ideas? I’ll probably ask in the tech forum also.

        #897840
        Lon Reams
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            Liquin is what I use when I’m needing transparency. They have a thick version in a tube specifically designed for impasto but I’m not sure how well it retains its transparency with that version.

            #897841
            Zippoah
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                THAnks Lon. I wonder why I thought oil painting would be more simple than acrylic. :)

                #897839
                123harry
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                    A striking image. Very good. I take it the impasto will be on a new painting as this one is finished.

                    C&C always welcome.
                    Instagram harry.hamill

                    #897842
                    Zippoah
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                        A striking image. Very good. I take it the impasto will be on a new painting as this one is finished.

                        Thanks Harry. Nah I’m going with some impasto for this painting. I’m about to fix a few things and then try to decide how I can make this bird set better in it environment/space, as in how to make the thing seem part of the scene it is in. I see paintings by professionals and they seem to be able to have a consistent style throughout the picture that really unifies the whole image and sets all the objects in the picture plane in the same “place” and make it seem like they exist together with the background or whatever. They exist all together in the same atmosphere is what I’m trying to say. I want that with this plus make almost everything seem deceptive to the viewer/victim and at the same time make what you the viewer extremely visceral.
                        If you read this far I owe you a beer. Pretentious word salad is why I plan to never go to hip art shows at galleries because I couldn’t last a second with someone talking like I just wrote. Anyway, thanks for the comment. I know this image is kinda dark, but it’s kinda the point of the whole thing:( Fortunately ive never had an experience like some tell about but I had the idea for the painting and ran with it. Wish me luck:)

                        #897843
                        Zippoah
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                            [ATTACH]869325[/ATTACH]

                            I’m still waiting for my impasto stuff but I’m doing stuff here and there. I got too involved and kinda stopped reading stuff on color and temperature.
                            If y’all could I’d appreciate some advice. Since I’m not basing this on life observation or a set photo I am not sure what to do. I still have stuff to do on the top of the head…well, kinda everywhere now that I think of it.

                            I want the face to be visceral, the body to be appealing but revolting to the senses. I also am going to try to have the shooting light slightly leave a barely perceptible reflection that kinda defines the horizon. And the shooting light will be much less bright in hopes that it sets it back in perspective.

                            Anyway, any ideas or critique about anything would be appreciated. I’m not sure I am seeing this that well anymore. I’m really unsure about the colors being cohesive. Btw, I have barely an idea how I’m going to indicate the light source that is shinning on the owl. But I think I’ll try to indicate it on the face and heart shaped form surrounding the face.

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