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  #46   Report Bad Post  
Old 05-27-2017, 08:19 PM
JDawg_97 JDawg_97 is offline
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Re: Plein Air Limited Palette

No yorky I have an iPhone & I just posted it in the open critique forum
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Old 05-28-2017, 11:12 PM
old_hobbyist old_hobbyist is online now
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Re: Plein Air Limited Palette

JDawg. re: brush sizes. Heed the advice. GO BIG and flat. All flats have five painting surfaces - 2 flats, one edge and two corners! When I paint outdoors (NOT en plein aire!), I try to restrict myself to two flats and if painting boats the edge of an old credit card!
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Old 05-30-2017, 11:50 AM
bartc bartc is offline
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Re: Plein Air Limited Palette

Good luck, JDawg!
Meantime, I do most of my painting in every medium with various sizes of angle shader brushes. Even more versatile than the flats. It's a flat that is slanted and can imitate a wide variety of other brush strokes.
Whatever medium you use, as they're telling you, start big. Don't get lost in details as you start out a painting, or you will find yourself frustrated. Working big into a value painting first allows you to lock in the essentials of composition quickly, so that the change in lighting is less of an issue.
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Old 06-08-2017, 01:54 AM
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cjorgensen cjorgensen is offline
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Re: Plein Air Limited Palette

Try it in the backyard first. Then if you forget something, you can run back in the house and get it. Or if you drag too much stuff, you will know what not to take next time.
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Old 06-29-2017, 05:48 PM
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WTPDOSA WTPDOSA is online now
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Re: Plein Air Limited Palette

Quote:
Originally Posted by JDawg_97
I've noticed every time I've attempted a fall scene it ends up looking like an amateurish piece of .... it's extremely frustrating & my trees in general are absolutely horrible especially when I try to rush them... do any of you have any patience for sell?
A dear member of this wonderful forum, Larry Seiler, taught me many years ago to "stop painting trees!!!" I questioned his comment in that as a plein air painter, trees are part of our composition. The next words he wrote inspired me to open my eyes. Larry mentioned that I should spend time looking at, feeling the texture of and observing how the light is reflected off of the leaves, the bark, etc., and instead of painting "trees," paint the light I see reflected off of them.
I credit Larry with "opening my eyes" to see what I was missing, and in doing so, he gave me a wonderful way to express what it is that attracted me to the scene I was painting. My "trees" and other things began to take on another whole new dimension in my expression.
See those failures as opportunities to learn from and become better. I still have junk paintings I did years ago as reminders.
I wish you all the best!
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