Eggs, mittens and bricks

[TinaC]

Hi folks, long time no post....

Just thought I would show you a bit of what I have been up to lately. I am seriously trying to improve my painting so since the begining of the year I have been speed painting at life classes wherever possible. I am doing a top notch tutored painting workshop in Italy next month, the figure and landscape and am trying to prepare myself to get as much out of it as possible.

I have a little box that takes 10" x 12"'s and I am working on standardising all the equipment including the palette because there just isnt time to decide about anything you dont have to in these circumstances. I also noticed I have to premix a few colours and use and change brushes much more often. These are probably good disciplines to develop of which I seem to have very few I have discovered.

The first few are from an untutored workshop I did yesterday. The WIP is one I did a day earlier trying to warm up, and the rest are from earlier this year, improvement may not be that apparent but of course life work is a bit hit and miss and it will take some time.

There are issues with all of them of course, some I can see and no doubt plenty I cant but I think overall this has been a positive thing to do. Oh, and I cant do faces (eggs), hands (mittens) or feet (bricks) in the time and am struggling to find a consistant way to suggest them. There is still so much I need to learn...sigh....


Oil on canvas board (I hate it) 10 X 12" about 1 hour 20 mins. Pretty much had to make up the skin tones, she was pale, with a blue background under fluorescent lights so there was no real warmth in her skin.


Still had paint on the pallete so thought I would attempt another one - Oil on shellac'd matboard (lovely painting surface) 12 x 5" ish 30 mins (am I mad?) and I know its rubbish but I gave it my best shot.


Still had paint to use up so went for it again. Oil on drafting film (I love it) 10 x 12" over a dark blue board - 45 mins. She drifted a lot, by the end the was no gap between her arm and body so I thought I did ok considering. I have found the best way with these is to start off 'drawing' in thin burnt umber, taking my time over that and then just colouring in like a lunatic.




With a white undersurface just for comparison




WIP My hero, do you recognise him yet? 16 x 20" on board with 'proper' oils which I am just starting to use and a limited palette of black, lead white (love it over titanium), venitian red and ochre. BTW my 'speed' oils are water miscibles.




These are from the last few months oldest first - all 10 x 12" and all roughly an hour give or take a bit at my weekly untutored life sessions

drafting film - I use this a lot partly because I love painting on it and also it takes up less room for storage, although mostly they will end up in the bin.


drafting film - playing with backgrounds


drafting film - really inspired by this model and quite pleased with the hair


shellac'd matboard (a framer friend gave me some offcuts and its fab to paint on but I only really like cool colours for figure work) - a bit goth, dont know how that happened.


shellac'd or PVA'd matboard - one of my better attempts


drafting film - I forgot my white paint. Marge Simpsons cousin eh!



PVA'd matboard Hmmmm, nearly.


PVA'd matboard - The model moved quite a bit in the break and I lost her upper body


Shellac'd matboard - was quite pleased to finish the term with this one, shame she never got a face.


If anyone can see anything I am doing consistantly right or wrong please pipe up. I know I will always need to work on my drawing skills but whatever other thoughts you might want to share would be appreciated - I need all the help I can get.

Thanks for looking.

[wandathefish]

Hey Tina, I just thought about you yesterday, ha. Magic, eh? This is a lot of work and aren't you the lucky duck to go painting in Italy! I will let the more tutored among us critique but I like your skin colors and your determination!

[lovin art]

Well I look at you blog as I know you do mine , so I'll say again Tiny T these are fab the top one is really super to me in terms of foreshortening and I love the colors in them they all look and have something to offer as long as u learning from them and I'm not sure where u go for ld do they offer tutoring , I think it doesn't hurt to have it up our sleeve, I know u will love Italy it's really stunning, irl it's quite beautiful, I can't wait to see what u paint from there !

[jjackm]

nice to see you are seriously working hard at your painting. I hope to see more.

[trevors]

I see no problem with heads hands or feet evident here maybe faces but the rest is quite sound Ok there may be a few proportional problems if you say so but you are going forward and that is all that matters!
Italy eh you lucky girl

[TinaC]

Hey thanks for thinking of me Wanda, can you think me a lottery win too please? Yes I am determined to learn to paint, its the best thing in the world.

Ah Sandra, I would love to have tutored life drawing and do all the proper academic stuff you are doing. Maybe if Wanda sorts out my lottery win eh. Thanks for your encouragement.

Thanks Jack, yes I'll post some more.

Trevor I think I am going backwards to go forward but I'm hoping for a breakthrough. Italy should be good, I am in need of some immersion but to be honest it could be in Clapham for all I care - its the quality tutoring that is important.

Thanks for looking everyone and see you on your threads.

[Nonno]

Hi Tina,
Someone recently told me not to bother attempting the face if there isn't enough time. A well done egg is better that a bad klingon! (and tastier!)
And, for me it seems to work.
I particularly like #3, you seem to have got a great flow in the figure.

Jonathan.

[Descartes]

You have been busy Tina and it looks like you're having fun. I particularly like the ones where you've pushed the colours: the second one and the first three little ones on drafting film (not quite so sure about Marge though).

[bethanyt]

Great to see all your hard work here, Tina. Love your attitude- we never stop learning after all!
I am such a big fan of colour, and so am admiring your work with the oil on the different surfaces. I also work on primed mat board- though I prime with cheap acrylic house paint.
I do see good progress- you are seeing the shapes so well. I would suggest getting the values working as well. Get some cooler/warmer combinations going to show the turning of the forms. This might be next on your agenda.
Great work!

[trevors]

it could be in Clapham for all I care

I never found much inspiration in Clapham though!

[kirants]

An impressive collection of studies. Am glad you are focusing on the major shapes ( eggs, mittens and bricks ), because if one doesn't get them right, nothing else will. Am color challenged myself, so I'll just say your sense of proportion and shapes are looking good.What is also impressive is the variety of poses you have chosen to capture.

This one has to be my favorite -> http://www.wetcanvas.com/Community/i...P1040308_1.JPG

[Coastal]

Tina I really like your art
I'm enjoying the Newberry 5o tutorials from a link you posted

[TinaC]

Hi Jonathan, I'll try and remember not to paint Klingons, I've always had a battle keeping the aliens out of my life work.

Nathan thanks, I've not been busy enough really as these are all done over quite an extended period but its interesting feedback from you about the colours, the ones you liked were before I got around to limiting my palette. I think I prefer more colour in finished work (both mine and others) but do find myself getting confused with it in the time.

The workshop in Italy is with Zhaoming Wu, I booked it up in a very mad moment and am petrified something is going to go wrong and prevent me going. Anyway, what I really like about his work is his use of colour and light along with paint handling so hopefully I will come back with a better idea of these things.

Hi there Bethany, thanks for dropping by I always value your opinion. Its good to know that you think the shapes are working well, I dont really think about these things and just have to go for it but I realise I am missing feedback. Yes, I will look at values, although all these are done in fairly challenging multi light situations. OK, cools and warms....I never really see where to put them at the time so I guess need to action what I 'know'. Yes, as the form turns it should be less saturated and cooler, but what about the shadows, are they cool or warm. I shall give this some thought and look at a few experts work such as yours to remind myself and go with a plan to my next session. Thank you so much.

Ah Trevors, inspiration can strike anywhere but straight beauty doesnt really do it for me and I can get a bit overawed (plus I know nothing about painting scenery). My current inspiration is Lucian Freud who is the subject of my unrecognisable WIP above......really interesting man, its such a shame he never got around to sitting for me and I have to work from a photo.

Kiran, thanks for the encouragement. The pose you mentioned was my favourite and the model really inspiring too although she suffered a bit doing this one for us - it was inspired by a painting on the wall behind her in the gallery we use. I just paint whatever is in front of me, dont bother moving around for the best angle or anything. I reckon they are all a challenge and good practice to do what you can with. Artistry will have to come later. Incidentally I'll go and comment on your thread but wow, can you speed-draw, really excellent sketches. I have let my drawing slip and really feel it so thanks for the inspiration and reminder there.

John yes Michael N is a long time inspiration of mine. He is in the same State as you I see - you could see it in person if you wanted. I love his work and am pleased to have introduced him to you.

[bethanyt]

Zhaoming Wu= now I really am jealous, Tina!- if you can't get there- I am happy to take your place! ; )