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Old 07-16-2018, 01:23 AM
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Grotius Grotius is offline
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Those paints do look cool, ronsu. I took a look at their colors at Blick's website.
I'll probably try a tube or two. Are they stiff or smooth in consistency? I prefer a buttery, smooth, soft consistency.

DMA, I mix black sometimes too, but somehow I never get it quite as ... black... as Permalba Black or Mars Black. Also, I'm not wild about using Burnt Umber, as I think it doesn't mix all that well for anything other than black. And Burnt Sienna doesn't make my blacks as black as I like.
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Old 07-16-2018, 10:48 AM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

You may have a good point with black, Geoff.

Anyways here's my final update. I took many pictures with my tablet and couldn't get it to show nice subtleness in colors. Yes, I could use my camera but I don't have any editing software for it right now so this will have to do.

I hope it's better.

"La Loue's Reflection" 18x24cm canvas panel


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Last edited by DMArtist7 : 07-16-2018 at 10:50 AM.
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Old 07-16-2018, 07:28 PM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Quote:
Originally Posted by Grotius
Are they stiff or smooth in consistency? I prefer a buttery, smooth, soft consistency.

my choices are mostly their transparent colors for last layers in layered technique. extremely thin, extremely chromatic. quite "black" in masstone. fluid! they have a lot of character and are probably not optimal for straightforward, robust alla prima. since you use rembrandt like me, you would notice the similarities. there's a learning curve and they become irreplaceable in certain things.

the atramente black is a wizard! glazed on in mixes it kept disappearing (my support was paper) leaving breathlessly transparent, natural and neutral shadows. it breaks screaming chroma down towards natural spectrum and creates purple black (with transparent magenta pr 122 of the same series).

Quote:
Originally Posted by Grotius
DMA, I mix black sometimes too, but somehow I never get it quite as ... black... as Permalba Black or Mars Black. Also, I'm not wild about using Burnt Umber, as I think it doesn't mix all that well for anything other than black. And Burnt Sienna doesn't make my blacks as black as I like.

have you tested those mixes with prussian + viridian? i've liked the b umber for tree trunks, branches, with blues and transp oxide yellow.

Dm7, the painting is pure impressionism, best viewed at a distance. i made the image half as small (browsing on a phone) and immediately there was the most fleeting experience of a fragile moment just about to vanish in the wind.
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Old 07-16-2018, 11:12 PM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Geoff, Im glad you like Stuart Shils; hes an inspiration to me too. Such juicy paint - such perfect values. Docket Sailboat is lovely. I think just a little more definition on the little boat house and it would be fine. Yes, the boats well done. Love the mid-summer haze on the water.

Dm7 - thanks for your feedback on the figure painting. Im taking a class from a person who has a very different approach than what Im used to - hes much more detailed and tight. Im glad to be exposed to a different method. But anyway, his approach is to do an accurate drawing on a toned canvas and then do a line drawing of the model in thin paint. The next step is to do a block in of the major shapes/values, trying to hit the right colors as closely as possible. But heres where its way different from how Ive been painting typically. After the block in, you work each area to finish, working on only a small area at a time, using very fine strokes. As it turns out, Im only half-way doing that, since my choice of a large canvas has led me to do larger strokes. But I may try the approach again with a smaller painting, because I can see it can produce some nice results.

ronsu, oh, I know how difficult it is to get an accurate photo! Thanks again for your feedback on my figure painting. That transparent black sounds very interesting and thanks for the swatches, which are gorgeous. Does it have a color index number? Is it a chromatic black? Ive been mixing my own blacks as Dm7 does, but the one you demod is tempting!

Dm7, I like what youve done with La Loues Reflection. The changes are subtle ones for the most part, but I think it reads much better now. Lovely color and brushwork!

My painting class was today, which btw, had temps in the high 80s and the school doesn't have AC. I went in early and got rid of all the black lines which I realized were distracting me (and everyone else) and also darkened the background. I worked mostly on the face and, although it needs some adjustments, am pleased with how much I've gotten done. Next week's class is the final one for the session and I'm still behind but may have a (distant) shot at completing it. The color is off and the lightest areas are a pale peachy color, not blue-violet-ish as they show in this photo. - oddly, the photo as viewed on my computer doesn't show that blue-violet tinge but even after repeated attempts at editing to try to compensate for WC's preference for it and re-posting, I can't get it to look right. Can you tell I obsess over my work while it's in process??? <<< laughing at self

So heres where I am so far, sorta:

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Last edited by AnnieA : 07-16-2018 at 11:47 PM.
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Old 07-17-2018, 02:22 AM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Annie, ah your teacher 's approach sounds interesting. I can see why he does it. For some people it's harder to focus on detailing the image when they don't even see any real progress. If they stick to one area they will see the progress faster; thus, get more motivated to finish the rest.

I for one am not a big fan of it because often you end up with one area being more detailed than other. Or easily lose the focus point you wanted to focus on in the first place. Too many factors to consider anyways but that's just me. It doesn't mean I don't incorporate it in my method. It has its own pros and cons. Just have to know when to use it.

It's good that you are exposed to many different methods. That way you will find one or two that will work well for you.

Rambling aside, I'm glad you have gotten rid of the black lines it is working much better and the figure is coming through very well. I know what you mean with camera issue. I actuality have subtle purple in my painting that I could not get it to show no matter how hard I tried. So frustrating! Anyways I have a feeling you have learned a lot from it so if you couldn't manage to finish it next week don't despite. You have gotten this far. That's an improvement already!

I just wish I could find a such class around here.... A con of living in the middle of nowhere.

Ronsu and Annie, thank you for the feedback. I'm glad to hear that it is working out well. Yeah I had the same idea about it being in impressionism range. I think I like the direction it is going so more experiments in this area are going to happen!

Cheers!
Dm7

P. S. I'm going to visit few art galleries in Besancon today. Let's see if I will like any of them.
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Old 07-17-2018, 11:01 PM
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Grotius Grotius is offline
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Annie, that painting is looking better and better. I agree with DMA, I'm glad you got rid of the black lines. And like DMA, I'm intrigued by your instructor's suggestion on adding detail in one part and then moving on to the next.

There are other good instructors who say much the same. Mark Carder's "Draw Mix Paint" method works like that. When he does a still life, he completely finishes one object before he starts any real work on the next object. I've watched many of his free videos, even tried some of his paints and materials, and I like a lot of what he has to say.

Nonetheless, I don't find it helps me to finish one bit and move on to the next. Usually I end up wishing I'd waited, usually because I'm still trying to negotiate the drawing. As Richard Schmid says, nothing hurts more than having to wipe out a beautifully-detailed part of a painting! Most art instruction books admonish us to save detail for the very end, and my life class instructor says much the same. But hey, if another approach has good results, why not?
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Old 07-18-2018, 02:31 AM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

first, a student's request that when finished, Annie's wip be gathered in one post to make comparison easier, please? a thread of its own with a briefing on technique?

with the lines gone it's once again a different painting. cannot wrap my head around that technique resulting in personal expression the way yours does, Annie. i do not understand it. do the other students paint as expressively or in a more photorealistic way?

and with the lines gone, i'm thinking of drawing lessons of yore. in action painting box forms are quite the standard due to frequent absence of realism in shape and motion. with human form, they naturally work just as well. the mantra was "think of the skeleton, see the skeleton". wondering whether her right hip bone is on the table or not?

re: chromatic antramente black, it's green. really green. the photo was taken with ISO100, even with the lighting off the color is pure, though dark, on my phone screen. the paint is on ordinary tear-off palette.

Dm7, did you find inspiration?
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Old 07-18-2018, 01:03 PM
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Re: Oil-from-life challenge, July 2018: optional "figure-in-landscape" theme

Love the idea of this thread! I may just have to join in.
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