Here is a current work in progress....
3. (A bit over saturated..doesn't look like the painting exactly.)
3. (A bit over saturated..doesn't look like the painting exactly.)The pictures are little to saturated if compared to the actual painting but I checked the gray card (border) and that seems about right but my eyes do not see this image that hot.
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8 comments:
Well, it might not be bad if it were quite "hot" - are you going to give it a glow? You've done it on its own - why's that? It's a nice subject
Jon
I still struggle getting accurate shots with my camera of my art. I use the grey card for setting the f-Stop. Looks like I need to de-saturate the jpeg but I'm reluctant to adjust things with my paintings in photoshop because of the various monoters.
I don't understand why the brass handle is so yellow though when the painting is not that yellow-ish with these two eye balls looks differnet ... could it be the cadmium pigment in the paint and the nano-spheres reflecting into the camera lens. I'll ask Rob what he thinks.
I have to say that my paint...being premixed with Studio Products neutral (the three grays tube set made with Optical White according to the Munsell grey scales). Also my pre-mixed palette method I learned at Cennini Boot Camp is making a huge difference in the clarity, depth, exactness, control and harmony in my color. I am pretty excited about painting.
The glow of copper is what I am after but I will hold back in the finished sketch ... at least that is my plan. If I were to paint this in a still life, I will have figured out exactly what to do from this copper pot.
Painted on cheap canvas board. 7" x 9" focusing on effect not composition. (Rob Howard, Cennini Forum Moderator, does not approve of my painting on anything but quality board and canvas. I'm cheap ... I will use this stuff up and never buy it again.)
Okay...I've deleted and corrected my comments twice and now I have sentence fragments and misspelled words in this new one. I'm NOT GOING TO DO IT AGAIN...just have to live with my it...I'm not proud. HA.
Yeah, it's strange how hard it is to type things! That all sounds very interestng - 3 grays why 3? Did you use the grays to desaturate the yellow/orange?! I must say I can't understand painting on a cheapo support - is this a study or going to be a finished piece? I think premixed palette is a good idea - I've been trying it this weekend. bon courage!
Okay let me explain.
Yellow is notorious for shifting to green...as you darken the value ... and it is difficult to get a true yellow darker value. You end up with sick baby poo poo.
Optical mixing greys were developed by Studio Products exclusively. Here is what they say in their detail copy:
This is a set of 3 mixing grays in Values 4, 6 and 8 made with nanospheres in the big 150ml studio tubes. Mix V4 and V6 in equal proportions and you have a perfect V5. Mix v6 and V8 to make V7. Mix V8 with Optical White and you have V9. Mix V4 with Ivory black to get V2/3. With this set of three prime Optical Grays the values can be matched to the colors being muted.
(On a Munsell Grey Scale - State of the art in color theory which is lightest value 9 to darkest value 1)
A true value is obtained with these mixing grays and they save time!!!!
http://store.studioproducts.com/Paint-Optical-Gray-Set-p-16302.html
Do yourself a favor and discover Studio Products and Cennini Forum.
You won't be sorry.
Jon
This is just practice ... I rationalize ... practice on these cheap canvas I figure it can't hurt at this point ... I'm not all that good ... YET .... :-} ... but I won't ever buy any more "junk" non-professional supplies...as soon as I use this stuff up.
Once, when I found out Windsor Newton's Liquin® was the worst painting medium on the planet (at Cennini) it took all I could do to throw that $8 FULL bottle in the trash. I mean, it felt sooooooo wasteful but I did it because I was finally convinced the product would cause paintings de-liminate overtime and I finally tossed it and felt bad ... really bad for a while.
Now that I think of it, I'm painting with Cadillac expensive state of the art oil paint, and equally expensive mediums, the best brushes (Silver Grand Prix's) ... and painting on Walmart junk canvas.
What am I thinking....????
I think it is that "starving children in Africa, eat everything on your plate" mentality that was drilled into me by my parents who lived the American dream after surviving the great depression. It was ingrained into my endocardial tissue or maybe it in my orbitals to NEVER be wasteful.
Okay....I'll get rid of the junk canvas et al.
Yeah, well, thanks for taking the time to explain. Someone said "painting is hard enough, even with the best materials". Personally I paint on gessoed Masonite - I even use both sides and 'whiteout' paintings - so I get a lot of mileage - its tough + thin - so easy to store - but seeing as I am a beginner presentation/duration are not probs. I guess most pro brand paints are pretty good quality - I have some preferences - it's the brushes that count - I use 'Pro arte' and 'Rosemary' and am trying to use old brushes when I scumble - I've got over the 'economy' mentality (except I do tend still to 'starve' my palette) - I realised that if it took hours of my time (+ effort!) then it just didn't make sense to scimp!!!!
I found the answer on Cennin Forum to satisfy my frugal nature. You can re-use panels and canvas/stretchers ... the only problem is that it takes time to prep them properly.
Here is what Rob posted: "I think the surface you'd like the best would be to [wet] sand the boards smooth (puhleeeze, wear a mask and take a shower after sanding).
Then you could apply a nice oil-based primer. I'm fond of [Studio Products] lead primers, but others will do nicely. Add some drier to the primer and you should be ready to paint in less than a month.
Do a bunch all at once. It's liberating to have a pile of panels or canvases ready to go."
He said you must get rid of any brush marks from the previous underlying painting...and just re-prime.
I have quite a stash of Real® Gesso panels...I'll start using them.
Thanks Jon.
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