Showing posts with label acrylic. Show all posts
Showing posts with label acrylic. Show all posts

Sunday, February 3, 2013

New Canvas - aka - paint vampire


A New Canvas:
  1. Ever have colors on a painting turn dull shortly after drying?
  2. Or the surface is like the sahara desert even though you KNOW you laid on lots of paint?
  3. Do you struggle with a new canvas trying to get enough paint on it? the surface sucks in the paint like a paint-vampire?
WELL... you are not alone! A new canvas or canvas board actually needs 2 or even 3 more layers of gesso with a light sanding inbetween.


WHY gesso a new canvas? From the manufacturer, the canvas is only thinly coated with a gesso leaving much of the nap or roughness of the canvas.

Sometimes the tops of the weave are very thinly coated. When you start painting with your expensive paints, you first must fill the nooks and crannies with paint before it will lay across the surface. You also must lay on enough paint to make up for the absorbency of the thinly gesso'd areas.

Also, when you paint with a thin layer of paint or use thinned paint it will drop down into the nap of the canvas  and fill up the nooks before it lays across the surface and gives you the color and consistency you desire. (moisture and pigment will also be sucked into the dry thirsty canvas)
You have probably seen paintings where the upper nubs of the canvas nap show their white tops through the paint? Unless you want this look, you need to apply more gesso before painting to fill up these gaps before starting your painting.
Even if it appears that you have enough paint on the canvas, as it drys, the paint is slowly drawn into the canvas dulling the color or making it sink into the nap.
Solution: Apply 2 or 3 layers of gesso, dried and sanded between each layer, - or apply as many layers until you have the surface you want.

TIP: stop using your expensive pigments as gesso - prime the canvas before you begin!

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CRITIQUE 12 - TWO ABSTRACTS part 1 and 2


QUESTION from Jan Stickland:  Please give me your honest opinion of them and if i could improve on them somehow

ANSWER:  
Hi Jan - thank you so much for submitting for a critique!  Your abstracts are vibrant and full of color!  Very lovely!!

I don't need to talk color as you have a vast knowledge of it already!!
But I will talk about using value to set up a composition in a painting like this where you cannot lean on the structure of shapes to create the composition.

When an image has a lot of the same or similar value it may not have a strong focal point or direction for the eye to follow or be held in the piece.  

If you notice in the first image, it is much the same value overall, however, there is a hint of the eye heading toward the vortex...  so - If I enhanced that though hopefully we will see a stronger composition with interest to make the eye travel within the piece and also an area to slightly hold the eye's interest.
ORIGINAL PAINTING:

EDITED IMAGE:
Note the stronger lighted areas and how they grab your eye and lead you around the painting in a swirl motion to the center dark area just below the highlighted school of fish.


 There are several patterns that artists utilize in paintings whether they are abstract or representational.  one is the z pattern another is the triangle and so on.  These patterns make the eye follow through the piece to "read" it and create visual interest and visual sense.

For people who read left to right the eye naturally looks for patterns that match that idea.  Same with right to left readers, etc.

A strong pattern in this piece (to me) is a triangle

This is not the only answer, of course...  but it might give you a jump start!  
Best of luck with your work - it is wonderful!!
cj
PART 2:
QUESTION from Jan Stickland:  Please give me your honest opinion of them and if i could improve on them somehow
ANSWER:  PART 2 
Hi Jan - thank you so much for submitting for a critique!  Your abstracts are vibrant and full of color!  Very lovely!!  And I apologize for the photoshop mutilation of your artwork!  ;)

Again, great use of color and great excitement and movement in your 
ORIGINAL WORK:

Of course - for every "rule" there is the exception!  
I spoke a bit about patterns with your last abstract piece in part 1.

We read from left to right and tend to read paintings in the same manner.  If we don't  find landmarks where we expect them, then we are confused and do not know that to look at.

So, as in this piece, we give em landmarks via shape size and by changing value and contrasting areas in this
CRITIQUE:

So you see ... we have set the pattern the eye will follow with the falling orbs into a dark center with a glowing atmosphere that leads to the focal point of the highest contrasting values which is the left edge of the "hole"    
So you can set up tried and true patterns in your paintings - OR, you can set your own path for the eye to follow through your piece.
I hope that helps some - and remember - everything said is brought from that person's experiences in life - so you might find other solutions that work just as well from your experiences.  
There are many paths to the same goal! -cj
Best to you -
CJ

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CRITIQUE 10 - Values


QUESTION from Terry: Please have a look at this one for me CJ..  It's been on the back burner since 06 and really needs to escape from the studio.It's four feet square, Acrylic on an Oak Plywood panel..

ANSWER: AND CRITIQUE
Terry,   Cool painting! Time to finish it up!!  ;)
I would work with the values-

Enhance main character:  Highlights on the main character bring the eye more strongly to the focal point. Note how I have added several brightened areas to the main figure... You don't want to add too much, but just enough to make the eye see the whole figure and stay interested with maybe a glimpse or two to the outer edges.

I also enhanced the row of ladies as I feel they are of secondary importance. In turn, I enhanced some of the grass at the dancer's feet to lead the eye to and from the dancers.

To help the eye know what to look at, I dulled down the color on the sides to keep the eye from becoming overwhelmed with bright value and color. especially hot spots of color in the form of one bloom or several.

You can dull down the background areas with a thin glaze of grayed down color and of course you can enhance the figure with stronger/lighter and brighter color via glazes and direct painting.
 EDITED IMAGE:


ORIGINAL IMAGE:

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CRITIQUE 9 - focal point


QUESTION from Dawn:
 review:It is a quick painting drawn out of imagination.  


ANSWER AND CRITIQUE:
Hi Dawn, I would be happy to review your painting.  Very unique and interesting piece!

I have done a very rough edit via photoshop -  One way to create cohesiveness and a focal point is to lower values and dull the colors around the outer edges thus leading the eye to the focal point of the.  

The image is very interesting and there is a lot of action, but that also might make it seem chaotic if the values are even across the painting...  so I suggest to darken and tone down edges and leave the brightness and most action at the focal point.  PS -  I may have darkened edges a bit too much in photoshop...  but I think the general idea is there ...  
You can tone down large areas like this with a series of thin glazes in your medium.

CRITIQUE IMAGE:


ORIGINAL image:

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CRITIQUE 7 - FLORAL REVIEW



images below are copyright protected and are not for use other than in this post as a learning tool. These are only suggestions for variations on this piece.
 Question from Jan Stickland:
"Hey CJ! Want to know your opinion on how to make this painbetter! THANKYOU!" 
 CRITIQUE: To check a painting I recommend taking a photo of the artwork in grayscale or transforming it to grayscale in a photo program.

Now you can check the basic structure of the piece without the distraction of color.

Grayscale Check Points:

  1. Note if your focal point created by value (light and dark) is where you expect/desire it to be. 
  2. Is the direction of the lighting consistent?
  3. Do you have a variety of shapes, sizes and spacing for interest?
  4. is the background conflicting with elements of your composition
  5. Have items seemingly disappeared due to a lack of contrast?
  6. Edit the contrast in Photoshop until the desired effect is reached.

JAN'S ORIGINAL COLOR PAINTING:
  
JAN'S ORIGINAL COLOR PAINTING converted to grayscale:


CRITIQUE:
I recommend trying out different things in your photo editing software before editing your actual painting.
Start by editing a grayscale version of your piece. Then bring it back to color and adjust as needed.
After you have a clear idea of what you want to do - go ahead and edit the actual painting or create a new painting.

Edited grayscale image by CJ
Get in those lights and darks where you want them for drama in the picture!
  
A few additions:
  1. enhanced light source from the right side
  2. To add interest, create an erratic shaped bouquet instead of rounded
  3. add some dangly bits hanging off the side of vase to catch the eye and lead inward
      and to break the boundaries of the vase and outer edges of the main bouquet.
  4. you could even add some flowers that may have dropped to the table top.
  5. Add few larger flowers to balance the small ones or add a cluster of
      flowers for a larger spot of concentration.
  6. Soften the red in the background so it is not a main/major player in the composition.
EDITED Color IMAGE by CJ

create an entry point (the dangling flowers and the light spot on the vase)..
  1. create a path for the eye to follow through the composition (do this with color and value)


Thank you for allowing me to critique your wonderful floral painting - It is vibrant and beautiful just the way it is! CJ

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CRITIQUE 5 - De-clutter Photo


images below are copyright protected to Artist Karen Sliwinski and are not for use other than in this post as a learning tool.

Karen stated that when turning her photo into a painting there were so many componants that it was difficult to discern the center of interest. She also asked about value variation.
  
ORIGINAL UNFINISHED PAINTING BY KAREN:
Looks GREAT! Love the way you are painting the figures as well as the foliage!


CRITIQUE:
First task is to clear away some of the distractions and see what remains.


ABOVE: Removed extras and added foliage vingette on lower right edge - but note how the tree trunks come to an end right between the man and woman. Even though they are small, the woman's face is important. it is very detracting to have her facial profile lining up with the tree edge. Also, the base of the tree creates a line of sight across her neck, visually decapitating her.

Do not place strong value changes (or light against dark) in areas that are not your main focal point. The viewers eye will be distracted by high contrasting values, colors details and so on.

BELOW: remove distant point, and tree trunk between people - some subtle left edge tree trunks could probably be left in - I would also soften that tree behind the umbrella.

 If what you liked about the original photo was the tree-lined path, then all would have to again be reconsidered. ;)


Critique of Karen's original photo:

ORIGINAL PHOTO:

The photo is very busy with objects and contains many paths leading the eye in several directions through their value or vibrant color.
EXAMPLES:
  1. One point perspective tree'd path (in high contrast) leading to far back area of image
  2. Another light path between paying man and booth leading to rear area of image.
  3. Many subjects and many vivid colors all demanding equal attention.
Photo CRITIQUE:


Karen, Thank you for allowing me to critique your photo and artwork in progress! Your painting skills are fab!
cj

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CRITIQUE 4 - Cassie Dog


images below are copyright protected to Artist Jan Stickland and are not for use other than in this post as a learning tool.

Besides a general critique, Jan inquired about what texture and colors can be added to the black fur. The colors used in the light fur are yellow ochre, burnt sienna and white.  
ORIGINAL PAINTING by Jan Stickland:
Actually, a very lovely painting as is!  Such a cute pooch!  This is Cassie!

ORIGINAL PHOTO





CRITIQUE:
Details - In any painting, the first thing I consider is the placement of components in relationship to the overall object and in relationship to each other.  Keep re-checking as you paint to make sure shapes and angles remain as you intend.  




  
A dogs face can be very difficult due to foreshortening of the muzzle, shading, unfamiliar angles, etc..

Another issue is to make the dog look aged. hard sharp lines make the face appear younger, soft sagging lines give the appearance of age. Also a few gray hairs around the muzzle.
 

I often say "if you get the eyes right, much else will be forgiven" So if the eyes are on target, the viewer will not care if you miss a speckle or spot here and there! lol Jan did a marvelous job on the eyes - so alive and right to Cassie's character!
 

After the eyes, I would pay close attention to the shape of the black part of the nose, the muzzle and the shape of the white spot draping across the muzzle. The dogs lips also offer much insight and are an added bonus to further understanding Cassie's character.
 

I determined that the upper paw in the original painting detracted from the facial portrait so I moved down a bit, to be less of a focal issue. The lower edge of the dog's legs and body would appear more natural if softened and with more shading. Added detailing and shading on the cushion would add to the illusion she is set down into the surface.
 

For fur, I would first lay in the light and dark areas with whatever color you are using or burnt umber with a dark blue, maybe a squeak of black. As long as you establish the lights and darks that create the curves of the body. You can glaze these over the existing dark color so they blend nicely into each other along the edges and do not make spots. It may take several glazing layers to reach desired results. Then, you can dry brush in fur on top in a slightly darker or lighter value. I might experiment with some mauves and blues in the white and also the ochre and dark areas - just to break up the very yellow, ochre and dark dark darks... lol
 

A black or white object has much reflected color in it - so for instance, in the white chest, could have some blues, pinks violets etc all the while, the overall look is "white"

Thank you so much for allowing me to critique your painting -
Best Regards, CJ Rider

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ACRYLIC PAINT PROPERTIES -tips


 
  1. ACRYLIC PAINT DRIES VERY FAST!!
Acrylic paint will sometimes dry faster than you can paint!
  • don't paint in a draft
  • don't paint in the sun
  • don't paint near heat or air conditioning vent
 You can remedy fast drying by using an 'acrylic retarder medium' product that slows the drying time. Don't overdo it though, or you will end up with a painting that stays tacky too long!

Have a fine-mist spray bottle handy to spray a light mist of water over your palette and on the area you are working to keep the paint moist.  Keep it very light so the paint does not run.
        2.  ACRYLIC PAINT CHANGES COLOR WHEN DRY
You will find out early on that acrylic paint appears darker when it is dry.  To understand why, take a look at some acrylic "medium"  note how it is milky white when wet, but dries clear? Acrylic paint has this medium like product in it to make it flow and to float the pigment in. As a pigmented acrylic color dries this "medium" also dries and becomes clear allowing more of the pigment to show through thus making the color appear darker.

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