Showing posts with label paint. Show all posts
Showing posts with label paint. Show all posts

Saturday, February 23, 2013

CRITIQUE 15 -PROPORTIONS: EYES

There are many good things about your sketch! You have a created a good likeness to the original image and I will show you how to make a few tweaks to get it even closer.
I will break down your portrait sketch review into several parts so we can be more thorough. 
Below is part one.

I want to focus on placement of eyes in relation to each other and the space for the nose. I would recommend sketching just the eyes and bridge of nose (utilizing the tips) a few times until you begin to see more and more details. The more you draw something - the more you see its details.
You have the lower edge of the eyes in proper alignment with each other in your sketch, but if it ever becomes an issue, you can see how a line under the eyes on the original would help you clearly visualize how the eyes are placed on the face.


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Monday, February 18, 2013

MAGIC FLESH TONE FORMULA!


HOW TO MIX FLESH TONES
Mixing correct flesh tones is the Holy Grail of portrait painting! No wonder manufactures make tubes labeled "flesh"!!

The first thing to wrap your mind around is that a tube of paint labeled "flesh" - isn't!  
Don't be fooled into thinking you will buy a magic tube of flesh and begin painting accurate skin tones with it. (first of all, think logically - it is labeled "flesh" but WHOSE flesh? Yours? Anyone's you know? How about anyone's you have ever seen before??  Really look at the color and compare it to several types of real skin!
You may have done or have heard of others doing a great deal of work to find some artist's secret recipe to making fleshtones?    Hogwash!! While there are some common sense guidelines for specific skin types ... there is no one magic bullet formula for mixing "fleshtones."

Retrain your mind to think differently about "white" flesh, "brown or black" Flesh because there is no such flesh in real life!
While creating self-portraits with a group of children several of them candidly stated that they had white or black or brown flesh and reached for that color of pencil or paint.

My job was to teach them to see the actual colors in their flesh!
I held up a sheet of bright white typing paper which they all agreed was white. I passed out a sheet to each student and asked them to place their hand on the paper and now tell me what color their skin is. Surprisingly some still said the caucasian skin was "white" and any of color was black. I went on to demonstrate and explain the nature of flesh. They started seeing the actual colors instead of the labels.

*We are loaded with preconceptions about colors, shapes and objects at a very young age. When asked to describe something or draw it, we revert back to these preconceived notions learned very early in life. These are most likely very primitive perceptions of what something actually is.

Same holds true with color.
If asked "what color is the sky" many will just say "blue
."  But is it just blue? Can you grab a tube of blue paint and paint any sky? (first decision would be which blue! "Sky Blue"??)

HOW TO PAINT FLESH:
Flesh is just like any other object you paint - it is subject to its origin and to its surroundings.  

What I mean by that is its origin may be native american, caucasian, etc,  while its surroundings may be wood, metal, colored cloth, the atmosphere, type of lighting, ie reflective light, and so on.
 
Knowledgeable artists represent a pure white flower or cloth using a myriad of colors not just white and gray/black.  That is how flesh is.  It isn't pure white, pink, black, brown etc.   
There is no single formula for flesh!!
So you might wonder if you should own a tube of "flesh" paint?   From my personal and teaching experience I say not early on as it can be more confusing than helpful.  Some tube "fleshes" tend to go muddy/gray rather quickly when mixed with other colors, so if you already own a tube or plan to buy one anyway... it is important to understand what colors make up your tube of "flesh" if you plan to use it as a base for mixing other needed flesh tones.  

You will find some common ground but in general, every time you paint a portrait, you will recreate what color "flesh" is. The key is to be observant to the local colors, reflective color, shadows, surroundings, etc.
If you would like a critique or have a question- please drop me a message! 

©CJ Rider

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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 13 geoff in oil part 2















Wow Pandora, you have been busy!!

Yes, the blue background is fine.
I see you did many updates! You are doing a great job!
The T-shirt is a nice add in!

Your flesh tones are very nice, but be careful of the dark areas that they do not become too gray-blue.

The cheek shapes are looking good and I know it took a lot of study and work to accomplish this level of detail.

Note how detail at jaw-line and chin make face appear longer and less round.



EDITS BY PANDORA:

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CRITIQUE 13 - geoff in oil



















CRITIQUE:





Coming along nicely!  
I recommend placing some preliminary lines in your drawing before painting to make sure you have your angles and features in the right position. you will continue to check these angles as you paint. See photograph as well as line across the eyes on painting. 
The left side of the face (as we are looking at the image) is good and you also have a nice cheek color there but note how that eye and eyebrow are a tad large and low.  I have made it more obvious by drawing a line across the painting and on the photo.

TIP:
tape the photo directly on your canvas - have it lined up with the painting edges maybe put it tight in a corner of the canvas so you have 2 edges lined up- now put a ruler across the eyes in the photo and that same angle should be reflected in the eyes in your painting.
 
Reflect back to the instructions for the drawing critique- note the angle of the jawline and define the shape of the chin. 
Note that the neck needs to be a tad wider on right side (as we look at the painting). 
You are doing great! just keep refining the features and watch it evolve!!  
This is a beautiful painting Pandora - it evokes much feeling in the viewer!
cj

EDITs BY ALICE:

















CRITIQUE TO BE CONTINUED....
>>HERE<<


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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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