Claybord experiment [No.2] DISCONTINUED.

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PogArtTi
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Re: Claybord experiment-No.2

Post by PogArtTi »

I'm constantly comparing proportions, because they're never 100% exact after first sketch.
I'm always off, a bit here, a bit there...
While progressing the painting, I'm double checking the outlines, and correcting when necessary.
So the further the painting goes, the more accurate it gets.
Also, when making strokes, I can not see outlines, they vanishing during the painting process, so imagine you've had outline, and after few brush strokes the lines, edges are compromised, they gone...
So it's necessary to make corrections and continuously checking proportions...

When you have a look on oil painting tutorials, most of artists having their canvas vertically.
To be honest, I've never seen horizontally?
Whether it's still life painting, or artist is out in the field, or they have a model at the front of them...
Canvas are vertically placed.
It's easy off constant correcting proportions...
Imagine having canvas horizontally, when model is vertically...
You'd need to lift your head up to check the subject, then lower head down to make a stroke, and so on and so on...
Having canvas at the front of your face it's much easier.
It's blink of the eye, to correct shapes.
It's much harder for brain to remember the shape exactly as it is, so while transferring on the horizontal surface, you may miss a bit, and the process will be harder to achieve perfection.
Blink of the eye is quick.
Within moments you blinking your eyes there and back, no brain memory is needed, and then you are correcting your strokes constantly in no time...
There's one more benefit of vertical position.
Remember, that oil painting is mostly about value, hue, and chroma.
Oil painting is to be watched from distance to enjoy it.
At close up, it doesn't really make sense in many cases, because shapes are compromised when looked at close range, mostly you will see patches of colours, and brush strokes, being confused what it actually is that you looking at...
Then, when you step back, it's all making sense.
Those random patches becoming the shapes, details...
I know you know what I mean Laurene ;)
So if you an oil artist, you need to step back, away from your canvas, to see if your colours, values making sense ;)
Because oil painting is to be enjoyed from distance ;)
Further more, your shapes, proportions are more easy to be seen if off, when you look at these from distance.
At close up, it's not that obvious whether everything is correct or not.
And I'm talking here about bigger sizes than post card...
Post card may be alright when you have it horizontally next to your drawing.
Small enough to have it side to side on the drawing desk.
Then in blink of the eye you can make necessary corrections.
Paintings are usually larger.
For example my painting are A3 size.
Imagine having my painting at a front of me, and my reference next to it to be able to correct it in blink of the eye...
Having A3 board at front of me, means that the reference will be farther away at my side, so when looking at the reference, there angle I will look at will compromise the correct view, so I may make mistakes while placing outlines on my canvas, just because I will look at some angle at the reference...
To be correct with outlines, I need to make sure, I will look at my reference when being at front of it, not at its side...
Imagine projector, and projecting the photograph on the wall not parallel, but at some angle.
Like if your projector was on the floor, and you was projecting photo upon the wall.
The angle of projection will compromise the shapes of the picture, so projected photograph on the wall, at this angle will be off.
Oil artist need to be free to move, step in, step back, be at a front of reference, then move at a front of canvas to make the stroke, etc.
It's different when you have a model sitting at a front of you.
Then you don't need to move, as everything is positioned just alright to make measurements and place outlines over the canvas...
I know.
Lots of writing Laurene, but I wanted to express everything I know about it, to make you more familiar of benefits having canvas vertically ;)
So sorry if it was boring, I tried to help understanding ;)
All the best, and thank you for keen comment ;)
*History isn't there for You to like or dislike. It's there for You to learn from it. And if it offends you, even better. Because then You are less likely to repeat it. It's not yours to erase - It belongs to all of us...*

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Laurene
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Re: Claybord experiment-No.2

Post by Laurene »

No, not boring at all. Very interesting! Thanks for taking the time to explain.

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PogArtTi
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Re: Claybord experiment-No.2

Post by PogArtTi »

Laurene wrote: Thu Dec 15, 2022 2:34 pm No, not boring at all. Very interesting! Thanks for taking the time to explain.
I am afraid I did overdue it hahahaaa!!!
Just been tired after work, resting on sofa, and enjoying my writing, lol hahahaaa ;)
PLEASE FORGIVE ;)
*History isn't there for You to like or dislike. It's there for You to learn from it. And if it offends you, even better. Because then You are less likely to repeat it. It's not yours to erase - It belongs to all of us...*

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PogArtTi
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Re: Claybord experiment-No.2 DISCONTINUED.

Post by PogArtTi »

That's it.
Claybord experiment is finished.
After today's session I won't longer continue it.
After 4 days the paint's appearance becomes very dull, so I oiled in to bring the colour back, but the real issue to me is elsewhere.
The claybord is very slick, there's no sufficient tooth to it, to let the paint hold on it.
I'm simply pushing the paint all over its surface, hardly trying to leave the brush stroke in place on the spot I want...
The paint on the surface is very thin, like glazing (sort of), and I just noticed I was removing the underpainted colour with fresh strokes on top, instead of adding up - if you know I mean.
The other problem is - the tinny particles of the dust.
On this slick surface these particles are very noticeable, and they're just glued all over the painting.
Therefore the benefit of having that slick smooth surface is ruined, as everywhere you have the dust, what makes the painting look horrible...
It was worth to try.
I have had similar trouble at my first experiment (my self-portrait), but I managed to make it likeable...
Unfortunately I have enough of it, as I'm working hard to minimalise the issues, instead of fully enjoying painting.
That's it, this is the end of clayboard experiments ;)
I will start all over again on canvas.
Thank you for keen support throughout, and kind comments dear friends ;)
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*History isn't there for You to like or dislike. It's there for You to learn from it. And if it offends you, even better. Because then You are less likely to repeat it. It's not yours to erase - It belongs to all of us...*

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Laurene
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Re: Claybord experiment-No.2 DISCONTINUED.

Post by Laurene »

That’s too bad but I can see what you mean in the attached photos. I think I’d be frustrated too. I’m happy to hear that you’re going ahead with it on canvas though. The reference you have is too good to pass up!

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PogArtTi
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Re: Claybord experiment-No.2 DISCONTINUED.

Post by PogArtTi »

Laurene wrote: Sun Dec 18, 2022 11:27 pm That’s too bad but I can see what you mean in the attached photos. I think I’d be frustrated too. I’m happy to hear that you’re going ahead with it on canvas though. The reference you have is too good to pass up!
Exactly Laurene ;)
The reference has to be processed till it's finished.
The claybord was only an experiment, to let me try on my own pros and cons.
It's working just perfectly for airbrushing, I wanted to try it for oil painting ;)
The surface is ideally matching my likeness, but there's lack of tooth to hold an oil paint efficiently.
And those dusty particles are so noticeable, just because the surface is so slick...
Not having enough of tooth, I've been just pushing the paint over, with fresh brush strokes.
I did manage to get the self-portrait done, trying not to get upset, and see if I can work the issue around, and I did finish the painting.
I did love it, I am proud of the final effect, and what I've achieved, and I was sure the claybord is alright for my oils ;)
Unfortunately I realised (just yesterday) I have enough ;)
For long time I'm watching tutorials, where artists enjoying their paintings, where I'm fighting back to go through mentioned claybord's issues ;)
That's it, I'm done with it ;)
I was worried I sent back all those canvas to swap them for claybord panels - I haven't!
So I'm good to begin a fresh start, onto designed surface for oils this time - no more experiments ;)
Thanks for following Laurene ;)
*History isn't there for You to like or dislike. It's there for You to learn from it. And if it offends you, even better. Because then You are less likely to repeat it. It's not yours to erase - It belongs to all of us...*

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