Claybord experiment [No.3]

[PogArtTi]

And carry on improving whatever I can
Ufff ...
I'm tired!
Hahahaaa

[Mike Sibley]

Your lighting problems were interesting - and I'm happy to hear you might have found the ideal solution.

When drawing, I prefer natural light. I can work with artificial light (I have to for the videos, of course), but I often "repair" an evening's work the next day in natural light. Lights affect the contrast. So, I can appreciate how your lights were also playing tricks with the colours.

[PogArtTi]

Lights affect the contrast. So, I can appreciate how your lights were also playing tricks with the colours.

Yes they did indeed, lol
The natural light is best, you know it.
But we can not choose the time of the day for session painting...
Well, you might do so easy, but full time employed people can not
Also...
At my studio room I have a day light afternoons...
Even though not every day is equal...
Or shorter winter days, if you know I mean...
So in my case I simply can not rely on day light really...
Also when coming through the windows is causing these reflection on the painting...
To resolve that flaw, I'd have to move my studio sideway of the room, and I cannot, as there'sno enough space for me...
So in my case the artificial light is the only way I can lighten painting biard.
I've got two cooler bulbs, they're a main light source, and yet I have low light warmer bulb, to provide some balance, a gentle touch to the whole light...
So far so good I'd say Mike
It's working very well since my last post update.
Thank you for your attention!

[Laurene]

I can understand your frustration with lighting but it sounds like you’re on the right track. I’ve read of other artists who use a mixture of warm and cool lights as you are doing.

Your little warbling white-eye is coming along beautifully and I like the idea of not having too much detail in the background in this case as it helps to keep our attention focused on the subject.

I meant to ask if you’re using traditional oils, meaning that you have to wait out the drying time between applications. I’ve also heard of water mixable oil paints that dry quickly.

[PogArtTi]

I can understand your frustration with lighting but it sounds like you’re on the right track. I’ve read of other artists who use a mixture of warm and cool lights as you are doing.

Yes Laurene, that's right.
There are professional photo studio lights, where you can set temperature manually, they're expensive, so at the moment I've found just cheaper way around

I like the idea of not having too much detail in the background in this case as it helps to keep our attention focused on the subject.

Thank you...

I meant to ask if you’re using traditional oils, meaning that you have to wait out the drying time between applications.

Yes, pure traditional oils, and an extra waiting time.
I used to use Alkyd (fast drying) oils, which are dry next day, but this is my come back to oils, and I've never been using pure oils, that dries slow...
I didn't like to wait...
But things has changed, and I wanted to make my second start with oils sort of unique, different to what I used to...
Therefore I'm practicing with slow drying oils only.

I’ve also heard of water mixable oil paints that dry quickly.

I'm not sure about the drying time, but again...
It's water mixable product.
Something was altered to make it solvents free, to make the paint healthier, probably out of smell too...
Our Linda has started practicing with them, she will know everything in detail I'm sure
I'm just not interested, so I didn't check what they are.

It's because I'm learning oils for second time, and I do stick deliberately to genuine old masters oils Laurene
I'm also painting straight out of the tube.
No any solvents, no any other chemicals, but the oils on their own only

[Mike Sibley]

You're achieving a lovely separation between the bird and background. And the bird already has bags of cheeky character.

[PogArtTi]

You're achieving a lovely separation between the bird and background. And the bird already has bags of cheeky character.

Thank you Mike.
I had to left behind it for a week, while busy at working shifts, so I'm hoping to move it on again.
I started at my "girls" portrait instead, but the bird isn't less important

[PogArtTi]

Well, it's been a good week of a gap, but finally I'm back to it
I've found that making a feathers is very alike making the fur, what means - lots of tinny strokes

Warbling white-eyes are found in Japan, Indonesia, South Korea, the Philippines, and Timor-Leste. These birds live in forests, open woodland, thickets, and shrubland. Thye can also be found in groves, gardens, plantations, and city parks.

[PogArtTi]

I'm a bit behind, as I started improving things in the household...
In two weeks time the agency workers will start refurbishment of the kitchen, then replacing all windows and doors...
So I'm preparing/moving things etc...
But I'm missing my painting too, so even if a bit tired, I'm trying to spend at list an hour sometime to carry on the painting...
Therefore the progress is minor, but at least some...
● Today I did some body shading around, to achieve some more definition, and I started pushing the foliage of the greens up towards right end of the painting...

[Laurene]

Very good to see the step by step progress. I know what you mean when you say that painting feathers is similar to painting fur. I have found that to be very true with graphite drawing as well. In reality, the only feathers that need to be detailed as what we think of as being traditional feathers are wing and tail feathers. In this case, this bird in this pose, we really can’t see much detail in the wing and tail feathers anyway.