And carry on improving whatever I can
Ufff ...
I'm tired!
Hahahaaa
Claybord experiment [No.3]
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Re: Claybord experiment [No.3]
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Re: Claybord experiment [No.3]
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.
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.
Re: Claybord experiment [No.3]
Yes they did indeed, lolMike Sibley wrote: ↑Wed Jan 11, 2023 1:39 pm Lights affect the contrast. So, I can appreciate how your lights were also playing tricks with the colours.
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!
*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...*
Re: Claybord experiment [No.3]
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.
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.
Re: Claybord experiment [No.3]
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
Thank you...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.
Yes, pure traditional oils, and an extra waiting time.I meant to ask if you’re using traditional oils, meaning that you have to wait out the drying time between applications.
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'm not sure about the drying time, but again...I’ve also heard of water mixable oil paints that dry quickly.
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
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Re: Claybord experiment [No.3]
You're achieving a lovely separation between the bird and background. And the bird already has bags of cheeky character.
Re: Claybord experiment [No.3]
Thank you Mike.Mike Sibley wrote: ↑Sat Jan 21, 2023 2:50 pm You're achieving a lovely separation between the bird and background. And the bird already has bags of cheeky character.
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
*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...*
Re: Claybord experiment [No.3]
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.
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.
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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...*
Re: Claybord experiment [No.3]
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...
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...
You do not have the required permissions to view the files attached to this post.
*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...*
Re: Claybord experiment [No.3]
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.