"New Painting by Douglas_W (Archive from older forum)"
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Douglas_W
« on: 07. Jun 2002 at 13:13 »
Here is another painting I finshed awile ago. Have at
it, any comments or complaints welcome
I really struggled with the lemon in this one
this image is 9x12
Thanks and God Bless
one more
If these are too big sorry I am just starting to learn
how to use photoshop.
last one,
thanks for your time
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BluedemonX
« Reply on: 07. Jun 2002 at 19:10 »
Wow.
9x12: 9 inches by 12 inches, or 9 feet by 12 feet?
I can't begin to critique your painting - Mr. Antonov
is doing a FINE job and I will be greatly appreciating
his comments once I can get around to painting something
(I'm VERY busy these days - moving, too!)
However, I can say that the two biggest things you need
to work on are composition and draughtsmanship. Not that
you suck at either, just that the difference between these
GOOD paintings and the EXCEPTIONAL ones you WILL be painting
(congrats on selling canvases, by the way! YOU ARE NOW
A PRO! Woohoo!) is exactly that.
For composition, the classicists ruled. Any half-decent
art textbook will discuss the Golden mean, etc.
For draughtsmanship - well, for me (not that my drawings
are perfect) it's a case of measure, redraw, measure,
redraw, measure, redraw, etc. Maybe J.D has some pointers.
Ruthless attention to detail in the drawing phase'll provide
the skeleton that'll really make the painting rock.
(Hence my own reluctance to pick up brushes for now. I
want to NAIL drawing shut, and do so in a "painterly"
style.)
In conclusion, let me just say that I'm impressed with
the way you handled the frosted glass. Tricky subject.
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Douglas_W
« Reply on: 07. Jun 2002 at 22:06 »
inches
« Reply : 08. Jun 2002 at 10:34 »
Hi, Thanks for your comments bluedemon just to let you
know I do not usually go into a painting blind. I atempt
alot of drawing before I paint the actual piece. This
is my drawing study I did for this composition in oil
pastel.
God Bless
close up of the pastel drawing
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BluedemonX
« Reply #8 on: 10. Jun 2002 at 11:11 »
What I meant by drawing is your underdrawing.
Your study is excellent and shows that you've solved
the color issues and composition issues.
However, I draw your attention to the diamond patterns
in the decanter. You've drawn them in the middle of the
right hand side as being a bit flatter than they actually
would be on a cylindrical object - and
though nobody expects mathematical precision on the decanter
form, that's something to nail as close as possible in
the underdrawing.
Just my 0.02. We have opposite problems - until told otherwise,
I'm a better draughtsman than I am a painter. Your painting
skill is excellent, you just need to work a bit (emphasis
on BIT) on the drawing that acts as the skeleton to the
piece.
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Alexei Antonov
« Reply on: 10. Jun 2002 at 12:26 »
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Re: New Painting by Douglas_W 110-31-glass.jpg
« Reply #9 on: 10. Jun 2002 at 12:26 » Quote Modify
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It is a wounderful painting.
This pastel drawing was made on a paper or it is one
of your painting layer?
I think that during photo shooting, the camera wasn't
positioned precisely verically towards the painting
and that's why all the objects are leaning to one side.
I tried to steighten it but still have a question: was
the composition initially made with some little incline
to the horizon. But I can tell now that or the angle
is not enough or the table should be stopped at left.
Generally speaking the angle of the table towards the
horizon was used not very often by Old Masters.
It would be a good idea to add something in the closer
background in the dark.
The main mistake- is the front lighting.
When painting crystal you never can be tired of constructing
the precise lines, even if it will take more time that
anything else. These kind of details especially make
your painting very rich and emotionally charged.
Watch: the metal is painted pretty well, but according
to me ther is a lack of ornament, even if originally
it was not there. The same thing I can tell about the
coins.
You never can loose the horizontal lines, the vertical
lines and ellipses even if decorative elements are very
complicated.
The finishing highlights also must be blendet and the
degree of their blend is determining the final facture.
Good sides:
The rythm of lemon's skin is painted very nicely. The
only highlights on the lemon peel are a little bit too
white, or maybe it is the result of photo reproduction.
The texture of the table is very well done.
The cork in the glass is very well done.
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Douglas_W
« Reply on: 12. Jun 2002 at 00:20 »
Thank you once again for your insughtful comments Mr.Antonov,
your knowledge is such a refreshing well. To tell you
the truth I feel extremely guilty in taking your time
and expertise for free (considering how much one has
to pay in education these days), If there is anything
that I can do to help out let me know.
Now with response to your critque,
RE: This pastel drawing was made on a paper or it is
one of your painting layer
My pastels are done on paper, I have sort of incorperated
some of the stages that you do for your paintings in
these drawings. In my next one I'll be sure to document
it so you can see the process.
RE:I think that during photo shooting, the camera wasn't
positioned precisely verically towards the painting
and that's why all the objects are leaning to one side.
Yes I do believe I was a little crooked in shooting
the piece that day, and I couldn't figure out how to
straighten it in photoshop.
RE:I tried to steighten it
Thanks
RE:but still have a question: was the composition initially
made with some little incline to the horizon. But I
can tell now that or the angle is not enough or the
table should be stopped at left.
Yes I composed the piece at a slight angle, wasn't to
happy with that outcome.
RE:The main mistake- is the front lighting.
Yes, I see how that makes to painting quite stark, and
flat, thank you again
RE:You never can loose the horizontal lines, the vertical
lines and ellipses even if decorative elements are very
complicated.
Sorry I don't quite understand about the horizontal
and vertical lines, would you be able to demonstrate
it to me visually, when you have some time
RE:The rythm of lemon's skin is painted very nicely.
The only highlights on the lemon peel are a little bit
too white or maybe it is the result of photo reproduction.
Yes they are definatly too white, I thought that the
highlights were very intense white on the still life
lemon, but I see in my painting they are way to intense.
White is very tricky to use
Thanks again Mr.Antonov for all your help, it is a truly
a blessing.
God Bless
Doug
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BluedemonX
« Reply on: 12. Jun 2002 at 08:48 »
RE: Yes I do believe I was a little crooked in shooting
the piece that day, and I couldn't figure out how to
straighten it in photoshop.
The tool you are looking for is called Skew.
RE:The main mistake- is the front lighting.
Yes, I see how that makes to painting quite stark, and
flat, thank you again
The thing to look for is three-point lighting. It's
what they do in photography and television to give the
most 3-D appearance to a given object or scene. What
you want to do is take an object. Put your first light
to the right and above in front of the object pointing
at the object (or the left - but transpose the next
instruction) and then get a second light that is half
as bright and put it in front of, above and to the left
of the object (or right if the first was to the left)
pointing at the object. Then, get a third light, put
it behind the object pointing downwards, at the object
or slightly away, at the same strength as the first
light. So in essence, you have your subject in the middle
of an equilateral triangle, with two lights at two points
at full strength and the third at half strength. The
light behind is important because it makes the subject
stand out more from the background.
RE:You never can loose the horizontal lines, the vertical
lines and ellipses even if decorative elements are very
complicated.
Sorry I don't quite understand about the horizontal
and vertical lines, would you be able to demonstrate
it to me visually, when you have some time
I think what he's getting at is, be careful when drawing
to make sure your vertical lines and horizontal lines
are correct and don't go where they shouldn't - follow
rules of perspective, vanishing points, etc. If you're
going to foreshorten ellipses, make sure they're properly
foreshortened. If you draw an ellipse too narrow or
too wide, and your table lines aren't parallel going
to the proper vanishing points, your painting, though
painted with skill, will start to look like a Picasso
painting or Cubist exercise, with all kinds of odd angles
that'll jar the viewer. Your decanter, for example,
has in one place a diamond pattern that doesn't follow
the curve of the decanter, and this makes the decanter
look flatter than it is.
I do envy your skill with paint, though. I'll reiterate
that you've definitely nailed the frosted glass, cork,
etc.
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anwar
« Reply on: 07. Jul 2002 at 22:06 »
Hi you would probably benefit from drawing in pencil
on paper and then transfering to the canvas. By tracing
once perhaps three times on succesive tracing papers
one can really hone in the drawing prior to placing
the color. Also, your strokes seem tentative and overly
cautious. A good drawing will help that a lot. Your
coloring seems pretty good but can use a purposeful
celebratory splash of color you enjoy. You are using
an excellent base but reservation is not always so enjoyable.
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