Traditional Art General

[Anonymous No.4030589]

Last one died a slow painful death, let's make a new one and watch it suffer too.

Post the traditional art YOU HAVE DONE for critique or whatever. Don't just dump your folder of Sargent watercolors and Pre-Raphaelite paintings because that's not what this thread is you dipshit. Believe it or not some people still do oil paintings, and there's at least two or three of them on this board if you must know.

[Anonymous No.4030594]

>>4030589
im seething

[Anonymous No.4030613]

>>4030589
>Don't just dump your folder of Sargent watercolors and Pre-Raphaelite paintings because that's not what this thread is you dipshit. Believe it or not some people still do oil paintings, and there's at least two or three of them on this board if you must know.

how snobby and arrogant can you be, brian the delusional

[Anonymous No.4030619]

>>4030613
I'm sorry what I meant was please dump 15 jpegs of shit paintings you like in this thread while I try to keep it alive but lose motivation in three days as it sinks to the bottom of the catalog.

[Anonymous No.4030642]

>>4030613
I’m too lazy to be delusional

[Anonymous No.4030709]

heres a self portrait

[Anonymous No.4030752]

I'd like to learn to paint with watercolours. Do you guys have any advice? I bought a little travel box of W&N colours for pretty cheap, I heard they were good but I haven't tried them yet. I've got brushes and a palette and the paper. No real experience though.

[Anonymous No.4030802]

>>4030752
Paint some colour swatches and still life.

[Anonymous No.4030817]

painted this from my imagination

[Anonymous No.4030926]

I’m trying to paint a prickly pear cactus but I’ve never done a cactus before so I have a lot of detail to add to this. I’d really thank you for any suggestions for how to improve

[Anonymous No.4030931]

>>4030926
Sorry for the terrible lighting

[Anonymous No.4031043]

>>4030752
Gave it a shot, its a bit tricky, might as well post my first foray. Getting the right shade of a color, too much water or too little. There was also no black in the set I bought. I was surprised how difficult it was but that might just be me being new and having no clue. Any tips would be appreciated.

>>4030802
That sounds like a good idea. Try and practice the basics.

>>4030926
I dont have any suggestions, but id like to say that looks great!

[Anonymous No.4032746]

>>4030817
Nice dude, great sense of values and colors, maybe you need to work in the topic, or compositions, yeah looks cool but doesnt tell something, unless that was your objetive.

[Anonymous No.4032760]

[Anonymous No.4034506]

>>4031043
Just do super light shades at first maybe then add darker ones on gradually until you get a good feel for how much/little water you need. Once your muscle memory learns it you won’t even think about it

[Anonymous No.4034652]

too tired, ill finish the eye later or just leave it unfinished like I always do

[Anonymous No.4034669]

>>4034652
You should always work on both eyes simultaneously.

[Anonymous No.4034708]

Tried a new approach with gouache

[Anonymous No.4034717]

>>4034708
Looks really nice, very simple but aesthetically appealing

[Anonymous No.4034721]

>>4034708
anon this is great

[Anonymous No.4034732]

>>4034717
Thank you! I did it on a tiny piece of scrap paper and it was my first time trying this style, so I figured I'd keep it simple :)

[Anonymous No.4034734]

>>4034721
Thank you, I appreciate it!

[Anonymous No.4034765]

>>4034708
Wow

[Anonymous No.4034815]

>>4034652
Leave as is, this is supremely eerie.

[Anonymous No.4034855]

>>4034669
I did but one didnt come out as I'd like, since I was making it worse when trying to fix I just decided to stop

[Anonymous No.4035017]

This might be a silly question but how do you mix watercolours? Do you do it on the pan itself or in a palette? I feel i cant deposit enough paint on the palette, it either contaminates the pan of the other colour or gets wasted if i wash the brush before picking up the other colour.

>>4034708
Looks great! Love the colors!

[Anonymous No.4035090]

>>4035017
Thank you! Also, I'm not the same guy you asked that to, but for watercolor I use either a large flat palette, or a smaller one with little "pools" that you can mix colors in.

Depending on the style you're going for, you can even mix the paint directly on the paper. Example, you paint a tree with a green base, then pick up some blue and dab it on the wet paint, then get some reddish-brown and do the same. It adds subtle color variations and occasional blooms that can work really well.

Pic related are some old watercolor studies I did, you can see the random pops of color I'm talking about throughout the trees

[Anonymous No.4035107]

>>4030589

how do I start painting? should I use oil, acrylic, watercolor, gouache? do I have to be good at drawing to be a good painter?

[Anonymous No.4035122]

>>4035107
Just start practicing and use whatever medium you like. Plenty of tutorials not YouTube. Watercolor is fun but the process is different from the other mediums. With watercolor you work light to dark instead of dark to light like you do with oils, gouache, etc. I think most art schools start students off with gouache since the process is somewhat similar to oils only you’re forced to pay attention to strokes and paint boldly since you can’t overblend.

[Anonymous No.4035126]

>>4035122
Oh and also drawing is extremely important. If you can’t draw then you won’t be able to paint.

[Anonymous No.4035141]

>>4035107
Being decent at drawing helps with painting, but you don't need to be a god at it if you're going for a more painterly style. You do need to understand color, values, etc., but as a beginner all you need to do is have fun with it and experiment.

Oils and the supplies for them can be expensive, so I'd stick with other mediums for starters.

Acrylics can be cheap and you can paint on paper, canvas, whatever. They also behave similar to oils, but they obviously dry much faster. They don't reactivate though, so once they're dry they're dry. This can lead to wasting paint of you use too much, and you also have to carry around the paint tubes if you ever want to paint outdoors or just take your stuff on a trip.

Gouache and watercolor are my favorites because you can put them in a portable palette and paint anywhere, all you need is your palette, some water, sketchbook, brushes, and a color mixing surface. Gouache is my current favorite because you can get a lot of different looks with it, it can be reactivated, and it dries quick.

[Anonymous No.4035145]

>>4035141
>>4035122

so I can just go to michael's, buy paint, brushes, and a canvas, and start painting? I feel like there's a lot of resources for drawing, but not the same level of books for learning how to paint. like what anon mentioned about painting from dark to light, what other concepts are there or where can I learn them.

[Anonymous No.4035161]

>>4035145
There's some good content for painting on YouTube, lots of traditional artists on Instagram also share process videos, tips, or even have classes and tutorials, and there's a lot of good books as well.

It depends on what medium you want to use, and what subjects you want to paint.

My process when I first started (I started with watercolors) was: I know I want to paint with watercolors, and I want to do mostly natural stuff (landscapes, trees, etc). I looked up some watercolor artists and found a few that I liked, started to read their blogs, looked for their videos, analyzed their paintings and tried to look up how to do the things I couldn't figure out on my own.

Even simple "how to paint X" can be a good place to start to grasp the basics.

The first book I bought was The Urban Sketcher by Marc Taro Holmes, he used to do urban sketching at the time, but the book included a ton of techniques and terminology that I had no idea even existed, and it set me on the right path to learn more.

Just go to Instagram, YouTube Pinterest, Tumblr, etc and look up things like "medium" (e.g. gouache, watercolor), "medium+subject" (e.g. gouachelandscape, oilportrait), "medium+painting", "how to medium", that sort of thing. Save all the pieces you like, see if the artists have any educational content about it, watch the videos that pop up.

I promise you'll figure out what exactly you need to learn and what techniques are part of the process.

As for general tips:

- squint a lot to see values and masses of color

- start with large generic shapes, don't add details until the end when you have all your major features, colors, and values the way you want them

- wash your brushes when you're done

- you'll generally want to paint from dark to light, watercolor being the exception where you have to work from light to dark

- if watercolor is your medium, use less water. Everyone always uses super watered down colors and loses the vibrancy of the paint, don't do that!

[Anonymous No.4035286]

some questions for anons who know how to paint:
how do i get cool darks without making ugly greens when i blend blue with yellowish skin tones? Also, how is James Gurney's book on color any good?

[Anonymous No.4035347]

>>4035090
Thanks. Those look great. Do you deposit paint on the palette using tubes or do you use pans? My issue is that transferring the paint to the palette with a brush. But most of the paint stays in the brush. Do you wash the brush after each color, IE so that a brush is always clean when touching a pan, unless the brush is full of the same colour as the pan. I'm really new at this and I feel really stupid for asking, I'm not sure if I'm supposed to get the pans dirty and just clean them from time to time or if there's some technique I'm missing.

>>4035286
Looks wonderful. What medium is it? Afraid I don't know about the darks though.

[Anonymous No.4035371]

>>4035347

Thanks!

>Do you deposit paint on the palette using tubes or do you use pans?

I buy paint in tubes that I then use to fill up my own set of pans (I bought empty pans and a small tin case on Amazon, I use that), then I pick my colors from those. After a while they'll dry up, but spraying them with water and letting them sit a bit softens them up again (I also spray water on them when I'm done so they have the time to get even softer while I'm not using them). I do have one set of pan watercolors by Kuretake (it's on Amazon, big box with a green lid), only watercolor pans worth buying, and great for a beginner btw, they're about as good as tube colors for a fraction of the price.

>My issue is that transferring the paint to the palette with a brush. But most of the paint stays in the brush.

This will always happen to an extent, just try and squeeze most of it out of the brush. Also try using a bit more water to release the paint from the brush.

>Do you wash the brush after each color, IE so that a brush is always clean when touching a pan, unless the brush is full of the same colour as the pan.

Ideally, yes. I put my color on the palette with the brush, rub off the rest on a rag, rinse the brush in a water jar, then into another (this way the rag and the first jar will take most of the leftover paint and the second will remain relatively clean as you work). That said, sometimes I'll dip my brush in a different color without cleaning it first, so I can have two different colors on it at the same time. When I do I usually only dip the tip in the paint, so the pan doesn't get too dirty. If it does, just let the paints dry, then you can use a wet brush to lightly "scrape" the top dirty layer off.

>I'm really new at this and I feel really stupid for asking

Don't worry, everyone had those questions at some point, and they're hard to find an answer to unless you ask directly :)

[Anonymous No.4035407]

>>4035347
Thanks anon. It's gouache

[Anonymous No.4036043]

>>4035371
Thanks man, I really appreciate it! You've really cleared things up.

[Anonymous No.4037698]

>>4035286
second time I've heard gurney's book mentioned today. The first was in a comment on one of his videos replying to someone asking about his process and recommending it as one of the best books they've purchased. take that for the second hand advice it is.
>>4035347
you might like Shibasaki and Mind of Watercolor's channel on youtube.

[Anonymous No.4037761]

>>4035286
Mix in viollet instead of pure blue. It will grey out the yellow which makes it appear cooler

[Anonymous No.4037791]

>>4030926
Try adding a colour background, solid black or deep blue or something to make it pop even more
>>4032760
eyes are sloped too downward

[Anonymous No.4038769]

painted outside for the first time, was pretty nice. Damn I'm struggling with getting paintings done quick and judging value in oils. Charcoal is no problem, but oil has such a broader gamut.

Additionally I'm used to blocking in big areas of value then adjusting up/down in more and more granular increments. However, this only works in oil if I scrub initial layers on super super thin, which beats up my brush and takes forever. If I paint thick, it goes quick, but my surface gets glommed with oil and I can't adjust stuff well.

Anyway, I still wish I'd decided to pursue music instead of representational painting, but I'm too far down this road now to give it up without achieving a certain level of confidence.

[Anonymous No.4038785]

>>4034708
i love this, amazing! keep it up !

[Anonymous No.4038886]

tree guy here, also been doing a bunch of these scales. I wish there was a method for getting exact value-distance the way sight-size is a method for getting exact proportional distance.

[Anonymous No.4038895]

>>4038785
Thank you!

Also here's another one I did today, not quite the same style though.

[Anonymous No.4038905]

>>4035286

>>4037698

Seconding Gurney's book as one of the best and most helpful ones I've read so far. He covers a ton of scenarios, techniques, etc, and really helped me approach my paintings in a new (better) way.

And this is coming from someone who absolutely SUCKED at both color and light. They were my biggest struggle, and while I still have issues with them sometimes, it's gotten much much better.

Definitely recommend.

[Anonymous No.4039297]

>>4038886
oops forgot pic

[Anonymous No.4039431]

>>4035286
I would also recomend the use of a violet instead of blue. Try dioxazine purple it is an intense cool violet. It makes a great black when mixed with sap green.

[Anonymous No.4039460]

>>4037698
>>4037761
>>4038905
>>4039431
thank you friends

[Anonymous No.4039617]

why are oil painting often under-detailed compared to digital paintings that are often well detailed? Is it that hard to add details to oil paintings?

[Anonymous No.4039651]

>>4039617
Its not hard, but it is less forgiving than digital. Oil is probably one of the most forgiving traditional paint mediums, hence why before digital, oil was commonly used for highly detailed pieces.
What it comes down to is that people will generally use what's easiest to use. Oil doesn't confer many benefits over digital, and comes with a lot of draw backs.
The number of people looking to paint traditionally is low, and the number of people who want to paint extremely detailed pieces is low, and the number of them who actually can render highly detailed scenes in oil is low.
It's not impossible by any means, it yields to practice, but most people don't see a good enough reason to dedicate that much time to learning and mastering an economically obsolete medium (obsolete in the sense that 95% of art careers that would have finance the time required for mastery have abandoned it in favor of digital and 3d for highly detailed renderings)

[Anonymous No.4039652]

>>4039617
oil takes a long time to dry, layering things is hard unless you do it in a paint by number style, check this dude out i think it talks for itself https://www.instagram.com/danstirling/

[Anonymous No.4039661]

>>4039651
>economically obsolete medium (obsolete in the sense that 95% of art careers that would have finance the time required for mastery have abandoned it in favor of digital and 3d for highly detailed renderings)
digitalfags always say this and yet never have proof.

[Anonymous No.4039692]

>>4039661
>digitalfag
but I draw in everything anon.

But really what proof do you want? Take a look at the applications and work environment of any art job in the production pipeline for movies, video games, television, marketing, or otherwise. Knowledge of PS and 3d is expected, because everyone on staff works digitally. Its cheaper because it takes less man hours to make a piece, it's easier to change if the person you're reporting to doesn't like something, and it's much easier to distribute and use since it's already digitized and you don't need to get out some expensive overhead camera to capture it at a usable resolution.
Yeah there are ways to make money as a traditional artist, but it's by far no longer industry standard. That's not a condemnation of traditional, but why are you burying your head in the sand pretending that a 3 decade long trend in your industry isn't happening?

[Anonymous No.4039695]

How come every time I draw or paint something in traditional it’s harder than the last time? Everyone says the better you get it gets easier but every time I improve it just takes more effort to bump it up to the next tier of work. It’s never gotten easier it only keeps getting harder. Am I doing something wrong?

[Anonymous No.4039702]

>>4039692
Hahhahahah oh wow.

>Take a look at the applications and work environment of any art job in the production pipeline for movies, video games, television, marketing, or otherwise. Knowledge of PS and 3d is expected, because everyone on staff works digitally
LMAO. How about you take a look at job offerings for airline fucking pilots. No requirements for digital art there, better start learning to fly a plane. This is your logic.

[Anonymous No.4039728]

>>4039702
I've read through this like 6 times and I still have no idea what point you're trying to make.

I don't wanna be a pilot, anon. I want to be an employable artist in 2019. Though if I did want to be a pilot, I'd probably need to learn how to fly a plane.
Could you just calmly explain why you disagree? Are you trying to say that there are a ton of secret traditional art jobs out there that I don't know about? Please, let me know about them and I'll bust out my paper and brushes.

[Anonymous No.4039734]

>>4039728
>are there secret traditional art jobs?

Yes you idiot!

[Anonymous No.4039739]

>>4039728
>Could you just calmly explain why you disagree?
You listed jobs that require digital art and said that they require digital art. No shit. Traditional artists usually make money by selling their work and doing commissions. There are quite a lot of traditional book illustrators too. And yes there are jobs for traditional artists, although not as many as for digital artists. But that doesn't mean that a traditional artist can't find work, or that it's an "economically obsolete medium".

[Anonymous No.4039753]

>>4039695
If you ever think you're not making any mistakes or feeling like painting is easy, but you're not a Raphael, then you're not making progress. It feels like it is getting harder because you are running into more problems to solve in order to get better. The more problems you run into, and the more you can solve the better.

[Anonymous No.4039792]

>>4039739
So, first off, there's really no need to be rude.

But, again, I never said there was no money in traditional art, what I said was that most careers in art that used to employ traditional artists now no longer do. Some traditional artist can own their own business, sell work, and do commissions, but that lifestyle doesn't support that many people. The number of career traditional artists is much lower because demand is lower.

The guy I was responding to wanted to know why so many oil pieces lacked detail when compared to so many digital pieces, and part of my explanation was that there are fewer oil painters in general, and fewer of them still do oil painting as their full time career. Meanwhile there are are thousands of prominent digital artists, many of whom are able to practice digital daily as their career because there are more digital art jobs in total than traditional painting jobs.

If highly detailed renderings in oil are harder to do than in digital, and there are less oil painters skilled enough to do highly detailed renders in oil, then its understandable that most oil paintings we see are strokey and blurry. The number of Cesar Santos's in the oil painting community is lower than the number of Taejune Kims in the digital art community. Again, this because there are many fewer careers in traditional art, careers that are necessary to develop good artists into masters with years of daily practice.

Anyway I'm not gonna derail /trad/ any more by taking this bait. But seriously learn to read before you get all huffy about "muh medium isnt obsolete. waaa"

[Anonymous No.4039817]

>>4039753
I feel as if I was lied to

[Anonymous No.4039823]

>>4039734
the dark secret of /ic/ is that brian makes a ton of money

[Anonymous No.4039942]

>>4039692
>Yeah there are ways to make money as a traditional artist, but it's by far no longer industry standard.
depends on what do you mean by artist, in galleries afaik they generally put traditional mediums
you cannot really sell a digital painting, at least not in the same way you sell a traditional painting which is a unique piece

[Anonymous No.4040500]

>>4039651
this answers well I think. Thanks

[Anonymous No.4040502]

>>4039652
wow, this dude is insane

[Anonymous No.4041161]

My first portrait.

[Anonymous No.4041242]

>>4041161
it looks pretty good

[Anonymous No.4041784]

Another gouache piece I did today, mostly from imagination, but I used some ref for the color of the water. Wish I'd made the BG mountains more blue than violet..

[Anonymous No.4041792]

>>4041242
maybe if he was going for Freddy Mercury with a learning disability

[Anonymous No.4041966]

>>4041784
try to vary the perspective on the landscape more. actual landscapes are practically arbitrary, with the only thing anchoring it in perspective being the sky

painted this more

[Anonymous No.4041970]

>>4041966
Brian giving painting tips to
>>4041784

oh i am laffin

[Anonymous No.4041980]

>>4041970
explain

[Anonymous No.4041982]

>>4041980
you know what i mean brian lmfao youre just illustrat without downs syndrome

[Anonymous No.4042107]

>>4041966
Can you elaborate on that? Like having more planes facing different directions instead of them all following similar angles?

[Anonymous No.4042644]

>>4042107
Yes, things receding, coming towards you, going across, and everything in between. Right now you’re drawing as if you’re placing cardboard cutouts in a tableau. It either recedes or goes straight up. Real landscapes are completely unpredictable. The number one rule nature follows is that it has no rules. You need to attempt to surprise the viewer with that fact.

[Anonymous No.4042647]

>>4041982
Aw thanks

[Anonymous No.4042668]

>>4041784
I wouldn't realize that that's water if you didn't tell. Was it really that saturated in your ref?

[Anonymous No.4042717]

I'm a newb when it comes to traditional art. I have a hard time getting started, I don't want to waste my paints. I'm afraid of failure I guess. Do you guys have any advice on how to overcome this hurdle and just start trying?

[Anonymous No.4042742]

>>4042717
The best way to just start trying is to just start trying

[Anonymous No.4042744]

>>4042717
dunno.
but when you do start, you might reach a point in a piece where it feels wrong. dont give up and dont give in to those feelings.
when youve finished it and you dont like it, thats fine, put it aside and start a new one.

[Anonymous No.4042797]

took out my smallest brush and finished this

[Anonymous No.4042801]

>>4042797
neat, if you could take yourself out next that would be ideal

[Anonymous No.4042811]

>>4042801
Why? I’m inspired lately

[Anonymous No.4042843]

>>4042668
Well, not quite as saturated because the water wasn't being lit by direct sunlight in my reference, but it did have that emerald green color. I just bumped it up a notch to reinforce the feeling of light coming in from the left hand side.

[Anonymous No.4042851]

God, I feel sad for you anons who actually visit this general often and have to deal with autistic dude
t. lurker

[Anonymous No.4042855]

>>4042851
i admire output, i get motivation from others motivation. art posted in here typically has a higher level of passion. this is a good general.

[Anonymous No.4042870]

>>4042797
You are the painter equivalent of a mumble rapper. And that’s not a compliment.

[Anonymous No.4042980]

>>4042717
Don’t be afraid of your tools.

[Anonymous No.4042989]

These clouds are giving me fits, but I think something clicked last night.

[Anonymous No.4042998]

>>4041242
Thanks anon. It was a useful excercise in value.

>>4041792
That’s exactly what l was going for! Let’s see your work.

[Anonymous No.4043003]

brian's oneitis is creepy as fuck, why are you like this

[Arachni No.4043067]

>>4034708
mind saying your approach. i <3 this

[Anonymous No.4043098]

>>4041784
How big is this painting?

[Anonymous No.4043192]

>>4043067
Thanks! I just started with very watered down paint to loosely block in my colors. Then I upped the opacity but still kept the paint pretty wet so I could create a seamless transition of greens (from yellow greens on the left, to dark blue greens on the right).

Once I had my base colors I worked from back to front and from big shapes to smaller details. The key is to make sure you use thick enough paint after you have your loose colors blocked in, so you can get that "flat" and graphic kind of look.

Hold off on your highlights and darkest darks until the very end, after you're certain you won't need to tweak the colors anymore, otherwise you risk muddying up the rest of your colors.

Sorry I don't have more details than this, it was my first attempt with that kind of style so it was just a lot of trial and error

[Anonymous No.4043193]

>>4043098
The paper itself was 6x6, but I masked the edges so the actual painted area is probably closer to 5x5

[Anonymous No.4043788]

>>4030589
WIP of a charcoal drawing. Leaving for 2 weeks and won't get to work on it.

[Anonymous No.4043802]

just finished this painting
glad this thread was on the front page

[Anonymous No.4043807]

>>4042717
funny you posted this. i only just started using less oil paint than i need. just remember a little goes a long way if you apply turp and gel. also, best way to ensure you dont waste paint, just paint everyday. oils take a few days to dry out, and even then after a week of sitting out they only develop a film over the top, break that film and underneath is still good to paint with. just remember, you should apply turp and gel at first if its kinda old.

[Anonymous No.4043815]

>>4035286
a struggled a lot with color and i finally am at the point where im comfortable with it. the most important thing is to keep warm and cool hues to certain value shifts. light = warm, dark = cold. you can also alternate. cool highlights, warm mids, cool darks, and warm cast shadows. that gets complicated though. the most important thing you need to remember is to clean your brush and dont apply paint that you dont want to be there. if your palette gets dirty, clean it. if your brush is dirty, clean it. you can get away with just wiping it with paper towel sometimes, but if you are going from dark to light, clean your brush. also, very important, blending in the canvas is a great technique with oil paints, however if you overdo it, that might leave a muddy color. dont be afraid to mix a intermediate color when transitioning from like to dark. like say your lights are warm, shadows cool, mix a green or purple in between so you get a more interested and safe transition.

hope this helped.

[Anonymous No.4044323]

did more to this

[Anonymous No.4044358]

>>4044323
and this one

[Anonymous No.4044770]

>>4044323
whats with the awful symbols and lettering around the painting? Are you turning into Illastrat? Is it contagious?

[Anonymous No.4044781]

>>4044770
if you don't get it I cant explain it

[Anonymous No.4044811]

>>4044770
>>4044781
Pretentious, moi??

[Anonymous No.4044815]

James Gurney has this "Yurmby" color wheel (right) in his book. Wondering how you use it in traditional painting:
Do you just use it for making color palettes and gamut masks?
You can't use it for mixing colors so you stick to the traditional color wheel for mixing pigment/paint, right? (represented here on left with a munsell wheel, which I hope is pigment accurate and useful for mixing paint).

If I am right then why is Gurney the only source i've seen who recommends using this wheel (which i assume is similar to digital color wheels in photoshop etc) for traditional color picking/color schemes/visual compliments?
If yellow is a visual complementary of blue then shouldn't that just be a fact of all use of color and anyone teaching orange as a compliment of blue for anything other than pigment mixing is wrong?
But then in courses by professionals on schoolism they refer to the traditional pigment compliments (green-red, yellow-purple, blue-orange) for making color palettes and visual contrast etc, areas outside of paint mixing.

[Anonymous No.4044822]

>>4044815
I think this process of thought comes from dealing with water based media. I started in watercolour, and the effort that goes into knowing your pigments compared to oil & acrylic is immense, so this can make people a bit autismie over it.
These days I select a few colours I think I'll need, as few as possible, and go with that.

[Anonymous No.4044827]

>>4044815
Complementary colors is just an arbitrary construct. They're supposed to represent maximum contrast, but our recognition of contrasting colors isn't based on any of these wheels, it's based on the process of comparing opponent colors, which are pic related.

[Anonymous No.4044866]

>>4044827
Wait so "complementary afterimages" are correct for maximum contrast, right? So this shows that the yurmby wheel is trying to represent that.
If you use the invert colors feature of paint, it shows the afterimage complementary color, essentially the same as if you stared at the image for a minute and then stared at a white space, showing an afterimage of inverted colors.
So I can literally just invert colors to find their maximum visual contrast (obviously with less saturation). I feel enlightened but also retarded.

[Anonymous No.4045079]

before you guys start going down the color wheel rabbit hole remember paint pigments made by paint companies aren't designed to be absolute opposites of other pigments, so don't start spending a ton of money trying to find perfect complementary colors. What you want more than anything is a palette full of colors that mix well together. Leave the color theory stuff to the theorists, it usually has very little place in the act of painting. It's best to learn YOUR way of working, because if you have to remember how to do something odds are you'll forget somewhere down the line.

[Anonymous No.4045102]

>>4044815
Its Gurney. This dude learned everything he knows first hand doing studies en plein air and illustrating. You can trust his advice.

From his blog:
> There’s a lot you can do with the Yurmby wheel... You can chart where your pigments really appear on it. You can use it for gamut masking... What I love most about it is that connects the worlds of computers, pigments, photography, printing, and lighting.

He talks about it how it is more similar to the color sliders in Photoshop so it may be useful if you're used to painting digitally.

[Anonymous No.4045114]

>>4045079
wow, brian sharing good advice for once

[Anonymous No.4045181]

>>4045114
It’s in my brain somewhere, someone’s just gotta ask the right question or I’m full blown retarded

[Anonymous No.4045328]

>>4045079
>>4045114
I can help out here too if you'd like, got a book that recommends starting palettes for oil, watercolor and acrylic
watercolor
two yellows - cadium yellow, yellow ochre
two reds - alizarin crimson, cadmium red
one blue - ultramarine
one brown - burnt umber
one green - viridian
one grey - paynes grey

acrylic and oil
two yellows - cadium yellow, yellow ochre
two reds - alizarin crimson, cadmium red
one blue - french ultramarine
one brown - burnt umber
one green - viridian
one grey - paynes grey
one white - titanium white (larger tube for acrylic)

[Anonymous No.4045340]

>>4045079
>>4044358
>>4044323
dude, you are unironically a GOD
do you sell your paintings?

[Anonymous No.4045825]

>>4045328
So what I use is pretty close to that after years of just random whatever the fuck colors. I use:
Cadmium Red Light
Ultramarine Blue
Prussian Blue
Cadmium Yellow Light
Yellow Ochre
Viridian
Emerald Green
Indian Red
Burnt Umber
Titanium White
Zinc White

My palette is basically all the colors you can’t mix, which is what most art books recommend

[Anonymous No.4045869]

oil on canvas

[Anonymous No.4045945]

>>4045869
It looks like you’re mixing everything in one layer so you’re losing the form. Put the darks down first midtones on top then highlights last. Your darkest dark could be a midtone if you wanted, as long as highlights are clearly delineated. Remember that highlights for the most park describe form by themselves, you don’t really need variation in highlights. The illusion of form is created through chiaroscuro, if you try too hard to vary hues and tones in highlights you’ll end up with a really patchy painting

[Anonymous No.4045988]

>>4045825
zinc white

The worst white. Enjoy your cracks.

[Anonymous No.4046030]

>>4045988
Well kinda but zinc white is good for if you want to have the entire first layer be midtones. You’ll never get it that nice chalky pastel as titanium but that’s kind of the point of it. It’s so you can do a lot of mixing on canvas and get really rich textured mid tones. THEN you go on top of it and put the really juicy highlight areas. You’re kind of tricking the painting into being better with zinc white, but it’s definitely more work.

[Anonymous No.4046050]

>>4030817
Nice colors!

[Anonymous No.4046107]

>>4045988
iirc its intended for mixing since it has a low tinting strength.

[Anonymous No.4046144]

>>4046030
I paint with titanium and never have trouble with getting rich tones.
>>4046107
I have pw4/pw6 mix for that, hardly use it since I don't have any trouble manipulating TW.

[Anonymous No.4046289]

>>4045869
Pretty nice anon. Right shoulder could do with more work.

[Anonymous No.4046398]

>>4046030
The old “titanium is not good enough for mixing” is a meme. Today they coat the titanium in zinc, so you wont get the chalky feel when mixing titanium white into paint. The good thing about zinc is that is a bit transparent, so it is good to use in underpaint layers.

[Anonymous No.4046406]

>>4045825
I use raw umber instead of burnt umber most of the time. Burnt umber is more transparent than raw umber.

[Anonymous No.4046452]

>>4046406
If I was super woke I’d use all the earth tones but you can’t just have a brown palette OR CAN YOU

[Anonymous No.4046626]

I'm new to oil painting and am going to buy some supplies soon.

Can anyone tell me which brands are worst/best?
Are there any good brands that are cheaper than the others, so I'm not paying shit tons for the same thing?
Is there generally a best website or place to shop for oil paints?

Thanks for any help painters. I'll take any details you have to offer!

[Anonymous No.4046786]

>>4046626
This is why we need a fucking traditional art sticky so we don’t have the same questions in every traditional thread. Nothing against you, it’s a perfectly good question, it’s just that most of this thread is already questions, like most trad threads

[Anonymous No.4046830]

>>4046626
What country are you in?
UK? Winsor & Newton artists oils are very good & cheap. In the US, then they are expensive.
Michael Harding are excellent. Old Holland are pretty good but can be over rated, I don't use them much.
Rembrandt are excellent. Sennelier too.

Daniel Smith are good only if you can afford them ie. if you're in the US.

If you are rich, buy Vasari or Natural Pigments.

Forget trying to get Lead white if you're outside of the US as it''s too expensive. I've used it a lot & never seed the point either. Even the Italian ateliers have started to just recommend using titanium white.

[Anonymous No.4047348]

>>4045945
thanks, and i agree, it looks very patchy

[Anonymous No.4047367]

[Anonymous No.4047368]

Done with spray paint.

[Anonymous No.4047369]

[Anonymous No.4047398]

>>4046786
Dude, start compiling resources and pastbin it and post it at the top of your trad thread from now on.
I personally would love a good ref spot for trad tips.

[Anonymous No.4047401]

>>4046830
According to Tom Keating flake white is indispensable for creating certain impasto effects and it’s one of the main “ingredients” in the magic of Rembrandt.

[Anonymous No.4047403]

>>4044770
Same thought exactly occurred to me.

[Anonymous No.4047404]

I like to paint but my apartment is pretty tiny. Till now I've been doing it in my sofa, on the table I have there but the table is too short and I end up in pain from bending over so much. I've been trying to figure out a solution. I can't paint on my desk, it's too crowded already. I think I've found a solution though. Cutting the legs of the table so it's the appropriate height for sitting on the floor, on a pillow or something. What do you guys think? As I said before my apartment is tiny and I don't have space for more furniture or a standing easel.

[Anonymous No.4047502]

>>4047404
Can you paint outside? Also, a table top easel doesn't take that much space, surely you can find some place on your desk, at least for when you paint? You could also use it on your sofa table with something under it to raise it higher.

[Anonymous No.4047516]

>>4047404
what kind of painting?
you could get a table easel, it takes up no space and you can put it anywhere. on a chair, kitchen counter etc. Use a c-clamp if you have trouble holding it in place.
Thats what I used for a long time, bought a cheap $15 table easel that was actually for displaying small paintings but with some McGyvering it worked out fine.

[Anonymous No.4047533]

>>4047502
I'd prefer to draw inside. Sure I can draw inside but if I want to draw and it's raining or something it's nice to paint inside.

I could make space on my desk, but that'd entail rearranging all the stuff on it everytime and I'd like to be able to look at the TV while painiting. (Plus my window faces into another building, like an E without the middle prong. So sitting in my couch is where I'm able to see greenery and stuff, it's comfier.)

>>4047516
Watercolor and Gouache. Tabletop easel is a good idea. Did you sit or stand at the Easel? Seems like it'd be tiring to stand that long but I've no experience with painting standing.

[Anonymous No.4047536]

>>4047401
It's easy to shorten white paint to get those effects, ffs.

[Anonymous No.4047540]

>>4047533
You can either sit or stand, it's up to you. I prefer standing, but I sit down when I feel like it. You can stand for hours, it's not hard after you get used to it. Table easels are usually used while sitting, but that's just because normal tables aren't tall enough.

[Anonymous No.4047953]

>>4047404
Use a door to draw on or fasten a canvas on and paint/draw standing up.

[Anonymous No.4047960]

>>4047536
I’m talking about specific effects he used, not general impasto genius. Flake white, hand grinded, has physical handling properties other whites do not. One is stringyness, another viscosity.
And what does shortening “white(lol)” paint even mean?

[Anonymous No.4048147]

>>4047960
Don't you know what long and short paint viscosity is?
Tom Keating was in the old days before Europe became knobbled by the EU. Good luck trying to get lead white now. I have amassed loads of it, many different brands, and have hoarded it. Still think it's over-rated.

[Anonymous No.4048560]

do you worry about high quality supports or do you just buy cheap canvases? pic unrelated.

[Anonymous No.4048882]

>>4048560
I like to paint on hard supports. This means difficulty getting larger mdf sizes for cheap. It was fine when I was painting small still lives while learning.
So to get around crappy quality canvas or canvas on mdf such as belle arti mdf boards, I use an oil based ground to undercoat. The only problem is the long drying period,and grim brush clean up which if far worse than cleaning up after oil painting.

[Anonymous No.4048985]

Graffiti with some thorns oilpainted in the back, 1/?

[Anonymous No.4048986]

2/?

[Anonymous No.4048989]

Final so far, give me some negatives and positives if you feel like it. Let me know if this is too much spam or doesnt belong here, ill delete these

[Anonymous No.4049022]

Pears, dandelion, and violets

[Anonymous No.4049026]

>>4048985
I’m glad your are not paining gat ob somebody else’s wall. Interesting colors

[Anonymous No.4049030]

>>4047960
I made my own flake white last year. Was a pain on the ass to mull. Took for hours to make a 40 ml tube.

[Anonymous No.4049034]

I recently bought some paris green. Trig to figure out how to handle it safely.

[Anonymous No.4049068]

>>4049026
Well, not this time. A paint store had a bunch of cans on sale so i just grabbed what i could and went with them

[Anonymous No.4049069]

>>4049068
I had thought that graffiti on canvas might have a market.

[Anonymous No.4049081]

Depends, to make graffiti look good on a canvas you have to put alot of thought into it I think since graffiti looks more live when it's out in its "natural habitat". Anyways dont really mind if it has a market. Graffiti will never have anything commercial in it for me

[Anonymous No.4049159]

crit?

[Anonymous No.4049178]

hmm, frank reynolds with 'trash man' in graffiti around him...
its probably been done...

[Anonymous No.4049269]

>>4048560
I work on Belgian linen. It is expensive as hell, but once i tried it i knew it was the only canvas for me.
I don’t like the surface of cotton and polyester is shit. Don’t ever use polyester!

[Anonymous No.4049274]

>>4048989
I like the element of the thorns and the black behind it.

I dislike the linage work in white. It should be sharper.

But all in all i like your style and expression.

[Anonymous No.4049525]

>>4049269
I'm not fussed about linen. I like the way it looks under the paint, but as a painting surface I much prefer wood or metal.

[Anonymous No.4049583]

>>4049525
Do you paint professionally

[Anonymous No.4049694]

>>4049583
Do I sell paintings, yes. Do I do this as a full time job, no...because I already have a business of my own, which I don't want to give up.
How about yourself?

[Anonymous No.4049713]

>>4049694
I only produce a small painting every six weeks. I doubt that i will receive any formal training in the arts. I would probably do better in art dealing than actually trying to make it.

[Anonymous No.4050002]

>>4049269
>polyester is shit. Don’t ever use polyester!
curious. the places i was looking around at said polyester would last the longest since it wouldnt rot. however, advice noted.

[Anonymous No.4050102]

>>4050002
It is the cheapest material ever. But a cotton-polyester wowen on each side is a good alternative.

[Anonymous No.4051850]

painting this

[Anonymous No.4051856]

>>4051850
your sense of depth is out of this world

[Anonymous No.4052062]

how do I not be fucking broke all the time

[Anonymous No.4052068]

>>4052062
Paint stuff that people will actually want to buy for a change.

[Anonymous No.4052071]

>>4052068
I don't know what that means

[Anonymous No.4052075]

>>4052071
Look what kind of art sells, paint that.

[Anonymous No.4052078]

>>4052075
is that what you're doing?

[Anonymous No.4052085]

>>4052071
People buy art that they like.
People generally know shit about all the effort and technical stuff required to make it but when they see something they recognize or value they can be convinced to buy it.
For example, someone who fishes in their spare time will more likely buy paintings with fish or ponds on them. People who are into cars will more likely buy a painting that has a car tucked away in it and people who sail tend to be easilyer persuaded to buy a painting with a sailboat in it.

Adjust your subject matter to your audience. If you have no audience then you look for one and create it by appealing to their interests.

Something like that.

[Anonymous No.4052086]

>>4052085
is that what you're doing though? is that just advice you're giving or is that advice you take yourself.

[Anonymous No.4052093]

>>4052078
>>4052086
Is this the new "post your work" or what?

[Anonymous No.4052103]

Don't worry brian no one buys my art either.
I usually don't post it and annoy everyone like you though.

[Anonymous No.4052106]

>>4052103
I'd buy this, to be desu.

[Anonymous No.4052112]

>>4052093
I feel it's more in the 'muh Style' vein
>Art tip
>Ok that's your style

[Anonymous No.4052156]

>>4052085
explain to me how this isn't sellable. What's the reason a gallery can't put this for sale for $4000

[Anonymous No.4052160]

>>4052078
Yes. I do stuff I personally like too, but right now I don't have the time to promote it, I have to balance it with freelancing as an illustrator and concept artist. Once my income allows me to have more spare time I'll focus more on my art, send it to exhibitions and such.

[Anonymous No.4052163]

>>4052156
You price your work yourself. Galleries just choose what to approve. Have you actually tried exhibiting it?

[Anonymous No.4052216]

>>4045869
Your values are really flat and chalky, lay off the titanium white

>>4046626
I use Winsor and newton, gamblin, utrecht. Poorfag so I cheap out and often buy student grade on colors like earth tones, titanium white, blacks but I shell out for good brands of cadmium, cobalt, etc pigments

>>4048560
I stretch my own since it's cheaper and better quality if you buy stretchers canvas and gesso in bulk. Just dedicate a day to stretching a bunch of canvases and be set for months. Cheap ass canvas is usually ridiculously thin and terribly stretched, not nearly tight enough.

>>4052103
High school/10

>>4052156
Looks like something a retired grandma would paint when she got bored and decided to take up painting as a hobby three months ago

[Anonymous No.4052226]

>>4052216
>Looks like something a retired grandma would paint when she got bored and decided to take up painting as a hobby three months ago
thank you for this long, funny, long, very long funny sentence, long, funny, long, long, long sentence of a critique. very insightful, very long, very funny, very long and drawn out and funny. thank you again. you're very funny, and not to mention long. the best jokes are long.

[Anonymous No.4052360]

>>4052156
it must be massive if youre charging 4k for it.

[Anonymous No.4052809]

>>4052156
>explain to me how this isn't sellable.
Why do you think it is sellable? Just because it's paint on a canvas doesn't mean it's worth buying.
Especially at that price.

Anyway, what were you thinking when you painted that? Is there a central focal point?

[Anonymous No.4052888]

>>4034708
Just push your values a little bit more, that log feels kind of 2D

Really really good otherwise

[Anonymous No.4052895]

>>4043802
this is really good, just feels a liittle too dark, but that could be the camera and lighting

[Anonymous No.4052916]

Mix paints or buy premixed? I just bought some individual gouache tubes for Yellow Ochre, Burnt Sienna, Prussian Blue and Pyrrole Red, as well as Titanium White and Ivory Black. Are these enough?

[Anonymous No.4052934]

>>4052916
>premixed
They sell premixed artist paints? Anyway, you should be fine with the normal paints you have now. Mix as you see fit, don't be afraid to use unmixed paint on the canvas.
Also, https://www.handprint.com/HP/WCL/palette5.html

And some info on a very limited palette, https://www.handprint.com/HP/WCL/palette4b.html

[Anonymous No.4052935]

>>4052916
mixing is good practice
check out>>4045328

[Anonymous No.4052945]

>>4049034

Why? Seriously, why? There are plenty of comparable pigments that are safe.

[Anonymous No.4052948]

>>4052226

They are right, however.

[Anonymous No.4052955]

>>4052934
As in like, convenience mixes i.e. green and shit
>>4052935
Thanks, I'll deffo check those out once I get more money. I blew quite a bit on amazon getting those tubes and brushes.

[Anonymous No.4052970]

>>4052156
>tree is just 2 big completely random and complex shapes
dude... It's UGLY, like the colors, the fucking everything EVERYTHING, IT HURTS TO LOOK AT BRO
YOU HAVE NO IDEA WHAT YOU ARE DOING LMAOOOOOOOO

[Anonymous No.4052994]

>>4052955
Green paints aren't mixes, they contain green pigments with their own unique properties like all pigments.
But yeah, don't limit yourself to just the primaries, though some rich greens can be mixed with blue and yellow but in some cases it might be more desirable to use green pigmented paints.

[Anonymous No.4053021]

>>4052916
its handy to learn to mix.
for gouache I'd say you could make do with the 3 primaries and a white, most companies put out a set like that.
ochre, prussian and pyrrole might be too far from the primaries to net you a lot of useful mixes though, you wont get a nice light green for example unless you go really watered down on white paper.
introduce new colours as you feel like spending money on them. sometimes you just get sick of mixing enough of the right green and just want a tube of it ready to go.

[Anonymous No.4053024]

>>4053021
>on white paper.
derp, forgot about the white paint.

[Anonymous No.4053057]

>>4053021
>>4053024
I just got what I saw James Gurney was using in his videos, I guess I should have gone for Ultramarine and Cadmium Yellow and Red?

[Anonymous No.4053067]

>>4053057
Yeah those paints ultramarine and cadmiums are used very often and recommended if you go with a minimal palette (cadmiums are quite expensive as pigments though)
And white paint is quite convenient in my opinion, since gouache allows you to paint opaquely.

[Anonymous No.4053116]

>>4053057
if youre planning on painting along with him it's a great selection.
heres my unscientific test with my almost primaries vs my others.
keep in mind my white in my pans is a bit dirty. this would have all looked cleaner if id gone straight from tubes.
orange might be a problem. everything else you can just make use of your white. hope you got a big tube of it.

[Anonymous No.4053118]

>>4052216
pyw

[Anonymous No.4053121]

>>4032760
painting portraits on hi-white backgrounds is a pain in the ass. It also washes out all your highlights. Do yourself a favor and use a toned background.

[Anonymous No.4053148]

trying to loosen up a bit, Left most of the gesture in and worked on brush economy. used a sponge for the pavement texture.

[Anonymous No.4053332]

>>4053116
Yeah I'm planning on doing pleinair and portraits. What colors would you recommend for stuff like sargent?

[Anonymous No.4053351]

>>4053332
https://reneelammers.com/blog/62949/july-24-2013-john-singer-sargents-painting-methods-and-palette
Google.

[Anonymous No.4053362]

>>4053148
I like it as is but it needs that last push for it to be proper. I like the cartoony feeling of the car but the background kinda ruins it. If you are going for semi-realistic, then I advise you to take a look at perspective and such to make it more believable.

If you would leave the car as is in terms of general forms, and tweaked the colour and details it would look great imo

[Anonymous No.4053804]

>>4053362
So i basically didn't go far enough in either direction.

[Anonymous No.4054060]

started a painting of some lilies

[Anonymous No.4054175]

>>4049159
This is good at a glance and gets worse the longer you look at it. Colors are nice, but also there is no sense to them. The tree and grass are tilted in at a weird angle, and if the grass is tall the tree roots wouldn't be viable. When your paintings something use a reference so remind you what a boat or a tree looks like, these look like symbols.

[Anonymous No.4054323]

Does anyone have James Gurney's Gouache in the Wild tutorial?

[Anonymous No.4054745]

>>4054060
finished it

[Anonymous No.4054884]

Definitely need warmer colors, hard to see when you're outside

[Anonymous No.4055687]

[Anonymous No.4055803]

just finished this in oils

[Anonymous No.4055839]

>>4055687
soul

[Anonymous No.4055885]

>>4055803
copying jeffrey jones huh

[Anonymous No.4055938]

>>4039617
one important factor is physical canvas size with traditional. to get similar detail you either need to use smaller brushes, or use huge canvases. either way, it takes much more pre planning and skill to attain detail that is far easier to get with a digital medium.

[Anonymous No.4056160]

>>4055938
I've moved on to painting figures, and faces are hard work unless you have a monumental canvas, or the face fills a decent part of the comp, such as a portrait. It makes me crazy trying to adjust a tone on a cheek and when my hand moves by a millimetre too much, all the eye gets demolished by an wayward brush instead.

Also, not everyone is looking for a heap of detail. I find that boring unless it's in a Breughel painting, or a Bosch. And they beat digital hands down.

[Anonymous No.4056461]

Starting to get into painting and have no idea where to start, how the process goes, or what materials I should buy. I'm planning on buying an Oil starter kit from Blick and read James Gurney's book on color and light.

What should I do to make this process a little bit easier?

[Anonymous No.4056475]

>>4056461

As always, the question is, can you draw?
What do you want to paint? People or faces, landscapes, fantasy, abstract?. We need to know how accurate you're aiming for.
My advice is buy titanium white & burnt umber. Use these to make value studies of black & white photos.
Why not black paint? Because most of them take forever to dry, and burnt umber dried real fast, and can also make the painting have a pleasing warm tone instead of looking cold.

I recommend Oil Painting Techniques and Materials, by Harold Speed. When you know all what he's talking about in that, you're getting somewhere. He recommends starting off painting simple still life set ups. I did that to learn my colour mixing & it took me about 18 months to get good enough with daily painting to be able to mix any colour or tone I want for any old colours I bash together from my paint box.
There are NO short cuts to getting good.

[Anonymous No.4056506]

finished this

[Anonymous No.4056538]

>>4056506
Have you sold anything yet?

[Anonymous No.4056575]

>>4056160
The average Bruegel canvas is something like 65x45 inches. He's still one of the most cinematic painters of all time, there's no one else like him.

[Anonymous No.4056590]

>>4056506
You've morphed into Illastrat.
In fact, you can't prove you're not him.

[Anonymous No.4056693]

>>4056475
I meant to preface my post and say I'm confident in my drawing abilities. I think my subject matter would focus on human subjects in a slight surrealistic style.
My favorite oil painter, David Cheifetz, posted a beginner course recently and I'm planning on buying it after or while resting the materials I've been recommended.

[Anonymous No.4056715]

>>4044323
i think you unironically fucked this painting by added stark blue text splashed all over it

its a shame cos its so good.

[Anonymous No.4056801]

>>4056715
ill get back to it eventually. what I might do next is actually add clothes onto her, that's what I'm doing to all my previous nudes. That's a really lame illustration based way of making figures, but as most people on this board I find it's easier to start nude and work my way to clothes like a digital artist would

[Anonymous No.4056878]

>>4056715
hows this

[Anonymous No.4056911]

>>4056878
Torpid. Cut her loose.

[Anonymous No.4056912]

>>4056878
its over

[Anonymous No.4056972]

>>4056878
What is that thing in the background?

[Anonymous No.4057752]

>>4056972
Octopus, it's probably a reference to that one ancient japanese hentai art

[Anonymous No.4058006]

>>4054884
Where is it, Scotland? Pretty cool view
>>4055687
Looks fun. Would read a comic with this style

[Anonymous No.4058134]

>>4034708
Dude this is amazing. It reminds me of Japanese style background paintings in animation. Very nice color palette, very cheerful

[Anonymous No.4058161]

>>4058006
Cornwall, I used to post a lot of seascapes here a couple years ago, but I've been traveling and studying figure drawing since then

[Anonymous No.4058482]

>>4053148
Is the perspective off on purpose?

[Anonymous No.4058502]

>>4056693
Like the other anon said, keeping it simple initially is a good idea. Small value studies are valuable lessons (pun intended). As for the materials, a starter set of colours is probably financially smartest. I personally use liquin a lot and find it great: increases flow and shortens drying time substantially. Good brushes are incredibly important and worth investing in. Remember to care for them properly. A nice working space also makes a difference.

Oil can be somewhat intimidating initially but you mustn’t be afraid of your tools. Just go for it.

[Anonymous No.4058509]

>>4039617
Are you stupid?

[Anonymous No.4059007]

>>4030589
More like bitter LARPer incel autists general

[Anonymous No.4059014]

>>4059007
Imagine projecting this hard.

[Anonymous No.4059031]

>>4058161
Painting outside while travelling is the best, but depending on travel goals not always possible. Do you study somewhere or on your own? About your paintings, I'd try to calm down the amount of different colours and make them more local instead of trying to capture every colour you see. Block in with few colours and add more after (if needed). Looking at the group of seven could show you what I mean

[Anonymous No.4059091]

>>4058482
On the car yes, anything else no.
I wanted to paint the idea of the car not the reference, I've been killing painting by trying to hard to be "realistic"

[Anonymous No.4059556]

>>4059031
Thanks, I do need to keep things massed better, I'll research those guys.

I'm lucky to live there, it's a great location to paint. Mostly been teaching myself from books and the internet, especially when it comes to landscape work, for which Edgar Payne and Borlace Smart's books have been very helpful, though the past year I've been studying in Russia, and while that was purely figurative stuff in the studio I do think my plein air has improved.

Quick sketch I did today, will go back and finish it another time

[Anonymous No.4059590]

>>4059556
Never heard about these guys but I also never learned about plen air from books. Though recently I started watching James Gurney, he paints in mixed media and this summer I picked up from him painting watercolors with white guache (because I lost my temperas in security check). I really like his blog and started reading his book too. Yeah fundamentals are the same not depending on subject, especially if you go for a realistic approach. Will you go back to Russia? I think it might be the best place in Europe to learn art

[Anonymous No.4059755]

Anyone use watercolor pencil? I got a couple last week and I'm having fun with them, I do plein air and I got sick of how much of a pain in the ass/mess it is to schlep oils around, all you need is paper, a cup of water and a few brushes, no fucking around with gamsol and wet canvases and a palette and tubes of paint. What are some good brands to look for? I got Derwent but I'm wondering if there are others that are better.

[Anonymous No.4060109]

Sup guys, it will be my frist "shit post". I need some advise.

[Anonymous No.4060169]

>>4054745
nice

[Anonymous No.4060793]

>>4059755
I have a set of 36 Cretacolor pencils, they're nice for plein air stuff, you can use them with waterbrushes, no need to carry water. But I don't use mine often, and I don't know if they're good compared to other brands.

[Anonymous No.4061050]

Painted some boats

[Anonymous No.4061075]

>>4059755
I have the Caran d'Ache Supracolor pencils. They have very nice and vibrant color and are quite versatile. Theres many different techniques you can do with them. Fun to experiment with especially if you combine them with using normal watercolor from pans/tubes

[Anonymous No.4061091]

>>4030589
Copy of a Manet. Is this allowed?

[Anonymous No.4062470]

>>4059590
Plein air is very challenging, you're fighting against the weather, changing light and color. There's fewer resources for learning it than other subject.

Yup, going back in just a month if the visa stuff works out, though I'll be spending most of my time learning the language, Russian grammar is the stuff of nightmares.

[Anonymous No.4062480]

>>4061091
No, expect to be v& soon.

[Anonymous No.4062486]

>>4061075
>>4060793
Thanks anons I'll check these out at blick tomorrow

>>4061050
Value range feels flat, make your lights lighter

[Anonymous No.4062526]

>>4056878
looks like someone trying way too hard to make “fine” art

[Anonymous No.4062588]

>>4060109
Learn to spell.
There.

[Anonymous No.4063456]

Anyone tried Daler Rowney designers' gouache? How is it compared to other brands like W&N, schmincke, M Graham etc?

[Anonymous No.4063503]

do inks count? couple of weeks ago i tried to give inks and doing proper values traditionally instead of digitally, its shit but i like the shittyness of it

[Anonymous No.4064315]

Should I start with oil or acrylic?

[Anonymous No.4064373]

>>4064315
Pencil.

[Anonymous No.4064400]

>>4064315
I started with acrylic and once I went oil I never went back to acrylic. Although I can see acrylics being useful depending on your intent

[Anonymous No.4064445]

>>4064400
Same here. I spent hundreds of bucks buying brushes, making panels, buying tools, buy professional grade acrylic. But now prepping for first oil study. Super excited.
Oh, and the year I took to study drawing exclusively has paid off. I’m drawing much faster.
I still have some corrections to this but it will be ready for paint tomorrow.

[Anonymous No.4064452]

>>4064445
soul of the duck ghost.
ignore me.

[Anonymous No.4064492]

>>4064452
I see it. I like it!

[Anonymous No.4064508]

>>4064445
I still do use acrylic to a limited extent, it's good for toning and underpainting (You can do oil over acrylic but not vice versa)

[Anonymous No.4064656]

Most recent gouache piece, starting to get more comfortable with the medium

[Anonymous No.4065213]

I called the design ugly but I wanted to understand it

[Anonymous No.4065258]

Festival Theater. Where they put on Shakespearean plays and more

[Anonymous No.4065357]

kind of a circus/hall of mirrors

[Anonymous No.4066132]

>>4064445
Buy Chinese brushes before America slaps a tariff on them

[Anonymous No.4066140]

>>4066132
I have some DaVinci brushes, escoda, and rosemary &co. But not close to enough of anything.
I read from one of Odd Nerdrums students that Nerdrum uses mainly cheap brushes and really anything he can get his hands on...rags, paper, fingers.
I am about to cash in some points and get some amazon cards and will be buying either paint or brushes. Not sure yet. Maybe a roll of canvas.

[Anonymous No.4066164]

>>4066140
DaVinxi brushes leave the bristles frozen without allowing hairs to fall off like they're supposed to. Escoda brushes are probably best for watercolour. Rosemary I've heard good things about, as with Royal and Langnickel. I like Meeden's large brush holder (ten slots) and I like their brushes...unlike DaVinci, the handle isn't too broad.

[Anonymous No.4066170]

This was my setup yesterday. You can see that with some canvas panels you can use the brush holder as an easel.

[Anonymous No.4066485]

>>4066140
>>4066164
Escoda are the consistently worst watercolor brushes I have ever used. Rosemary are OK but nothing great. I've settled on Princeton synthetics, they're amazing.

[Anonymous No.4066516]

I finished this drawing today. It's a concept from a "Dungeons-and-dragons-esque" game that I made from scratch with friends. The jist of this character is it's a type of divine police that came a long time ago and wander the lands ever since. They're seen as a police above kings, church, and guard.

The text on it reads: "No abbot. No monarch. No sovereign. Their purpose is justice, and with divine right lies the privilege of mercy. Even divinity itself, when intended for mercy, needs tools to its hand — hence the inception of manifestation to divine deliverance — Totema."

[Anonymous No.4067047]

>>4066485
Yeah I’m diving into oils right now. Not sure about anything concerning watercolor.

[Anonymous No.4067053]

Is gouache cheaper than oils in the long run? The gouache paints themselves are pretty pricey

[Anonymous No.4067095]

>>4066485

Escoda watercolour brushes are hit and miss for me, the Prado line is not very good in my opinion but I have enjoyed the Ultimo brushes a lot more.
I also have some Da Vince Kolinsky brushes and those are really sweet. Haven't been able to get my hands on some Princeton brushes but heard some good things about them so I'll trya bit harder to find them.

[Anonymous No.4067883]

Does anyone have advice regarding watercolours? Just general advice. I feel like I'm just turning out trash. Things get cauliflowerey and sometimes paint dries with a dark border and I pretty much don't know what I'm doing.

[Anonymous No.4067919]

>>4067883
Use less water.

[Anonymous No.4067932]

>>4067883
I think your brush is too wet and puddles form on your paper which push the pigment aside as it dries and gives you those hard edges.

Play a bit with your water-paint ratio and see what works best.
I think a big part of watercolor is experimenting with the medium and see what works best and gives you a sense of control.

Got anything to show us?

[Anonymous No.4067935]

>>4067919
>>4067932
Thanks guys. That's probably the problem. I'm also a bit impatient to wait for things to dry, but using less water would solve that too.

I did draw a robot girl recently. I'm pretty happy with how she turned out but there are things that bother me. I'm clumsy with controlling value and things sometimes look flat. I had a few other paintings that fit more in with why I first posted but I haven't photographed them.
Feedback of any kind is appreciated, I still have a ways to go.

[Anonymous No.4067942]

>>4052156
they put these up in school hallways and in the "local children's" section at museums.

[Anonymous No.4067945]

>>4030589
My partner commissioned me to do a knife painting of a fast duel scene, but I’ve never done any work with a pallete knife. Any tips? Pic related is a very rough sketch of the two characters. In the background will be a typical old west Main Street building and horses.

[Anonymous No.4067956]

>>4067935
Well, don't be afraid to do some test swatches with different amounts of paint to see how dark or light you wanna go.
Also, you have to learn to be patient, when everything is dry you can add another layer of colour to darken certain spots a bit more and create a bit more contrast but please learn to be patient.
Maybe focus on other parts of the painting or an entire different painting while the paint dries.

The thing about watercolour is that you can't force it the way you want it, you have to let the paint guide you.

[Anonymous No.4067970]

>>4067956
Thank you. I'll do some swatches, try and play around a little with the water/colour ratio. Also learn to to be patient. I do have space for several pieces of paper so that's a great idea.
One last question. I'm using 200g paper, is it worth investing in the 300g paper? There's a pretty big price difference but maybe it's worth it? Thanks for the advice, it's very appreciated.

[Anonymous No.4068011]

>>4061050
I feel like sable filberts would help with water and sky... The background could be lighter. The boat needs some detail. Try Winsor and Newton Artist Medium, it has got the best properties of linseed oil and paint thinner but without hazardous solvents.

[Anonymous No.4068012]

>>4061050
I guess it's boats plural... Were you going for the impressionist or expressionist aesthetic here?

[Anonymous No.4068021]

>>4067883
What paints are you using? I found 44 tubes of Pentel watercolours at a yard sale for like $5

[Anonymous No.4068030]

>>4068021
That's a nice bargain.
I bought some windsor and newton cotsman colours, they had them in a little travel-box.

[Anonymous No.4068043]

>>4068021
Maybe I should buy more full pans to cram in there

[Anonymous No.4068045]

>>4068030
Yeah they were all full and soft except for five that had hardened. Just cut them open with an exacto to extract the goods

[Anonymous No.4068049]

>>4042998
>Let's see your work

Accept that your work now isn't exactly good, it doesn't mean you won't get good, but, ehhhh

[Anonymous No.4068538]

>>4067970
It's certainly worth trying.
I mainly go for 300g paper for watercolour but I occasionally do some experimenting on lighter paper.
It can get expensive, sometimes it's a bit cheaper to buy large sheets (if you can find them) and chop them up yourself, I've done that a few times.
In the end, I'd say it's worth investing in some good heavy paper, makes watercolour much more enjoyable when you don't have to worry so much about buckling or fibers coming loose.
I recently bought a small pad of 25 sheets Fabriano paper, 300g. It cost me almost 12 euros but the paper is really pleasant to use. I think most money I spent on watercolour so far is on paper and I'm glad I did.

[Anonymous No.4068562]

>>4068021
i looked into the pentels when i found them at a local office supply shop. supposedly they are dye based rather than pigmented. i use them to dab a little colour into sketches in my sketchbook.

[Anonymous No.4068781]

>>4068562
I haven't used pentel watercolors but I did try their pastels and they were shit tier

[Anonymous No.4069231]

Ink drawing, playing with lines and form

[Anonymous No.4069654]

>>4041161
That's a nice little mischievous supermario

[Anonymous No.4070194]

Hey I know this isn't the thread for it but I was hoping you guys could help me track down these artists. I can't even make out some of the signatures.

[Anonymous No.4070196]

>>4066516
love it. it looks more final fantasy than D&D tho

[Anonymous No.4070197]

>>4070194
>I know this isn't the thread for it
Correct >>4057026.

You really don't know Frazetta and Sanjulian?

[Anonymous No.4070202]

>>4070197
Wait, which one's Frazetta? I was half expecting to get a respose asking where he was from the line-up.

Oh shit I see it now! I had been reading it as 'I rdyethr' I was completely fucking lost. Is this an earlier signature? It looks very different to the one I associate as his.

And thanks for the other one. I had been reading it as an 'Sonjulian'.

Thanks for linking to /sqt/. I hadn't seen it. I guess that's what I get for searching the catalogue without the slants

[Anonymous No.4070715]

Kind of a combination of Golden Books and Lotte Reininger.

[Anonymous No.4071405]

>>4030589
If it’s not obvious, I don’t usually paint. Made an attempt with a pallete knife today, and I’m kinda stuck. Any ideas where I can go with this?

[Anonymous No.4071591]

>>4043788
is this abstract?