01-20-2020, 02:52 AM
I like the green painting. It reminds me of some of Franz Stuck's work which is neat ( http://fascinointellettuali.larionews.co...ornice.jpg )
I think when you're creating paintings that seem to focus on a lot of mood and feeling, it opens up a lot of interesting opportunities when it comes to technique that maybe aren't so optimal in more naturalist paintings. You see this in a lot of symbolist paintings (Stuck, Böcklin, Maxence). The painting is built up in interesting ways where the paint itself and how it's layered can be very expressive to heighten the desired effect. It can be worth thinking of techniques that could help heighten the experience of the painting.
I think the main issue with the painting is the drawing and when there's so little stuff going on, nailing the drawing becomes especially important. If you're having trouble drawing while painting, consider getting a maulstick to help steady your hand. If you want to paint with a more free hand, you can try to use a medium that seizes up the paint so it doesn't slip away if you brush over it later . A mixture of equal parts oil, turpentine and damar can be used to make a medium that gets tacky after a while, so what you've painted sort of "sticks" in place and you can more easily work over it without stuff becoming muddy. Just use as little as you can manage since damar is a resin and like all resins, can cause problems if used too liberally. Another method that works very well is to draw with charcoal on the canvas, then line the marks using something like a fluid raw umber, let it dry and then you can paint over it with thin scumbles and the drawing stays put and you can focus on the colors and values.
To prep the painting for selling it, it can be good to make sure it's properly keyed. You can prepare a dust cover on the back. You can write relevant info on the folded canvas like catalogue number, date of completion, medium and/or anything that seems relevant. Since it's so new, you probably want to use retouch varnish on it.
With the other paintings, they're really messy. How often do you clean your brushes when working? Me personally, I always work with a paper towel in my left hand so I can wipe my brushes clean after every mark where I paint into another color. With the palette, you need to make sure you don't pollute your mixtures with the paint on the brush. If you don't keep your materials clean, things will get a little more muddy after every time something is polluted, and while it isn't as noticeable as it's happening, it's a boiling frog kind of thing and after a while, the colors you're painting with are mud. This is one of the most important things to pay attention to with limited palettes. By being clean, you can use earth pigments and still make a very vibrant painting.
Hope you sell something at the show so you can buy some real brushes and a clean palette!
I think when you're creating paintings that seem to focus on a lot of mood and feeling, it opens up a lot of interesting opportunities when it comes to technique that maybe aren't so optimal in more naturalist paintings. You see this in a lot of symbolist paintings (Stuck, Böcklin, Maxence). The painting is built up in interesting ways where the paint itself and how it's layered can be very expressive to heighten the desired effect. It can be worth thinking of techniques that could help heighten the experience of the painting.
I think the main issue with the painting is the drawing and when there's so little stuff going on, nailing the drawing becomes especially important. If you're having trouble drawing while painting, consider getting a maulstick to help steady your hand. If you want to paint with a more free hand, you can try to use a medium that seizes up the paint so it doesn't slip away if you brush over it later . A mixture of equal parts oil, turpentine and damar can be used to make a medium that gets tacky after a while, so what you've painted sort of "sticks" in place and you can more easily work over it without stuff becoming muddy. Just use as little as you can manage since damar is a resin and like all resins, can cause problems if used too liberally. Another method that works very well is to draw with charcoal on the canvas, then line the marks using something like a fluid raw umber, let it dry and then you can paint over it with thin scumbles and the drawing stays put and you can focus on the colors and values.
To prep the painting for selling it, it can be good to make sure it's properly keyed. You can prepare a dust cover on the back. You can write relevant info on the folded canvas like catalogue number, date of completion, medium and/or anything that seems relevant. Since it's so new, you probably want to use retouch varnish on it.
With the other paintings, they're really messy. How often do you clean your brushes when working? Me personally, I always work with a paper towel in my left hand so I can wipe my brushes clean after every mark where I paint into another color. With the palette, you need to make sure you don't pollute your mixtures with the paint on the brush. If you don't keep your materials clean, things will get a little more muddy after every time something is polluted, and while it isn't as noticeable as it's happening, it's a boiling frog kind of thing and after a while, the colors you're painting with are mud. This is one of the most important things to pay attention to with limited palettes. By being clean, you can use earth pigments and still make a very vibrant painting.
Hope you sell something at the show so you can buy some real brushes and a clean palette!
Discord - JetJaguar#8954