February 27, 2017 at 5:16 pm #6768Matthew ArchambaultParticipant
Listen to tonight’s member podcast.
MattFebruary 27, 2017 at 10:11 pm #6777
I missed your image when filming the podcast. I’ll address this next week.
MattMarch 6, 2017 at 9:09 am #6923Janne HeinonenParticipant
My question is basically: What do you think it is better to focus on in a quality or quantity? I don’t mean portfolio or client work but more specifically while practising.
I know that some of the artschools in history and still today focus on doing a really long drawings spending weeks on rendering almost photorealistic drawings. Bargue drawings and the sight-size drawings being one example and those methods have produced some of the best painters in the history.
But then again I feel that sometimes spending days or weeks on one drawing isn’t that useful and that I’m just over working it.
I understand some of this comes down to personal preference and the lifestyle choices but still If you have any thoughts or advice how to allocate between longer and shorter efforts it would be helpful to hear.March 6, 2017 at 2:29 pm #6929
Really an excellent question. Will post this podcast in the early afternoon.
MattMarch 12, 2017 at 8:25 pm #7034David WadeParticipant
Apologies if this an issue you have addressed many times but where would you advise someone who can perhaps manage between 10-20 minutes of drawing a day to focus on when using your website? What would you suggest to focus on when doing practice drawings? So far I’ve been using the Bargue plates (1-3) but they will soon become quite complicated.
Thanks for looking,
DavidMarch 21, 2017 at 11:43 am #7220
Hi just wondering why you were not critiquing my snowmen or answering my questions? when we talked I was under the impression I was doing stuff for art licensing least that’s what you said to work on am I supposed to do other stuff to. plus I had asked some questions about oil painting and paper under the series thing, because I need to make a series of each thing I do. Thanks Lisa Hamilton.March 21, 2017 at 1:21 pm #7224
Where did you ask these questions. I don’t see them?
MattMarch 21, 2017 at 2:03 pm #7226Erik LodinParticipantMarch 22, 2017 at 12:31 pm #7234
sorry I’m a little old when it comes to all this computer stuff. when I was in school for digital art believe me I was learning as I was going. so it took me a while to get used to this still don’t have it all down. and any fine art classes I had were 20 some years ago. it’s been a while. trust me I draw better then I paint. however, I have been working on stuff. I think with the snowmen I have been using the wrong paper. so maybe it will turn out better next time. I’m hoping it wasn’t that bad lol. you can tare it apart though as I need to get better. I’m also practicing the life drawing stuff because of some artwork I would like to sell on the side of the art licensing stuff. just to let you know. and yes it was in the series area. thanks matt, Lisa HamiltonMarch 22, 2017 at 12:33 pm #7235
Btw Thanks Erik I’m trying to make happy cute snowmenMay 8, 2017 at 12:24 pm #8537Samantha SewellParticipant
I would like some advice whether it be from Matt or from any of the other members on this site.
I’ve been struggling with this commission for around 6 months (the clients are family friends, and luckily very patient and understanding!)
They’d asked for a painting of a zebra similar to one of my previous paintings, which was of a giraffe made of galaxies, so I did a zebra made of lightning (the orange and brown one; I somehow messed up with the pictures so there are duplicates of the first and second plant zebras)
I had another idea to do a zebra made of plants, and they liked the idea so much that they paid me in advance to do that for them as well.
1. My first attempt was too close to the face, I think, so it’s very difficult to distinguish it’s a zebra without obvious shapes of the head.
2. In my second attempt, I decided that I wanted to do a mother and baby zebra and tried to make it easier to see them as zebras. However I found that leaving the background white didn’t look appealing to me, so I began to paint the gaps between the flowers in a dark blue with white and gold lines, and the background behind their heads in black. But it would be too fiddly to paint the blue around the flowers, and many of the artists I admire paint in layers which gives their pieces a cohesive together-ness which I didn’t think this piece would have if I continued in that way.
3. My third attempt is the closest I’ve come to what I want; I transferred my sketch from zebras #2 with charcoal, and painted the block colours with blue and black acrylic (leaving the mother’s eye area white so the gouache paint would be brighter and so draw the attention there first)
I’m quite happy with the mother’s eye, but definitely not with the baby’s, and I began painting leaves and flowers under the eyes, however I hadn’t studied enough flowers and plants for them to look good. My frustration with wanting to finish this darn piece also played a part in me not putting much of an effort into the flowers.
I’ve been struggling with this painting for so long now that I’ve built it up in my head, and I’ve been avoiding it most of the time because I feel like it has to be so amazing since it’s taken me so long to create it.
I want to try again one last time, and make it *the one* so I can finally move past it, since it’s become this physical manifestation of a mental and artistic block.
The painting is on paper, but I found after painting the background that it doesn’t cope with paint very well as the edges curled a lot. I want to do the final painting on possibly wood instead (size A2), or any other smooth surface since I don’t enjoy working on texture.
Can you give me some advice on:
– The colour scheme (I know that I want the background to be black and the heads to be blue, but I’m not sure about the colours of the eyes, the leaves & flowers as the stripes, the arum lilies that will be the ears, and the grass that will make up their manes)
– … and anything else you can think of to make my painting the best that it can be, and to help me finally finish it!
Thank you very very very much for reading this, I know it’s a long read but I just had to get it all out haha. I hope you can help!
SamMay 8, 2017 at 6:03 pm #8551Matthew ArchambaultParticipant
Listen to tonight’s podcast.
I will do my best to make suggestions.
MattJune 7, 2017 at 1:49 am #9079Kwang Yang TanParticipant
I’m KY and I have a question regarding colour hue and saturation. How do I determine if a color on a particular surface plane of any subject matter should be more saturated or less saturated? I mean, the value on the shadow side would be darker, but what about hue and saturation? For instance, when a light is shone on a person’s arm such that there’s a light side and a shadow side, how do I know if the shadow side should be more saturated or less saturated, and of what hue? Could you please explain the underlying principles guiding this? Thank you!
KYJune 10, 2017 at 2:36 am #9167Lucille KrepsParticipant
I’ve struggled quite a bit with line quality and what you’ve referred to in previous videos as your ‘lover’s touch’. People who have great line quality… what is going on in your head? How do you sense where to build line and where to leave it light? How do you resist the temptation to connect ALL those lines by the end of the drawing without leaving any open space? How do you feel this stuff out?
I’ve been working on my line quality and tried to pay especially close attention to it in my most recent quick sketch…. I don’t feel like I really got it though.
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