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What I'm currently working on.

It's been a while since I posted anything about my painting. That's because I've been immersed in drawing lessons. But I'm currently at work again with my teacher, Cindy Procious (cindyprocious.com) and hard at work on a new painting. Still very early on. This eventually will be layered and glazed. All comments appreciated.


ForgivenessPaulBdencalerganwesharautchetanBOB73KschabenRoxyJPBSummermelTsandwichWeatherfordjswartzart
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Comments

  • Appears like you're off to a good start on this. Your drawing skills have improved 100%, interesting composition and I appreciate improvement in your colors as well. Great progress and looking forward to seeing more.
    ArtistMartin1
  • @Forgiveness -- thanks so much for the encouraging comments, they're much appreciated.
  • That glass bowl rim color is perfect!  I also like the red reflected off the yellow in the shadow.  Nice details.  I see garlic is coming soon, hope to see an update.
    ArtistMartin1
  • Nice composition, the drawing is great and that's a beautiful yellow bell pepper. I had stuffed peppers last night! all the values and shadows look good so far. I appreciate your not forgetting your old friends, it's nice to hear from you.
  • @PaulB -- Thanks! Yes, garlic, mushrooms, and bay leaves will be here soon :-).
    PaulBBOB73
  • @BOB73 -- thank you very much. No chance of my forgetting the forum. Concerning the colors, I still adhere strictly to the color mixing and matching method I learned from Mark in Austin. If you do it correctly, as everyone on this forum knows, it's like magic.
    PaulBForgivenessBOB73
  • I really like it, looking good
  • Keep going like this and it's going to be great. Looking forward.
    ArtistMartin1
  • Its coming along nicely...
    ArtistMartin1
  • I believe this to be great first layer. Your end result should be quite amazing to see. I was hoping to see more contrast between the objects, as in more 3D, but perhaps later in the process? And am I assuming correctly that this is all you need for your first layer?
    ArtistMartin1PaulB
  • @Forgiveness -- absolutely needs more contrast for more 3D and realism. I'll be doing that in the second layer and possibly even a third. Yes, with the method I'm being taught, this is pretty much all that's needed in the first layer. However, I could have put a bit more contrast in this layer, too but somehow neglected to. There's a lot of color correction needed as well. Still a great deal of work to do, but I'm enjoying every minute.

    While this is drying, I'm going to work on a very simple piece and focus on color mixing. My palette has expanded considerably from Mark's 5 colors to 14. I have a great deal of work to do in order to understand them well. Thanks for the comment.
    Forgiveness
  • I'm not quite sure I understand how it works with multiple layers like this? Can you explain a bit more?
  • edited June 11
    This is where I thought you were heading with this, the above is an outstanding demonstration and advanced working ability. I'm getting the idea now. I can see and feel the depth in this. A slightly different way to see, understand and express, apart from Mark's method. I will be trying this out sometime, I like the appearance and the accompanying feeling.
    ArtistMartin1
  • Have you seen marks vid on painting wet on dry? Def worth checking out
    ForgivenessArtistMartin1
  • @Forgiveness, yes this is where I'm heading -- at least in my mind  :) I'll keep the group posted.
  • @movealonghome, I thought I had seen all of Mark's videos, but I don't remember this one you've mentioned. I'll find it and watch it. Thanks for the information.
  • Here's the link. I hadn't noticed this one either until it a couple days ago and on the front page of DMP.com it's just called painting a jar of oil part 2


    ArtistMartin1Forgivenesspaultorrescom
  • @movealonghome, thanks, I found it and watched it. Quite informative.
  • ArtistMartin1

    Looking wonderful!

    Denis

    ArtistMartin1
  • Thanks so much, Denis.
  • Values and tones!!!!!! What I am surprised about is their solidity. I can feel what inside those things.
    ArtistMartin1anwesha
  • @Kaustav -- thank you very much. I'm learning that working slowly really pays off.
    Forgivenessjswartzart
  • As you keep at it, this will be great in the end. I agree with Kaustav above. I appreciate the process of this, looking forward.
    ArtistMartin1
  • This is turning out really well, @ArtistMartin1.The glass bowl and the peppers are very convincing. You're doing really well. Keep at it.
    ArtistMartin1
  • @tassieguy -- thank you. I'm really enjoying this. Just finished spending a couple of hours mixing my steps for the olive oil and jar (I mix slowly :-) and am about to begin on them. When I get that done, I'll post again.
  • Does this method work better for you than the DMP "finish one object at a time"? How long do you wait between layers? The painting is terrific so far!
    ArtistMartin1
  • @BOB73 -- actually with this method I do just finish one object at a time; it's just that I do the objects multiple times.

    In a sense, I'm working very much within the Carder/DMP method. I mix the steps for each of the groups using the color checker and then paint one group (object) at a time, after having first painted the background around the object. I'm painting rather thinly, so it usually doesn't take more than about a day for the layer to dry.

    When I start the next layer, I'll first oil out the object I'm painting with some walnut oil to keep it fat over lean.

    But there are differences in addition to not completing the painting wet in wet. There are the multiple layers, of course. I also do a lot more blending than is recommended for the wet in wet approach. Actually, I'm dabbing a lot as I apply the different mixed colors and when I'm finished with the object, I will very, very lightly brush it all over with an extremely soft brush -- this does the blending of the colors and also helps with soft edges.

    Finally, I'm not using the Geneva paints with a limited palette. I'm using 14 colors from Williamsburg, Winsor & Newton, Holbein, and a couple of others.

    I'm glad you like the painting so far.
    BOB73ForgivenessjswartzartSummer
  • Thanks for the insights and taking time to respond. What ever it is seems to be working for you and you said you were enjoying it's all good.
    ArtistMartin1
  • edited June 29
    May I ask, what grade of walnut oil are you using, just came across some but don't know if well for oil painting. I now better understand your color palette that you are working with, you would need that many colors to make this work most effectively in this technique. Beginning to also understand how slow, very good!
    ArtistMartin1
  • @movealonghome  thank you so much for posting this video that Mark did , he is so good I'm so happy I ran into his  Geneva oil paints and videos It changed  my work for the better ,  I sometimes work on more than two layers and I do the oiling out like he says but I totally understand his approach in one layer you can really get all the paint to blend  better and all of that he is very  insightful 
    BOB73
  • Looking forward to your next post.  Your painting looks to be wonderful when finished.
    ArtistMartin1
  • @Forgiveness, I'm using M. Graham & Co. Walnut Alkyd Medium, which is what my teacher uses. Here's a description from one of the sites that sells it:

    "This special medium was developed to provide a non-toxic, environmentally responsible alternative to solvent based, rapid drying alkyd mediums. It closely resembles combinations of sun-thickened oil and natural resins used throughout the history of art, but with the advantage of being solvent-free."

    ForgivenessjswartzartBOB73
  • Thank you, you're doing great at this, looking forward to see more from you. I value the new lesson in itself, I have a front row seat here.
    ArtistMartin1Bancroft414
  • So on the next layers are you just correcting and refining some parts or painting over everything? 
    jswartzartForgivenessArtistMartin1
  • Your using a 14 color palette , can you list the colors and do prefer it that way as oppose to the limited palette .or is it just easier to have the colors already to go without mixing to match? .... I really appreciate any and all info you will share because you have first hand knowledge from both teachers. ( I personally am gravitating more and more towards the layered method) it's not that I don't appreciate marks method because I do and have learned so much from him, but he said chose your method and layered is was I tend to do even if I am trying his approach to the best of my ability. 
  • @Richard_P -- yes, the subsequent layers are a process of both correcting and refining. A lot of both. 
  • @jswartzart -- here's the palette -- note that when a brand is not mentioned, the default is Williamsburg.

    Titanium white
    Unbleached Titanium
     Rembrandt Naples Yellow Red
     Monochrome Tint Warm (Holbein)
     Cadmium Yellow (or hue - I use Winsor & Newton cadmium substitutes - Winsor Yellow)
     Raw Sienna
     Cadmium Red (or hue - I use Winsor & Newton cadmium substitutes - Winsor Red)
     Transparent Red Oxide (eg. Gamblin Transparent Earth Red or Rembrandt Transparent Oxide Red)

    Burnt Sienna

     Permanent Alizarin Crimson
     Turquoise Blue (Holbein)
     Ultramarine Blue
     Winsor Violet (Winsor & Newton)
     Viridian
     Ivory Black

    (There's no significance to the fact that Burnt Sienna is separated by spaces in this list -- just vagueries of this editor and my pasting.)

    It turns out, however, that in practice, Cindy does add the cadmium yellow and cadmium red to the palette in addition to the Winsor Yellow and Winsor Red. It's as Mark says, regardless of the fact that you can mix any color with his limited palette, when it comes to really high chroma colors, you do need others. Which is why, I assume, he added the new colors to the Geneva line.

    To try to answer your other question: first of all, I still mix in order to match every color just as with the Carder method. I  think I've  used something right out of the tube just a couple of times but then blended in. What I do think, however, is that with a broader variety of colors, you can get the match a bit more quickly, especially if you're going for a real subtilty. But I don't have enough experience yet to say this definitively.

    One thing I've noticed for example, with the limited palette, if I understand correctly and to repeat what I've heard Mark say in his videos, you lighten with white or yellow. In this expanded palette, however, I lighten with white, unbleached titanium, Naples yellow red, monochrome tint, and, of course, yellow. I think with all of this available, I can get subtilities more easily.

    Hope this helps.

    jswartzartPaulBBOB73
  • Thank you so very much I really appreciate your reply. I worried and hesitated before to purchase oil paints because I have never used a medium (I know there are tons of info and videos on how to do it) I bought the Geneva paints specifically because took the guess work out of it since it already had it in them.  I have noticed when painting my sea turtle and seascapes that I really cannot get the turquoise colors i need ( now with the power color he added I'm sure that will fix my problem) but I also have difficulty mixing and matching colors and values so wondered if more variety would help in that department. You've given me a lot to consider. I think your work is exceptional and look forward to seeing this painting finished.
    ArtistMartin1
  • @jswartzart --   One thing I wanted to point out is that I don't mix any medium with my paint in the first layer. And you don't have to mix any medium in the paint for the other layers, too. Just oil out the dried previous layer before beginning to apply the paint in the next layer.

    If, however, you'd like the paint to dry a bit more quickly you can mix just a couple of drops of the walnut alkyd medium with your paint before applying. 
    jswartzart
  • Wow thank you! That makes it simpler for me to do then.
    ArtistMartin1
  • I like the olive oil jar, and the oil itself looks just like olive oil.  I also want to say that bay leaf is perfection - the central vein and wiggly edges are perfect.
    ArtistMartin1
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