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Hyper-realism

I have been researching hyperrealism over the past few months, and It seems that most (if not all) produce really great works of art, but do not go to any extreme lengths to do this nor do they use complex studio set ups.
Some just paint in regular studio light / daylight  - no black out curtains / no complex mixing, just plain old color matching from photo to canvas, and a laptop.
Ok, they tend to paint on overly large canvas, most also state that it takes anywhere from 100 hours to 200 hours to produce their works, but this it to be taken with a pinch of salt, as some artist have over 80 - 120 works of art in their catalogue, taking their current age in to account, some would have had to start painting at 6 years of age!,....(just do the math)
I really want to produce a realistic portrait, and I think I can get there with a "stress-less" method of  DMP, more to follow in a few weeks on this,...
Questions:
What do you think of hyper-realism and DMP  ?
Does anyone on here aim to produce hyper realistic works?



 

Comments

  •  I have to comment on the "stress-less DMP method" you mentioned because there are many newbies here and more visiting every day. The things like studio set-up, lighting, black drapes are all part of the DMP method to help those novices and especially those who enjoy painting as a hobby but have little or no success with making good realism with what they've been doing till now. All those things you mentioned help them work through the process of learning a new way to draw and mix paint. Mostly the mixing part as that is where most of them have more difficulty. You aren't a novice any more and you have computer applications that help you match and mix colors and values. I'm sure you can paint realism and hyperrealism without following the DMP set-up so rigorously. I just didn't want those among us that admire your work so much, especially newcomers to get the idea that those items were unnecessary and encourage taking shortcuts.  OK, I'll put my official Mark Carder soap box away now.

    I don't want to dispute your other comment either but I could see how a HyperRealist could paint 10 - 20 paintings a year at 100-200 hours each but it would take a full time painter close to seven years to produce 150 paintings. Your work is already close to that hyper-real level. I think you could accomplish work in that genre in a lot less time the 100-200 hours. 
  • @BOB73 ; - good points, I did not mean that people should disregard the DMP studio set up, its a set up and method that I have enjoyed and has worked amazingly well for me and others, I personally find it "stressful" to achieve the correct studio set up as per Marks in a small condo type home. (that's just me)
    All in all I will personally be seeing Marks set up soon enough and maybe I can share my concerns, we will see - thanks for the compliments  - I like the feedback
  • Trust your heart - what you are drawn to.  When you go to a museum, what are the pieces that pull you - the pieces that you could spend hours looking at?  There is an Italian Art Festival near San Francisco every year (they raise money for children in the arts so it is a great cause) - artists come from all over the world - they are using chalk on sidewalks and some of them have the most hyper-realism you could ever imagine - it is fascinating to watch.  It breaks my heart that the art is washed away at the end of the festival...….  talk about letting go as an artist!  wow.    One thing they all do, is they grid - the smaller the grid, the more realistic.  (I'm talking only about the hyperrealism artists at the festival - there are also plenty of intuitive, free flowing artist's works there as well) - I have a relative involved with the festival so I have been able to go on the set up days so I can watch the artist's in action - it just amazed me how important the grids were to the hyperrealist artists - they just go square, by square, by square - copying whatever shapes and colors for each square - the sum of which is hyperrealism.  


    Personally, I think Mark is fabulous because he has shown such a diversity in his art - some of his portraits (and especially the furnishings and cloth in the portrait paintings) are incredibly detailed and then, he can paint from his imagination on another canvas with large, sweeping brushstrokes - each are beautiful in their own right.  You are the judge of what is more pleasing to your eye.  I love your enthusiasm and willingness to share and put yourself out there.


  • Thanks @Julianna this is the feedback I like
    and to those who e mailed me thanks,.......
    for some reason people are thinking I am criticizing marks method, please go back and re-read my post,...
    i have never been feared of doing or saying anything in my life, Art and life is about being open - if there are casualties along the way then that’s just survival of the fittest 
    as for going to Austin, I have canceled my time there, as I am not sure if it’s for me at all 
    al 

    BOB73
  • I find hyper-realism amazing. But what does leave me cold is some of the subjects they choose. Rather than a dynamic scene with people, buildings, landscapes I see some of the artists paint household items, and other everyday things. They don't do anything for me personally.

    So, for me I admire the technical skill, but need the subject to be good too.

    Why have you cancelled your time at Austin? You are able to do DMP, whether that is what you want to do is something else.
  • I strive to produce photo-realism, but I am not sure if I ever get there. ) Here is my best work in that genre so far. Honestly, I have the artists curse about this painting. But I understand your attraction to hyper-realism. 




  • @alsart I appreciate the approach taken by hyper realists and photo realists. But when such artists add too much detail to a painting it starts to become lifeless, without a sense of movement and without any vitality. I see this problem even in the early renaissance paintings where the artists thought that doing a detailed piece is the best way. But then compare that too Monalisa.
    Obviously when there is a huge detail in a painting it attracts the mind and it succeeds. But hyper realism is not new at all; it is an old concept with a modern twist. If I want to do this sort of realism then I would stop where David Kassan would stop. I wouldn't want to go beyond.
  • I just don’t think it’s for me but I might change my mind next year @Richard_P
  • I agree with @BOB73 Mark's suggestions aren't necessary if you already know what your doing. I dont color mix in steps or have a blacked out studio. But some of his advice I have taken on, painting from a limited pallet has done wonders for my color accuracy and I've switched from painting on a sienna type of primerd canvas to a more neutral color. I have also added better lighting to my studio, but hands down the most important factor in improving my work had been using geneva paints! Plus I now work ala prima where as before I painted indirectly which was sooooooo time consuming! I'll attach 2 pictures. First one took me about 24 hours using the layered teqnique second only about 6-7 hours tops using geneva paints ala prima! I too strive to get to that hyper realism....but I'm definitely closer after geneva paints!
    alsartBOB73tassieguy
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