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PaulB -


Last Active
  • Re: DMP 4 - Just started - your welcome to follow progress,...

    The dots of color on the photo are good, I can see you approaching the right color, well done.  9 attempts?  Nothing wrong with that.  Here's me trying to match a color in 15 steps and never quite getting it.  You're doing fine.

    The DMP way is to cover the whole canvas before blending and correcting.  So don't blend yet.  Maybe not at all.

    Now, here's a side-by-side of your photo and painting:

    To the left of the leaf, the dark / green border is good - right color, right place.  Excellent.

    In position A the photo shows a pale yellow green.  Are you using artistic license there, and changing the background?  Nothing wrong with that, but it's not easy to pull off - easier to just copy the photo.

    The dark blob is a good color, the green is not bad (could be bluer in position B ), but I think you're missing a step between the dark and the green.  See how you have a hard line between dark and green, but it's more of a gradient in the photo?  That indicates missing steps.  But you're doing the right thing.
  • Re: Brush size equates to ?

    Here are Windsor & Newton #2 and #5 side by side with the Rosemary & Co equivalents.  They are consistent, so the size means something.

  • Re: DMP 7 - Wine & cheese (once again!)

    @alsart, no disrespect intended but this is a great opportunity to say something:

    @ANorris and @Freeman - this is how bad a painting looks when things are going RIGHT, and not all the values are laid in yet.  This is the stage you have to push through and trust the color matching, and not wipe off.  Stay tuned and watch how this one is going to come together and impress us.

    I can't wait.
  • Re: Still Life, ''abstract" realism

    Thanks @Renoir.  I love watching those very slow, deliberate brush strokes.  I don't think I could ever do that.

    Two things he said rang true to me: That experience tells us that things with sharp edges are flat, and that at both points perpendicular to the light source, there are these neutral edges that can escape into the background or other objects.  Lost edges I guess.

    I'm sitting in a dimly lit living room, and looking around I can see these observations illustrated everywhere.  Thank you, it's making me look around differently.
  • Re: Hardest thing about painting realism

    I think restraint is the hardest thing about this, at least right now.  I'm sure there will be another difficult obstacle after that for me.

    Back when I learned to drive, it was initially overwhelming.  Bear with me.  There were just so many technical details, rules of the road, the behavior of other drivers, familiarity with the car and controls, not to mention hundreds of possible scenarios that I thought I had to learn to deal with individually.

    After learning the basics, it took a lot more time and practice to finely control the clutch, not oversteer, not to mention develop a situational awareness, and start anticipating the moves of others, road conditions and so on.

    It was the same when starting painting.  Which brush?  Do I really need a cadmium red?  Everyone talks about Liquin, should I buy that?  How big is a "step"?  Are there really rabbits in this glue?  6 months, really?  Wouldn't a tube of SAP green really cut out a lot of work mixing paint for this leaf?

    Having struggled past all that, now it's time for subtle control: don't blend here, blend there, just one or two brush strokes, soften that edge, don't paint that texture just suggest it, don't paint that tree there, it unbalances things, and so on.

    This is what I'm finding the hard part.  Operating this brush is one thing, but knowing when not to make a brush stroke at all is quite another.  What to leave out.  Restraint.