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tassieguy -

Glad to hear it, Roman. Happy Christmas. 


Last Active
  • Re: Rob's Portrait Challenge Blog - Mark as a Thai Mafia Don (22"X20" - OOC)

    Got a bit more done. I've just started on the gold chain and there's still a lot to do on the dark top he's wearing. And the hat. There's also a large tattoo on his right shoulder that will break that area up. Not sure how much I should try to pull the planes of the face together. I don't want to blend unless absolutely  necessary. What do folks here think? Should I blend more? Mark, the subject, wants it to look smooth. (He's a lovely guy but I think he forgets he's 57.) I want it to look like a painting.

    Anyway, it would be a great help to hear members' thought on it so far. No need to be gentle.

    Thanks for looking

    Rob :)

  • Re: Driveway - 38cm x 30cm - oil on aluminun

    I think it's stunning, @PaulB. The values and colours are right and it's a nice composition. Most of all I love that single yellowish cloud where the sky transitions from dark to light - a touch of warmth amid all those cold blue-greys. I think you can frame this one. :)
  • Re: Zoey, DMP 4, covered, not quite finished.

    Yes, for my big landscapes I do,  but I only use my own photos unless someone gives me something they would like painted which has only happened once.  When I use my own photos I don't rely solely on them  for colour. I make colour notes on site and use those. I just know that no camera is going to capture what I see and by the time you run what your camera did manage to  catch through a computer and then run that through a printer, god only knows what you'll end up with. I use photos as an aid to capturing details of form in landscape that would take me forever or be impossible to capture if I tried to work exclusively en plein air. Things can change so quickly and there's weather and bugs and nightfall ....   But even so, I still simplify and leave stuff out. 

    For still life I work from life.

    But, please, don't misunderstand me. I think photography is a great aid to the painter and I'm sure the old masters would have used it had it been available to them. But perhaps we would do well to remember that, as painters, we are trying to make paintings and not photographs. And good paintings don't have to be, and indeed never will be, 100% photographically accurate.  And who would want them to be?
  • Re: The Journey To Paint Beautiful Flowers

    Richard_P said:
    tassieguy said:
    @Richard_P,  it's about fat over lean. I don't want to make the lower layers as oily as the upper layers so I just use paint and no added oil for the dark areas. My paint is very thick with a massive pigment load and therefore hard to move so I need to push it around with the brush to spread it. On top of the lower, less oily dark areas I can start to add a little oil.
    Ah.. I thought you painted in one layer, so you wouldn't need to worry about fat over lean. This makes sense now :)

    I do paint a la prima, wet in wet, @Richard_P, but it's just that I block in the dark areas first and make them thinner because I'll be putting lighter colours on top of these blocked in areas and that's easier to do when the dark paint beneath is thin and it also keeps to the fat over lean rule if I need to use oil to make paint  thinner for doing detail with softer brushes. Hope that make sense. :)
  • Re: The Journey To Paint Beautiful Flowers

    Julianna,  I don't use solvents at all anymore.They were giving me headaches and a very heavy chest. But I've found that I can get by without them.  In dark areas of a picture, which of course I paint first, I spread the paint very thinly with no medium. I have to sort of scrub the paint into the canvas which is a bit hard on the brushes but my health is more important than a brush.  As I get into the lighter values I use thicker paint. You can blend this before it dries but leaving the brushstrokes show allows you to get the lively, textured surface which I like and notice in your work. For fine detail with small brushes the paint needs to be a bit more fluid. This can be achieved by just adding a lttle linseed oil. All the paintings I've done like this dry to a hard, slighty flexible but durable surface. I don't even use solvents for cleaning brushes - not only for health reasons but also because I find it wrecks my brushes. Instead of washing them in turps or OMS you can just squeeze out most of the paint onto a paper towel then dip them in walnut oil which takes ages to dry and wrap them in plastic kitchen wrap and leave them for several days before using them again or re-dipping them in walnut oil or you could use Mark's brush dip.  So, solvent-free oil painting is possible even if, like us down here in Oz,  you can't get Geneva paints.

    Hope this is helpful.


    Rob :)