Zoltors Inkwell wrote: ↑Fri Jul 31, 2020 8:06 am
teaman wrote: ↑Fri Jul 31, 2020 5:50 am
Zoltors Inkwell wrote: ↑Thu Jul 30, 2020 8:57 pm
You are right about Renoir's work and the clouds. I may have been heading in that direction without even knowing it but somehow you pointed it out. I'm going to assume you have some academic training by connecting the clouds with Renoir. I don't think most people, even artists, would make that connection by looking at the drawing. I find that amazing.
Zoltor, I don't have an art degree, just a lifelong love of the subject. And a great resource for learning the working methods is a series from the BBC called Forger's Masterclass. Just search for it on youtube. This fellow takes you through the techniques and approaches of a number of different great painters. Well worth the time, even if you just have it on in the background.
You could have said you had a degree in art or art history and I would have bought it. It is obvious you have a love for the subject. Before I start working on a painting, I will watch youtube videos related to the subject. I do this to boost my spirits before applying any paint. If I'm not feeling it after watch some videos, I simply move on to something else. I remember when John got caught for forging but wasn't aware he had an art series. It's funny that despite recently watching BBC's portrait artist of the year, I don't recall it ever recommending this series. Is your approach similar or do you have a different approach?
I've seen portrait artist of the year too. Good show!
I tend to do a sketch or initial drawing, then think about the size I need for a particular painting or illustration. Then I'll usually draw it again, or trace it on another piece of paper to make corrections. It's almost always better when I just redraw it. I never get everything right the first time. A mirror or scanning and flipping it helps to check proportions and composition.
After that it depends on what the piece is for. I may ink it and then computer color it for illustration stuff. Otherwise it gets transferred to watercolor paper or canvas for painting. I love watercolors, they just glow.
Usually for the canvas pictures, I'll use watercolor and go over it in oil. Occasionally I may use acrylics for the underpainting (if I need more modeling), but later go over it in oil. The drying time for oils is a pain, but the blending is magic everytime, especially for skin tones.