A look back

Two weeks prior of art and a review of the top points for each.

Post Title Summary
Session #075, Work #065 Slow down, accuracy is achieved through careful observation.
Session #74, Work #64
  • Always do my art before a release.
  • Nicolai Fechin is amazing try to achieve the same.
  • Slow down for accuracy.
  • Conte compressed charcoal sucks, vine charcoal and Generals charcoal pencil is better.
Session #73, Work #63
  • Trouble with adherence of vine charcoal to paper.
  • Paper type does not help adherence.
  • Slow down, speed comes through accuracy.
Session #72, Work #62
  • Best painting so far this year.
  • It was done well due to time spent and careful observation.
  • Have faith that a painting will get better after the beginning stages.
Session #71, Work #61
  • For measuring always keeping my torso directly over my butt and straight.
  • The closer the subject the more the measurements can vary.
  • Measuring for a base increment, then using that to measure a distance, then checking that distance with the base increment and something else.
  • Trusting my own judgement over the measurements.
Session #70, Work #60
  • New Rembrandt palette is the best.
  • Drawing bad, take more time.
Session #69, Work #59
  • Painting process of starting on the focus and working outward.
  • Schmid said it’s best to have multiple painting processes and to use the process that would best fit the subject or painting.
  • Boxes are a really good subject for getting drawing down perfect.
  • Slow moving but it looks good and is very accurate.
Session #68, Work #58
  • Schmid Style really fun.
  • In almost every instance the most intense colors come out too dark when I paint.
Session #67, Work #57
  • Super accurate drawing at the beginning doesn’t work well, it stifles energy and makes me want to leave lines.
  • Only worrying about drawing at the end does not work well, if the drawing is too far off you can’t move the shapes around easy enough to fix them.
  • Filling the canvas with paint early on can make it hard to adjust values and color.
  • Lower viscosity of paint is better.
  • Changing viscosity of paint during painting is tedious, I would rather dry brush.
  • Do a post based on artist Rosemary Frantzen
Session #66, Work #56
  • Charcoal is much better to work with in life drawing class.
Session #65, Work #55
  • Hierarchy as completion order should be separate from importance.
  • Value, Color, Edges, and drawing and Composition is done before the painting is started.
  • This working order works well for portraits, need to incorporate more measurements during painting.
Session #64, Work #54
  • Final stroke painting, hard.
  • I should always strive for the final stroke as soon as possible, or maybe with every stroke. Maybe the key, is to act like every stroke should be the final stroke but allow for adjustments throughout the painting.
  • Theory: What separates masters from novices is time, the time it takes to gather experience and knowledge to make strokes perfectly accurate. What separates masters and really great painters is time, the time it takes to complete a painting, because the really great painters if given enough time can render life perfectly, a master can do it in a short session. So based on this theory a master painter is a person that can complete a perfectly accurate and beautiful painting quickly and with ease.
  • Edges seem to be the biggest issue after drawing. Without sensitive edges this whole thing turned into a very abstract looking painting.
Session #63, Work #53
  • Paint mountains up close, or you have to crop your painting way down for them to be large enough.
  • Need to work on atmospheric perspective.
  • Slow down for fluff and observe as best as possible.