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09-21-2005, 11:52 PM
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#1
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Juried Member
Joined: Jul 2005
Location: Toronto, Canada
Posts: 30
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Quote:
Originally Posted by Claudemir Bonfim
Hi Dave,
It looks much better now, you're doing a great job!
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Thanks!
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10-02-2005, 01:18 PM
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#2
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Juried Member
Joined: Jul 2005
Location: Toronto, Canada
Posts: 30
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updated image
I updated this last week. I know there a problems with the eye and ears but I don't plan to come back to this since it would probably result in yet another repaint.
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10-02-2005, 05:34 PM
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#3
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Juried Member
Joined: Sep 2003
Location: Gainesville, GA
Posts: 1,298
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Dave -
I think the pluses GREATLY outnumber the things you mention. Nice work!
I really like the use of those warm colors, the three-dimensional feel and the overall look of this piece.
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10-02-2005, 09:51 PM
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#4
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SOG Member FT Professional '09 Honors, Finalist, PSOA '07 Cert of Excel PSOA '06 Cert of Excel PSOA '06 Semifinalist, Smithsonian OBPC '05 Finalist, PSOA
Joined: Mar 2004
Location: Philadelphia, PA
Posts: 1,445
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Dave,
Wow, you really do repaint completely with each update. It is much stronger now, through all that decision making. Your rich expressive color is a unique treat here. I am looking forward to your next portrait.
Garth
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10-04-2005, 10:03 AM
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#5
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Juried Member
Joined: Jul 2005
Location: Toronto, Canada
Posts: 30
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Julie - Thanks! I push hard for the illusion of mass. I painted this under incandescent lights and the photo of it is under the same lighting. Under daylight conditions it doesn't appear as warm. I wish I know how I could paint something in warm light and retain that warmth for other lighting conditions.
Garth - Yeah, the repainting habit bothers me quite a bit. I have reckless tendencies, wanting to paint fast, wet, sloppy and all over the canvas. What it means is I can spend all sorts of time fussing with something only to lose it all in the next session. On the other hand I want to believe that this process is doing something good for my development. For a future one, I think I ought to experiment with a more careful approach.
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10-04-2005, 10:50 AM
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#6
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SENIOR MODERATOR SOG Member FT Professional, Author '03 Finalist, PSofATL '02 Finalist, PSofATL '02 1st Place, WCSPA '01 Honors, WCSPA Featured in Artists Mag.
Joined: Jun 2001
Location: Arizona
Posts: 2,481
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Quote:
I wish I know how I could paint something in warm light and retain that warmth for other lighting conditions
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You can't, unless the painting will be seen an even warmer light. When you paint in a warm light, the tendency is to keep compensating for the warm temperatures, and the painting will be way too cool under natural light. If you paint under an incandescent light, you'll overcompensate for the cools, and the painting will be too hot under natural light.
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10-04-2005, 02:50 PM
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#7
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Juried Member
Joined: Jul 2005
Location: Toronto, Canada
Posts: 30
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Quote:
Originally Posted by Chris Saper
You can't, unless the painting will be seen an even warmer light. When you paint in a warm light, the tendency is to keep compensating for the warm temperatures, and the painting will be way too cool under natural light..
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Yeah, the problem I have is that the times I get to paint are usually late at night. I'm forced to use artificial light. I use blue-filter bulbs to help reduce the warmth but it's still not the same as natural light. Any recommendations on how to produce a more natural lighting environment without spending a lot?
Quote:
Originally Posted by Chris Saper
If you paint under an incandescent light, you'll overcompensate for the cools, and the painting will be too hot under natural light.
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I'm a bit confused by what you're saying here. Do you mean if I paint under cool lighting conditions?
Edit note: Yes so sorry, that's what I meant
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10-04-2005, 11:32 AM
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#8
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CAFE & BUSINESS MODERATOR SOG Member FT Professional
Joined: Jul 2001
Location: Seattle, WA
Posts: 3,460
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Painting slowly has ironically cut the overall time it now takes me to complete a painting.
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10-04-2005, 02:56 PM
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#9
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Juried Member
Joined: Jul 2005
Location: Toronto, Canada
Posts: 30
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Quote:
Originally Posted by Michele Rushworth
Painting slowly has ironically cut the overall time it now takes me to complete a painting.
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This makes complete sense to me. I find most of my time is spent trying to correct things - if I did it right the first time, I wouldn't have that problem. Mind you, from life, I want to try to make it easy for my model in a given sitting...of course the consequence of that is more sittings.
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