I've struggled for awhile now trying to take good shots of my paintings. I drag an easel outside, try to get the angle to the sun right with no shadows or glare, catch the painting when it blows over, deal with mosquitoes and then fuss over photo editing for hours to get the color balance somewhat correct. I have an old dslr, OLD - like 5 megapixels - and rather than invest in a new camera which I wouldn't use often, I decided to hire a pro!
The difference is clear when you compare the two images side by side. I see now that my photos tended to be more warm and much less crisp. My yellows were too yellow and my blues tended to purple. Now the subtleties of color and strokes are visible. Glare is removed in the dark transparent areas. I painted this scene maybe two years ago and haven't shared it because I could not get an accurate photograph. I like the painting and now I hope I can send it out in the world with good web images that will accurately represent the work.
Sometimes pro is the way to go!
From the Liliedahl teaser:)
Gee, can you tell I'm nervous? lol
We filmed this first, so I was not yet used to looking at the camera and talking while working. Not that it got very easy, but it got easier. Anyway - this is a fun tool I use. I think I've shared this before. I use the Artgraf graphite to sketch and plan value studies for paintings. Give us a thumbs up if you like it.
My video is about to release later this month - and I've had a chance to review it! I have to say, I am really pleased! I think I've shared good information and demonstrated how I put paint on in an expressive way. Hopefully, in the almost 3 hours of painting demonstration, you will be inspired to try some of the techniques I share. You can sign up to be notified when its released and they will send you a discount.
I have had the most amazing opportunity! I just filmed a painting instruction video with Liliedahl Art Videos. It was such a professional studio space! I think they had 4 cameras on me - including one over my palette so you can see me mixing probably in split screen. It was quite an experience.
On day one, Monday this week, I arrived to meet Trevor and Scot, who were the principal camera operators/filmmakers. They certainly were helpful in coaching me - especially in talking to the camera. I hate talking about myself, so I really have no idea what I said in the introduction! lol
Once painting, I think things hopefully made more sense. First, we filmed a little short demo where I shared the water soluble graphite I use for gestural sketching (Artgraf). If I hadn't mentioned if here before, its really a fun technique. It helps me when planning my paintings by making me think in big shapes. I have my students spend their first day sketching with this in class.
My wonderful friend (and artist) Bruce Bingham was able to stop in and offer me moral support as well as some coaching on dialog. She has lots of experience with public speaking - and mentoring artists!
Also on the first day, we filmed my materials set up, design and color plans - and then the quick start. The video will be released sometime in June. I will keep you posted!
This Saturday - November 3 - I am going to open my home studio to local visitors. Stop by and preview my newest works in my city and chef series before I send them off to my galleries across the country.
* See works in progress and learn more about how I work
* Sign up for classes
* Shop sketches, monotype prints, small gems, and studies for larger works to help me clear the clutter for new work and....
* Have a glass of wine and nosh! :-)
Message me for details RSVP
Doing some searching I've found articles that mostly talk about masters like Monet and Degas and their well-documented vision problems. Some more scientific articles mention yellowing of the lens but that doesn't seem to affect color judgement except in lower light conditions. Another was just an interesting study on how or why artists see things differently.
To help with the closeup vision, I recently got a larger monitor and have mounted it to an arm so I can use it to view larger reference material. The monitor is able to rotate too, so vertical images can be viewed full screen.
I've met people who have had surgery to correct their vision and have actually had their eyes corrected to two different focal lengths so they can see near and far. I know the brain adapts, but how are depth perception or the ability to see dimension and form affected? It seems like it could be a difficulty.
Have some of you noticed changes in vision as you age? Do you have any good solutions? I suppose I either need to paint larger, or I will just continue to get more and more impressionistic. ;-)
I know my mom is tired of hearing me whine about the paint I had at the beach. ;-)
But I have to share this as a public service!
Last year we shopped local and I ended up with Winton and a dreadful set of Daler Rowney. This year I thought maybe I had exaggerated the issues and just didn't paint well and wanted to blame the paint. But it is the paint!!
I REALLY want to encourage people to buy good quality (professional) paint - if beginners tried this stuff, esp. the latter, it would ruin all desire to work with the medium. I have searched all over and I can't find any reference to what the Daler Rowney paint has as a medium. It is almost waxy or gelatinous and won't stick to an oil primed surface. You can't build it up or thin it either. Its very strange.
Student grade paint isn't terrible, but beginners often use it because its less expensive and they think investing in a little pricier paint will cost way too much to waste on their learning efforts. You actually end up using less of the more expensive paint than you think however. The pigments are stronger and the mediums will have no fillers. I use W&N and Gamblin paints almost exclusively. Also Classic Artist Oils - which come in large tubes and are quite good for the cost. Ken Auster used these paints. These tubes will make you feel like you are rich with paint! High quality paint will make working with oils so much more enjoyable and give a beginner a real sense of what the medium is capable of doing. Word!
Six years ago I had a solo show at Tidewater Gallery that was focused on small paintings - "vignettes" as I called them. We had a show catalog made as a companion to that exhibit, but I was really disappointed in the print quality. I've decided to update that book and have a new edition printed. The paper and the color quality of the artwork is much better. It was really nice to revisit those paintings. I focused heavily on my first impression of a scene and created works that spoke to the immediacy of the moment frozen in time. I really want to do another series - "Vignettes II" - which I'll exhibit on my site here. Stay tuned!
You can order the new edition here.
It is also available as a downloadable PDF to my Patrons ~ become one today!
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A Painter's Journal
Chasing the light. Capturing life.
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