| Author |
Message |
 
Robert
| | Posted on Tuesday, January 25, 2005 - 4:41 pm: |  |
Stymied by technical challenges?--
Yes--interior scenes with outdoor lighting coming into the room. |
Robert
| | Posted on Tuesday, January 25, 2005 - 4:20 pm: | |
Sarita--just to make sure we are on the same page--it is not Grumbacher "Academy" ultramarine --which is a more violet, grandeously granulating, great french ultramarine. It is Grumbacher FINEST Utramarine (but not Grumbacher Finest "French" Ultramarine). Three great, totally useful and very different paints! |
sarita
| | Posted on Tuesday, January 25, 2005 - 8:56 am: | |
Thanks all for the great advice. Robert, I will definitely check out the Grumbacher's ultra.
Thanks jdaneman for the picture. Pretty close
to the colors I see.
I remember an earlier post about dreaming about
paintings. Very rarely do I envision a painting
before I start. This however came to me before I even took the first photo. The idea is all about
the colors and the shapes I see in the glass. More abstract than realistic. And since I've never painted glass before, I'm sure I will drive myself insane.
Has anyone had a particular subject they have wanted to paint, but failed or avoided it because of the technical aspects of it?
If so would you share your thoughts. |
Raliegh
| | Posted on Monday, January 24, 2005 - 12:18 pm: | |
Ahh, here is an interesting composition. If the artist didn't want to lay several colors in the background (glazing) would it be possible to get a dark enough contrast? |
Robert
| | Posted on Monday, January 24, 2005 - 11:10 am: | |
The brightest, most bright blues seem to be made by Holbein, so I'd look there.
However, I am not of the same painting mind set evidently and so don't really know much about how to help. I've noticed that Daniel Smith sells specific mini-palettes to cover very specific subjects, like purple irises--and they give the exact colors to make these without much mixing. I however prefer to work with a standard limited palette and tend to make due with the standard choices and do a lot of mixing.
All that being said, my understanding is that a lot of what it takes to make colors "pop" is what they are surrounded with --contrasting values and complements mostly. But if you mean by "pop" that you want a more artifically electric blue, I look at Holbein's Peacock and Marine blues and some others. Grumbacher Finest Ultramarine (not French Ult) is also quite brilliant and about this hue. |
jdaneman
| | Posted on Monday, January 24, 2005 - 10:52 am: | |
Just for fun I put up this picture of a cobalt pitcher. I can see purples, turquoises, etc. What do you see? |
George
| | Posted on Monday, January 24, 2005 - 10:14 am: | |
Is it possible for you to post a photograph of the bottle? |
sarita
| | Posted on Monday, January 24, 2005 - 9:20 am: | |
I need some technical advice on the best blues to use for painting a cobalt blue glass bottle.
I spent the greater part of my weekend trying to
correctly mix the blues I see in the bottle.
Since the composition is very simple, just a slight birds-eye view of the bottle along with
it's cast shadow and the refractory shapes inside
the shadow. I need the blues to really pop!!
I was using Daniel Smith's ultramarine blue, phtalo blue and carb. violet. Just was not working.
The foreground/background will be left white.
With part of the bottle having a lost edge.
I'm still debating on whether to add some flowers
(cool lemon yellows to offset the blues).
Any ideas?? |
|
