| Author | Message | ||
  Robert |
I too go through a lot of Ultramarine--I prefer Prismacolor Ultramarine or M. Graham. These are so brilliant as to invite use. | ||
Eric |
I can't really say I have a favorite color, but it seems like the color I go through the fastest is ultramarine blue. But that's probably because it's such a workhorse color. I use it on it's own and then to mix with burnt sienna to make blacks and grays. I also use it to make purples and then I mix it with thalo blue to get an "in-between" blue. But for a "signature color" I don't have any. I suppose I'm an equal-opportunity color guy. | ||
greg |
I ended up using the toothbrush technique along with stippling and drybrushing. I actually used the toothbrush technique with frisket, before each wash and it ended up having a lot of depth. Eric, what is your favorite color you always turn to? | ||
Eric |
You could use the toothbrush technique for sand or dirt, where you spray on the paint in tiny dots by running your finger along the toothbrush bristles. | ||
tachee |
my color was opera. i could sing opera all day long. | ||
greg |
what color.....dare I ask? remove your veil if you wish before answering.....:) | ||
tachee |
i'm with dan on the sponge and spatter. scumbling to is good for dirt effects. can't wait to see your work. as for the favorite color- yes, i did once upon a time. now since i have learned about fugitive colors, i am still in mourning. | ||
greg |
I am going to add some pale pink in a few spots. another question: do you have a favorite color that you include in a painting somewhere just because it is your favorite? Mine is Cobalt violet.....love it I always find a place for it somewhere....it is really a beautiful color. I bought 5 tubes on a trip to Italy...they weigh a ton! but wow...what chroma | ||
greg |
Thanks for all of the responses. that book looks worth checking out, thanks! Soon I will try to post some of my work on here for you all to see and critique. I do a lot of close up detail work of western genre. guns, chaps, boots. I was working on a painting of 6 cowboys lined up watching a fellow rider. They are only seen from chest down to boots. It is on a 1/2 sheet of paper. There is quite a bit of foreground sand, dirt in this piece. I am anxious for you all to see it and give me advice, thanks :) | ||
Robert |
Also, implied in my response is the question---why? Foreground areas should not draw attention with profusive details. Father distant areas show few details anyway. Either way, there isn't really a need to render dirt except as a harmonizing wash. Too much gravel detail will draw away from the focal point of the painting. IMHO art should not render every leaf and pebble. To attempt is is to have a photographically rendered painting that may not be of interest to the eye. In bright sunlight i often render passages of dirt as very pale pink with a dilute was of cadmium scarlet. I then create shadow areas over this with boldly stroked vaied colors based in a mix of cerulean, quinacridone magenta, and raw sienna. | ||
Robert |
I was at the library last night and browsed the following book: http://www.amazon.com/gp/product/0806928751/sr=1-1/qid=1138969470/ref=sr_1_1/102-6969706-6069767?%5Fencoding=UTF8 On pages 22 -30 of the upper book (split into lower and upper books) is a demonstration of a painting of a dirt and gravel path. I think it is what you are looking for. | ||
Dan |
I might add...after your initial earth tone wash...try some sponge work and spatter for texture. When it drys, go back and lightly touch up some areas where needed. Sponges make great circular textures for random stone or dirt.{for us lazy folk} Experiment on your "scrap" w/c paper with designs and earth tones both warm and cooler. It works for me. Just a thought. | ||
Robert |
It depends upon if it's foreround that is not to be noticed or a microscopic close up. In general, I avoid the local color of the ground and make it harmonize with thw rest of the painting. When I need to suggest gravel, as on the bank of a stream, I lay an underwash that intermingles several raw colors--cerulean, raw sienna, bt. sienna--depending upon the color needed. I go back when dry with a small brush (I use a #5 Robert Simmons White sable for this) and freely sketch little lost and found circluar marks in various shapes of the same color as the wash but darker. Usually dirt etc is not a focal point and should be treated loosley IMHO. It's a place where shadow colors or bright light dominate and as such should serve to pick up values and hues required by the rest of the painting's design pattern. So many watercolor landscape books around--check out how they are treated by an artist you admire. | ||
greg |
I have been a Cheap Joes customer for years, and a few days ago stumbled on these message boards. I am on the computer all day at work, so painting is what I want to do when I get home. So, needless to say I am composing this at work! what is the best way to paint realistic gravel, sand, dirt? stippling? masking fluid, multiple washes? any advice would be helpful. I always have foreground trouble in my work, it consumes most of my time. In oil, I would just scrape it off and start over! |
