| Author | Message | ||
  lyn |
OK, I lied. The upload box did appear, but it took so long I got paranoid about my iBook imploding, etc. so cancelled it; we don't care about acrylics anyway. I tried again with one of my **early** character watercolors, but after a century I got the message that I failed to access CJAS. | ||
lyn |
OK, I lied. The upload box did appear, but it took so long I got paranoid about my iBook imploding, etc. so cancelled it; we don't care about acrylics anyway. I'm going to try again with one of my **early** character watercolors. Again, he's not *quite* that red.  | ||
lyn |
I have no clue about posting from my hard drive. I formatted backslash image wiggle bracket my title wiggle bracket but did not get the box to download my image. | ||
lyn |
How good to talk w/fellow artists--thank you for conversing. David, most impressive work, I bookmarked your site for a better peek later. Did you do any study with Don Andrews? I work in mid to high key, showing a lot of red--red is in my soul. I tend to work dry in layers, which I find challanging, because I am so impatient. Then, I need to lift out because I also lose my whites, especially in the eyes. I am a very poor photographer, so no good pictures, yet. However, I am going to try to post one of my acrylic mixed medias and an older watercolor "character". I have Xerox color copies, which show more red than I actually use, but still representative enough to use in my portfolio, since the "character" shows. I'm going to work on getting my work on diskette, though, because I want to post for critique. I learn so much from peer critique. Surprisingly, I am not proprietary about my work, I love criticism, whether I take it or not. I started with Arches 140# but very quickly learned this paper is not condusive to the type of work I want to do. Then, changed to Arches 300#. On my last order I got (2) Kilimanjaro 300# CP pads, and I am in love with this paper. I regret having order all the full sheets of Arches- -may be that my teacher will trade some for classes. I did a little experiment last night on the Arches. I ruled off 4 strips and then did a real quick sketch. I panel #1 I overpainted w/ (100%) Permanent white Gouche, panel #2 was left plain-o, #3 overpainted with Gouche Zink, and #4 with Gesso. Then, I painted loosely, as though I were making a work. Panel 1 was OK, although my colors looked a bit on the muddy side, #2 was the best, #3 gave a soft grayed effect, and #4 very grayed. I admit to not making a concerted effort to bring up the color, just playing. It was interesting and I'm going to do a bit more work with this. What do you guys think? Oram: Ted is my first real teacher. I have been painting for years with no role model, either--just keep going and use good supplies, always. It's trial and error. Some say to copy the work of others but I never have. And, always draw. Your input is great, like you have been painting for years. Look at really good magazines, like International Artist, this is the only mag I recommend. I didn't renew my subscription, however, now that I have found Ted. Ted is very very busy so we are fortunate to get him for 4 weeks in a row. I have trouble with values. I "get it", but I don't "get it". I make chart after chart, but it's one of those things I need to work on. Thanks for being there. Look forward to more stimulating discussions. | ||
oramasha |
Lynn- Thanks for sharing your tips again. You're so fortunate to have found a teacher that you love. I've taken a few beginning classes and they were very disappointing. I think I just need to experiment on my own for awhile and get some confidence and competence. So, my feet are at "start" - waiting for my catalog to arrive (i'm tactile and visual and want to see all my choices!), absorbing what I can from Handprint.com (that guy is a genius), ordering my artist's pigments (I only have Cotman pigments now that I had bought for that beg. class.), gaining "book knowledge" on pigment characteristics, and making all those beg. choices- picking papers, supports, etc. So, unfortunately, I may not be too helpful to you due to my inexperience. You're much further along the "path", as are most people on this board (which is very inspiring for me). I'd love to see your paintings, too! Dake-- I cruised your web site. Your paintings shimmer! I love the effect of the eyeglasses in the portraits. The perfect intermingling of colors. Is that because you work wet-in-wet w/ HP paper? Did you take a lot of classes when you started or did you "find your way" by practicing on your own? I also love Sutureself's style and use of color. On that note, back to the drawing board. . . | ||
dake |
Hi Lyn, I wouldn't mind seeing your character work. I too paint figures and portraits. The approach you've mentioned has me facinated . Can you post one on the board? Or maybe you have a website. You can check my work out at; www.davidburge.org... if you wish. Cheers | ||
lyn |
Praise the Lord! I was thinking I'm all alone on planet CJAS. If you are serious about painting, IMHO you really need a proper easel for both drawing and painting. I've spent so much $ on different kinds and end up donating them to an art school. What I've kept are a folding aluminum easel w/bag for travel (like CJAS item AN220 on p. 145 of catalog), my tabletop French easel (similiar to JE100 on p. 144 but w/o legs) for bringing to class, and my very best the Deluxe LOBO (CJAS item JR883200 for $169.95 on p. 141 of catalog). If I go to a day long seminar I bring the LOBO because its very lightweight and portable. My current fascination is watercolor--generally figurative, and specifically the head. I have found the most marvelous artist to study with, his name is Ted Nuttall. His work is innovative, very fresh and he is an incredible instructor. I am developing my own style, which turns out to be what I call watercolor "character". Not a characture, but not an actual portrait. I'm going full out and paint every day. And you? | ||
oramasha |
Thanks for your tips, Lynn! You read my mind-- I need an easel, too. Out of curiosity, what are your favorite subjects? | ||
lyn |
PS: Don't forget to ask Santa for the LOBO standing easel--it's the best and only $200 at CJ. I real bargain. | ||
lyn |
I use a metal folding palette, which wipes clean with water, (if I don't need the derg for my current work). I've never used plastic palette so can't give cleaning advice (I'd probably buy another one--they are cheap). My watercolor palette is all W&N: RS, YO, CRL, BS, Carmine, Perm Violet, Hookers, Cerulean, Lemon, Cad Orange, UMB, and BU. | ||
oramasha |
Hi Dake- Thanks so much for sharing your palette -22 colors but who's counting- and insights w/ me. If you had to only have 1 choice of paints-- I hear that W & N is generally a great brand-- although I've noticed that it is the most expensive. (Although I'd rather have quality.) I think your point about staining pigments is a good one-- as a beginner, it's nice to know you can lift out an unhappy accident. Easily. I definitely agree that certain colors are awesome: burnt sienna, raw sienna, burnt umber, fr. ultramarine. I'll probably get that secondary palette and some cadmiums, too. Since I don't know my style yet, it's hard to know whether I'd want granular vs. transparency. I just want some colors I love and that will work well/mix well w/ each other. Time will tell! I'm sending my list to Santa (Cheap Joe is that you?)soon. To everyone else-- Thanks for sharing your tips and paintings in past posts. I love hearing and seeing everyone's thoughts/ideas. | ||
dake |
That posting is supposed to start *HI* not I. | ||
Dake |
i oramasha, don't apologise for seeking knowledge! I live just outside Perth in Western Australia( the most isolated capital city in the world) There is a monopoly in art supplies here so there is a very small choice available in w/c paints, W&N, Art Spectrum(supposedly artists quality but poorly prepared if you ask me). Thats it! Oh and cottmans. So W&N is the only option. I have this palette in clockwise order: burnt sienna*, raw umber*, burnt umber*, indigo, french ultramarine*, cobalt blue deep, cobalt blue*, cerulean, manganese blue, cobalt violet*, titanium white(yes folks it's true), lemon yellow, cadmium yellow pale, cadmium yellow*, indian yellow, raw sienna*, cadmium red*, scarlet lake, indian red*, light red, rose madder genuine, permanent alizarin or crimson*.[ * = essential]. I go for granulation above transparency, I tend to avoid stainers if possible because i like to have the freedom to lift highlights if i manage to stuff up the little areas i meant to leave white. This palette particluarly supports figurative and portraiture but is rather versatile when a landscape or still life is on the agenda. The manganese and cobalt violet are for me just to add seasoning to taste. I think that paper choice is equally as important as pigment or palette choice. So if you're begining your journey you will probably find you need to trial different papers to suit you. The unique foursome will define itself in time. That is 1/ Subject weighting 2/Paper choice 3/Palette and pigment types 4/Your style with brush or wash. But ALWAYS use QUALITY PAPER and pigment because you need to have a rock solid foundation to work upon to thus define clearly as much as you can about this fickle medium as possible. Otherwise it's like trying to catch an eel with one hand in the dark. | ||
oramasha |
thanks, dazy. | ||
dazey |
You can use Clorox bleach to make your palette white again. Either rub it on full strength with a paper towel or let it soak in bleach. Just be sure to rinse well before using it with paint again. | ||
oramasha |
It appears my first message didn't go through. Sorry if this is repetitive. I want to clean the staining colors off my mixing area, so that when i mix colors again in the mixing area, I can clearly see what color I'm mixing. Isn't this necessary in order to see clearly? Also, has anyone tried the secondary palette recc. by handprint.com? What has your experience been? I'm a beginner and I haven't defined what I like/don't like yet (except stains on my palette!) but, I have a feeling I should start w/ this palette and some earth colors. Out of curiousity, how many and which colors/pigments make up your general palettes? What do you guys think of the American Journey paints? Has anyone done any lightfast tests on them? Drollere? They are much less expensive than Winsor and Newton! I'm sorry for so many beginning questions. One day, I'll stop asking questions and show the fruit of my discoveries. | ||
Anonymous |
Why would you want to clean it? Seems like a waste of time. | ||
oramasha |
How do you get the stain of phthalo blue off your palette? (I'm a newbie watercolorist.)I've found this discussion board very helpful! | ||
Carrie Stuart Parks |
YOU MEAN YOU'RE SUPPOSE TO CLEAN THE PALETTE? Oh. -Carrie | ||
Linda |
Had to laugh out loud with drollere's fix on the spelling. Thank you, for I used "pallette," which was an awful mix of the two. It reminds me of how I'm always correcting my sister with spelling, pronunciation, whatnot with the English language. She knows I do it because I love her, and would never see her embarrassed for education. After one such incident, wherein she could have been embarrassed, but remembered my cue, she came to me gushing thanks, for it was an important showing of people. I thank you, drollere, for your kindness of taking the time to correct us. It is an important thing you do for us, this. I definitely appreciate that you care! | ||
patc |
I find that the stains come right off my white palettes when I clean them with "The Masters" brush cleaner. I keep a piece of damp sponge in the jar for quick clean-ups | ||
Lex |
I use white styrofoam disposable plates, mostly the kind with three compartments, for my palettes. Handy enough for working at home (I never paint outdoors so size isn't an issue for me). So far they've always rinsed clean easily and if they don't, no problem - toss 'em and get another. It's handy having that much space to mix or dilute colors especially if you like using big brushes. | ||
rockps1 |
I have found that, if you use Naples Yellow(Academy),on a damp paper towel, and a little elboe grease,you can regain the white in the plastic pallets. | ||
dirtybird |
I mix my colors as little as possible to preserve the brilliance of the watercolor paint. I insist that my pallet be clean. I have several but normally use one of two 24-well Cheap Joe plastic pallets. I clean them with detergent and liquid bleach. They look as good as new after each washing. | ||
drollere |
it's spelled "palette," folks. (a pallet is used to load freight. a palate is used to taste wine.) don't clean with an abrasive cleanser (such as ajax), steel wool, or the "scrubber" pad on kitchen sponges. these will scratch the surface, and the scratches hold stains. lighter fluid or similar solvent and a paper towel will get most paint stains right off. |
