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What pigments is that color?
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Posted
Robert, I think that advice of getting to know your go to pallet is very sound advice, and in a way it's what I've done. Even though I realise I do get somewhat englamoured by pretty colours, I do find I reach and paint in much the same pallet. It's my coloured pencils problem that won't go away. As discussed earlier I have far to many, in far to many colours. But I'm slowly working my way through them. Paints....I'd like to think I'm there, but I can't promise. Now I would like to quiz you if I may. You know by now my favourite company is Daniel Smith Watercolours, do you have a favourite in your oils. I never enjoyed painting with oils myself, but the materials surrounding them fascinate me. I would love to know what you reach for the most, and do you have a favourite brand for a type of painting or subject.
I did ignore rude chap. I never saw the rude post. I believe it was aimed at Sylvia, which is rather unpleasant . Paul must have been very on the case to swoop like that. I couldn't quite work out what this person was asking. I do hate the disrespectful attitude of these souls, and I'm glad they get removed quickly.
Posted
Good morning, Julie (and all): I've been suffering badly from the heat, combined with neck arthritis, so have just popped in to the Forum and Gallery now and then, and didn't see this post. I haven't painted a single thing for about a month, either; though have kept up regular drawing. You ask about my favourite oils - in terms of brand, I go for the top range when I can afford it, supplemented by a few company own brands. Specifically, the top brands are Rublev - a US company with a Russian pedigree - and Michael Harding; and now and then Wallace Seymour. I've used the Ken Bromley range of oils, and lately bought some rather delicious colours from Cass Arts. Rublev don't add anything but paint - no stabilizers or extenders - and I think that's generally true of Michael Harding as well. I'm not sure about Wallace Seymour.
My basic palette tends to consist of the split palette system - eg Lemon Yellow/Cadmium Yellow, Quinacridone red or violet/Cadmium Red, Pthalo Blue/Ultramarine - I don't like using the words "warm" or "cool" to describe them, because those terms lead to confusion, having no definitively agreed meaning: but - it is basically warm vs. cool. I have a few desirable extras, like Cobalt Teal, and a few inexpensive but very useful lesser-known or less used pigments, like Permanent Mauve, Mars Violet, Mars Orange. These vary quite a bit from painting to painting. I don't have a favourite colour, but I do have a least favourite - Olive Green.
I hope that gives you something to be going on with, and apologies again for taking so long to answer you.
Posted
Welcome back Robert…your wit and expertise is always welcome!
Notwithstanding the heat, which isn’t really an excuse, I’ve not done a fat lot of painting myself of late!
One completed snow scene which is probably my worst for decades, and another snow scene on the easel which so far is showing zero promise…
I don’t as a rule paint snow scenes in the summer…so perhaps it was a bad decision on my part…
So, okay then, I’ll blame the heat!
As for oil paint, like a good many of us on here who paint with oils, I’ve tried pretty much every brand over the decades, apart from the nasty and cheap Chinese stuff etc…I’ve never been tempted! Same goes for canvas and supports, you need to buy the best you can afford.
If I had to pick my first choice in the student range, it would be a difficult choice to make, and a toss-up between Jackson’s own brand (not their professional range), and Royal Talens van Gough paints… but there are certainly others out there that I’d happily work with.
The range of artists quality oils is vast also, but on balance I’d probably pick the Winsor & Newton Artists range, which is following in the footsteps of one of my favourite artists, a certain Edward Seago, who used nothing else, or so it’s stated…
It has, and does, everything one could ask for, and I’ve started to replace my palette with this brand almost exclusively…
So I’ve no excuse for failure!
Edited
by Alan Bickley
Posted
Thought I'd join the confession group of non-painting painters. The builders have been in next door for the past 4 months, and the noise has reached a crescendo this last 3 weeks. So apart from my Friday art group, I find it impossible to paint. Goodness knows when they are going to finish, I can't even pick up a book. But my local library has lovely air conditioning.
Posted
Alan - I think excessive heat CAN be an excuse! Especially when it exacerbates various physical problems; up to a point, heat is good for the 'thritis; beyond that point, it's most certainly not; but I've been putting in a lot of work with the TENS machine these last few days, and recommend it for anyone with back and joint pain. They take some getting used to, but the beauty of them is that you can limit the number of painkillers by supplementing them with TENS sessions. Relief without the brain fog and risk of making yourself ill with strong drugs.
Anyway, Medical Notes for the Artist apart, we're entitled to our excuses; though I think what you mean is making excuses to ourselves - which is often a mask for couldn't-be-bothered: and of course I agree with that. Otherwise, it's always too hot to paint; or it's too cold to paint.... well, the climate is not likely to make itself compliant with our ideal temperature, so - we'll have to adapt to what we've got. I have a board on the easel ready for my attentions, and this time it'll be an acrylic on ACF canvas - the first one on that surface that I've attempted, and I think I'll give it a go with painting knives - one further thought; I do think it's good to take time off now and then, and have a good think about what we're doing - or even a period of unreflecting distance: just a rest from the usual approach, maybe. I'll see if that works.
Posted
Well it’s much fresher out there today! At least where I live - so undeterred by my last two failures, I set off yet again on yet another snow scene…the last two boards are in the bin!
A different composition this time, one I took from my numerous sketchbook scribbles, and I’ve achieved a modicum of success at the third attempt…
My standards when judging my own work are admittedly pretty high, so a modicum of success could be considered high praise and even worthy of posting on the gallery.
I’ve worked pretty small this time, I don’t generally work small but I’m trying to downsize - it’s a Belle Arti canvas panel 25x30cm.
Needless to say, it doesn’t take long at this size to complete a painting, so a mini session in the morning should see this one off.
I’ve used a limited palette, a size 6 filbert hog and a size 3 rigger… keep it simple, as the saying goes!