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WIP first seascape and first oil painting
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Message
Posted
So I'm all set up I think
New easel check
Light ( this light is a daylight light ) so I can paint/mix colors when my wife is working nights check
New stool so I can sit under table I have my new easel on check
Armed with various paint brushes, paint mostly W&N bought from Jacksons
So I'm now starting my seascape
This seascape is a panting of the sea just after a thunder storm so lots of dark moody clouds and a dull sea. Well that's my object any was I have under painted my W&N canvas with burnt sienna & started block in with Prussian blue
O'yes and dog toys but you can just see my new stool
James
O'yes and dog toys but you can just see my new stool
James
Posted
Sylvia Yes I have two young Yorkshire Terriers (6 month's old) and the old man (12) large and grumpy Yorkshire Terries Waffle Bear Teddy Love them all to bits Carol thank you for your Interest I hope I don't disappoint you.We all have our own artistic style of interpreting a scene or item/s before us, and often with artistic license. This we must remember when viewing. Disappoint, no.
Edited
by Carol Jones
Posted
So I'm back at my Painting this morning while the wife is working from home. I did add some oil to the canvas last night so the paint blends easer on the canvas and paint under my current layer (hope that's the right think todo) I have finished painting for today as it all getting a bit too (dirty) if that's the right word to use or all the colour I've added today is blending in to one colour I don't want anyway here is the progress made today (wife keeps on shouting in ear that all to dark it looks like a thunders storm) I haven't said to her yet it is a seascape after a thunder storm so objective reached lol
today color's are Prussian blue, Titanium white and lamp black with a fan brush and a Hake brush for blending
all ways open to suggestion and advice
James
all ways open to suggestion and advice
James
Posted
You can give up at any point in your painting career - I've just produced a couple of duds which, being acrylic, I can paint over; but then somehow you pull a good 'un out of the hat, and on you go, enthusiasm renewed. So much depends on mood at the time, I think - I know it's supposed to be the mark of an amateur to wait for inspiration, but in truth, without inspiration even painting becomes a dull chore. Commissions are different, because they (if they're worth doing) take you outside of your own limited imagination: you have something definite to work with.
in this one, Prussian Blue and Black, you said? That'll give you a very lowering, intimidating sky - and has. Think I'd go with a mix leaving the black out for the sky - it's hard to control, and the sky being the source of light, while black is the absence of it .... could be a problem. You could try Ultramarine and Burnt Sienna or Burnt Umber, that'll give you a menacing dark if you get the balance right; Prussian Blue is usually pretty overpowering on its own, never mind adding black to it; or Indigo (not real Indigo, assuming it's still available, but a modern mix - which is probably going to be a combination of Pthalo Blue plus - black: but there, the difficult mixing has been done for you; it's easier to manage).
Ken Howard, as Alan Bickley recently reminded us, often used Blue-Black in his paintings. I've never got on with it (but then, I didn't persist), but you might.
Anyway, yes, add a bit of Linseed oil when you need it, that's fine; Turps for lower layers, oil (minimally) for the upper ones. And despite what I've just said, I wouldn't go changing blues at this stage, that's a note for next time. Looking forward to seeing your next stage.
Posted
Robert is right, don’t use black in the sky, there are better ways to make colours darker!
To be honest, the Prussian blue with white just isn’t doing it for me. I wouldn’t have gone near Prussian blue personally, unless it’s toned down, but that’s me!
There are so many interesting combinations that could be used here!
Looks like you’re going for the Bob Ross approach here. He lays his colours on, and then uses a big flat 2in brush to beat the hell out of it, absolutely destroying any interesting textures.
Oil painting isn’t all about blending, it’s about laying combinations of colours together and interesting textures.
I did suggest a really useful book that will start you off in the right direction… the traditional method of painting with oils, not the BR way!
I’m presuming that you didn’t buy it…
Here it is again…
Vibrant Oils by Haidee-Jo Summers.
Edited
by Alan Bickley
Posted
I don't know if it's still available, but there was a David & Charles large format book, edited by Ron Ranson, showing the work of Edward Seago. It was useful because it showed his use of thick paint, often without any discernible blending - there are other works about Seago, they're worth a look. Haidee-Jo's book offers similar examples, but I think you'll find the extremes in Seago - I'm glad to have both books.
Prussian Blue - yes........ fierce, fierce pigment! I hadn't used it for years, but finding a tube in my paint box (yes, it's that cluttered) I used it in a recent small oil: thank goodness it IS small, because I found the paint running away with me. I WILL post it, when I can charge my camera's battery - I think it'll be obvious the struggle I had with it.
Absolutely don't want to put you off from using it if it's working for you - but if you do run into trouble, you'll at least know you aren't alone. And if you don't - well, I'd love to know your secret.
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