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Evilhalfling

Painting in the style of ......

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1 hour ago, Paradoxical Mouse said:

Thank you so much for posting this! It made me have a realization that got me through my block. 

 

What was the realization? 

 

using google pictures -

Trying a new link: 

 

https://photos.app.goo.gl/ihRDEGrGoFTY2h7M9

Edited by Evilhalfling
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1 minute ago, Evilhalfling said:

 

What was the realization? 

Trying a new link: 

 

https://photos.app.goo.gl/ihRDEGrGoFTY2h7M9

That I have been trying too hard to paint in the style of others; I've been trying to replicate others work without thinking about how I like to do things. 

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2 minutes ago, Paradoxical Mouse said:

That I have been trying too hard to paint in the style of others; I've been trying to replicate others work without thinking about how I like to do things. 

 

yeah, I only got there halfway through the project.  

 

Im glad it helped you. 

So I really need to start learning faster techniques, and perhaps more color theory - whimsy I can add on my own.  

but I want to be careful not to not try something because its hard, I don't want this to become an excuse for myself. 

 

what is the part you like best? 

 

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27 minutes ago, Evilhalfling said:

 

yeah, I only got there halfway through the project.  

 

Im glad it helped you. 

So I really need to start learning faster techniques, and perhaps more color theory - whimsy I can add on my own.  

but I want to be careful not to not try something because its hard, I don't want this to become an excuse for myself. 

 

what is the part you like best? 

 

I just really like the idea of applying the different styles to miniature painting in general.

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Went to the local painters/sculptors meet-up and Gene pointed out that there was a books called 
"painting like the old masters"  Because of course there is.  I ordered a copy. 

 

I was unhappy with the female version I was working on she had gone too far to the pink, and adding blue shadows wasn't working.

So I rebase-coated her resolving to work in more blue from the beginning. 

 

basecoated again: 

https://photos.google.com/share/AF1QipPRrzOcD-fO4e3WdrNUIO9vLgTUN7aW8PVw4YfqxVZKTzZcN6vuSRRcjdMvT85Ykg/photo/AF1QipPT0rlaOz4VQ_5rNl_1csL6KL-NkMb9MoMQh0ox?key=eWZleVB1WElFUzk0VS10XzF3WnV3VVRVMjA2Q2ZR

 

the album is kind of out of order, ill try and create some order, but I finally cropped a picture or two that I can post directly. 

Album

 

 

eyes.jpg

Edited by Evilhalfling
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Rembrant van Rjin  1606-1669

 

the most famous of the old masters. 

He presents a bit of a problem, as his style changed at least twice.  

He started with chiaroscuro painting,  then started using light to convey the emotions of the subjects 

"manipulating light and shadow, in terms of direction, intensity, distance, texture, and surface." 

Later he was used " no explosive contrasts, rather a gentle diffusion of light - merging softly to produce visual quietness."

Lastly, he used more painted texture with more obvious brush strokes and restrained use of color. 

 

A modern version of Rembrandt’s palette should include all these colors: yellow ocher, burnt sienna, burnt umber, white, black, and a brownish or orangey red such as cadmium red deep. "Break" the colors by mixing them—Rembrandt was known for his complex mixtures rather than raw color (our equivalent of straight from the tube). To get a bluish gray, he’d mix ground charcoal into white paint. Rembrandt worked on a colored ground, never white. He used mostly a gray or grayish brown; these got darker as he got older.

 

216540297_rembrantNW.jpg.e606ee3520345fa3d03f9d98c6cf24da.jpg

 

guild meeting.jpg

prodigal sun.jpg

Edited by Evilhalfling
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I am actually going to wait until the book " Painting like the old masters"  comes in (Monday afternoon)  before I proceed further, but that doesn't mean I will stop thinking about it. 

So I don't really want to do Carrivagio again, so ill skip past his early style as mostly derivative. (aside from a difference in the meaning of light, just not the technique) 

His late style seems born of easy perfection, a reflexive wet blending based on mastery of the Art - clearly, I'm not there either - although that is where im trying to get to. 

(Speed & Beauty) 

 

So the middle period - I think that I can go with a limited, well-mixed pallet, using only a few colors in huge puddles and mixing them as I go.  Lots of excellent current artists (Waple, Proctor, Aurterio, Bob Ross)  paint in this fashion - its time to give it a real try.

 

(Whimsy) 

Rembrandt was also a master of etching, doing entire works with just tight or wide-spaced black lines  the art was developed in his lifetime and he did alot of it. 

- perhaps a push pin and some black paint? 

maybe ill do an etching lizardman if I have some painting time before the book arrives.  

engraving.thumb.jpeg.d7c7b2a6a1331a5bea58d66e472d8ed0.jpeg

 

 

PS,  done with the Rubens female - but having difficulty with the camera - I can't seem to force the focus tight enough.  plus then ill need to and some black bars. 

 

 

Edited by Evilhalfling
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IIRC, Rembrandt was also known to really build up the paint for his jewelry and adornments, layering it up into three-dimensional blebs. Might be an interesting technique on some of the lizard scales? 

Looking forward!

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Some Rembrandt tips from the "paint like the old masters"  book: 

 

1. start with cool grey surface, warm brown shadows, cool greys used as the transition between light and shadow. 

2. blend after the paint has started to dry, - usually a mistake, but it became part of Rembrandt style.  (not sure ill follow through on this one) 

3. after it is dry, glaze with tint of umber or black, then wipe off the bright areas. 

4. heavy contrast of warm and cool tones. 

5. use lots of layers, don't be afraid to build up the paint surface.

 

 

@Rigel ill definitely try the build-up of blob color on jewelry - that sounds fun. 

 

I obtained close matches (from a thread here) for burnt sienna, yellow ocher, burnt umber and ultramarine (shadow)  and will mix these extensively, with pure black and white. 

Also cadmium red deep is a close match to Carnage Red - one of my fav and most used red tones.  

Similarly, I use the burnt umber proxy in most of my miniatures already as a default, pleasing brown. 

 

 

Looking ahead:   Vemeer (1632-1675) is next.   He is the last one in my old master's book, and I like his style too. 

- that will be it for baroque painters - I'm also not super impressed by Rocco - may skip that period entirely. 

 

Edited by Evilhalfling
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Io it begins: 

1. big color puddles. 

im using my old lizardman shadow study (from Veracruz ), no point in reinventing the wheel.  visible in corner. 

 

3. first putting in basic shadows with burnt umber 

shadows for Rembrandt were warm, the opposite of my reflex.  cool colors recede warm colors advance mantra. 

 

4. darker shadows were done with BU then BU + Black.

5. Colors - I decided to go with a bearded dragon pattern,  browns, whites and yellows - as usual picking a lizard to match the artists typical pallet. 

lizards are handy like that.  On previous projects I have struggled with trying to do color pattern and shadow at the same time 

NOW I see the point of the big color puddles,  it makes it so easy !   its almost like a reflex, mix a light a dark and a midtone, then apply as needed

Why had I not figured this out before??? 

MULTIPLE instructors tried to teach it to me, but I would just go back to my old way.   (Proctor, Alfonso, Ian for example)

just stubborn I guess, and set in my ways trying not to waste paint.  

 

6.  Current Pallet attempted mixing a warm grey - white + black and hints of yellow - 

 

okay the stripes are totally different qualities, some just vague blobs, others clearly defined by darker grey lines - thats gonna need a lot of fixing. 

 

Next steps: 

1. clean up colors 

2. paint shield and weapon 

3. Face and eyes 

4. details and jewelry 

5. more highlights 

6. black washes and blotting. 

 

 

1.

1464996222_pallet1.thumb.jpg.a838997571b6a278dd4f577c4caf5278.jpg

 

 

3.

1082154095_basicshadows.jpg.e44524a8699c434de20686d9197a6daa.jpg

 

4.

1153919490_advancedshadows.jpg.e4becb1f96dbd92340af9153dae0b2eb.jpg

 

 

5.

 

513512673_color1.jpg.c07d8c0db16e42ff2dfc2511d946be3c.jpg

1728470801_color1B.jpg.572b5e025b2554c56ce11a097546b56a.jpg

 

6.

1403401839_pallet2.thumb.jpg.9b90157852329233b88909dac7758d77.jpg

shadowStudy2.jpg

Edited by Evilhalfling
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One more painting session on the Rembrandt - 

just finished spring break and with two+  spawn running around I did not get the time blocks I needed for painting.

plus there was basketball to watch, and I don''t multitask that well. 

 

I was mostly using the last set of pictures as a guide, adding more colors and cleaning up the leg stripes.  I lost some of the shadows, but since im finishing with a black wash ill catch it on the flip side.  I got distracted and lost painting focus at the end of the session, but im not unhappy with where it is ATM. 

 

also thanks to Doug for suggesting a change in photography. 

 

 

 

color2 F.jpg

color2 B.jpg

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okay moving on tho the archer - 

this figure was practically speed painted in 2 hours, then  Ispent 2 more days trying to go back and fix the blends. 

 If I want more careful art, I need to not get so carried away - 

- I notice the poor toe claws a lot in these photos, ill fix them before showoff. 

still with the big puddles and easy to use shadows and highlight colors - it can go really quickly, definitely supporting my Speed and Beauty goals. 

 

I tried lighting it from below to create a more ominous emotion in the figure - I need to reconsider the shape of eyes and mouth to highlight this effect. 

 

begining.jpg

archer2F.jpg

arch3F.jpg

arch4F.jpg

Edited by Evilhalfling
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next up:

Johannes Vermeer 1632-1675

this will be the last of my Baroque painters.  My early research shows he did all the work in monochrome, then glazed in color. 

paying special attention to texture and light.  

 

 seven principal pigments which Vermeer commonly employed include lead white, yellow ochre, vermilion, madder lake, green earth, raw umber, and ivory or bone black + lavish use of expensive ultramarine. 

 

I don't know what colors to use for Madder Lake and green earth  

 

I also need to switch Lizardmen, as I am out of those models.  Reaper has helpfully supplied me with multiple copies of 2 other poses in Bones 3 - 

so next up Spear guy and Club and shield guy (but facing the other way) 

 

Edited by Evilhalfling
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