FA+
Shop
8939
Views
Views
672
Favorites
Favorites
Category
Artwork (Traditional) / Fanart
Species Unspecified / Any
Size 960 x 1280
File Size 349.5 kB
Report this content
More from fabercastel
Second pokemon study in oils. This one was kind of a headache for some reason.
Category Artwork (Traditional) / Fanart
Species Unspecified / Any
Size 960 x 1280px
File Size 349.5 kB
This is hella dope! Oil painting is no joke, it takes a lot of skill to work in this medium. I'm no painter but from playing around with acrylic I learned that getting the colors to do what you want is harder than it looks and oil isn't cheap.
I really like the colors in this painting. The lights and darks you used on the boulder and the composition of the smaller rocks falling down and the subtle changes in color on Charmeleon and in the sky/clouds. But I think in the midst of your headache you forgot to add their hand and foot claws.
That aside it's a wonderful painting.
I really like the colors in this painting. The lights and darks you used on the boulder and the composition of the smaller rocks falling down and the subtle changes in color on Charmeleon and in the sky/clouds. But I think in the midst of your headache you forgot to add their hand and foot claws.
That aside it's a wonderful painting.
Hahahhhh it was mostly a lazy decision than anything uwu like you said, there's a lot of stuff in oils that's kind of a pain to do (painting on a wet spot) that I ended up not really concerned about defining his claws.'I can see though that it does look like he's got stump arms like a pony
I want to see bigger paintings after soaking up these little studies. You're handling the media with a lot of confidence. You're getting Sargent's lack of concern over a "dirty" brush and Wyeth's spotting of compliments into your work and that, running rooster, is very exciting to see.
Are you using the water-soluble oils? (And if so, what do you think of them?)
Are you using the water-soluble oils? (And if so, what do you think of them?)
For most of these studies I've been using just paint from the tube with no oil/medium! It's just regular oil paints!
Recently I've started a new one on a tiny canvas and I'm really starting to resent the canvas texture because it interferes with detailing! Perhaps it's a sign to move onto something bigger or switch to something smooth like Masonite?
I've always worked with small canvases because it feels like a lot less emotional investment and commitment if I can see them as sketches and studies, but as my teacher once said you can't have a portfolio that's just studies. I'll have to move on eventually uwu
Recently I've started a new one on a tiny canvas and I'm really starting to resent the canvas texture because it interferes with detailing! Perhaps it's a sign to move onto something bigger or switch to something smooth like Masonite?
I've always worked with small canvases because it feels like a lot less emotional investment and commitment if I can see them as sketches and studies, but as my teacher once said you can't have a portfolio that's just studies. I'll have to move on eventually uwu
I'm a sucker for brush strokes. I have great respect for those who can produce "brushless" paintings but for me, they feel dead next to paintings where the marks are an intrinsic part of the mix. I gravitate towards work like this.
Could be the canvas texture is a reminder to work looser. ;) Let go! That's a big reason these pieces feel so fresh and alive.
BUT...I also understand chafing under the limitations of the materials. You can get small squares of linen instead of duck cloth, so you could give that a whack instead of going larger, since "finished" doesn't automatically mean "big". That said, bigger surfaces have their own delights. You could give Masonite a shot, or paint on sheets of copper (Scott Fischer is doing some very cool work on copper these days), but you could also get some cold-press watercolor, glue it to some Gatorboard using gel medium, and then gesso the sucker. That's the surface I've used for plein air oil painting and it's great! Strong but light, durable, and the watercolor paper provides a neat ground, even when you've gone over it with gesso.
Could be the canvas texture is a reminder to work looser. ;) Let go! That's a big reason these pieces feel so fresh and alive.
BUT...I also understand chafing under the limitations of the materials. You can get small squares of linen instead of duck cloth, so you could give that a whack instead of going larger, since "finished" doesn't automatically mean "big". That said, bigger surfaces have their own delights. You could give Masonite a shot, or paint on sheets of copper (Scott Fischer is doing some very cool work on copper these days), but you could also get some cold-press watercolor, glue it to some Gatorboard using gel medium, and then gesso the sucker. That's the surface I've used for plein air oil painting and it's great! Strong but light, durable, and the watercolor paper provides a neat ground, even when you've gone over it with gesso.
Brush strokes are definitely something I love seeing in paintings! (Even digital ones, which is why I resent working on projects that call for photorealism) it's not something I plan on removing from my work :) my complaints about canvas has mostly been the grid-like texture that it overlays on everything.
Painting over gessoed watercolour paper is a fascinating idea and something I'll definitely try out! I'd remembered hearing/reading that Rebecca Guay has a mixed media process with watercolour paper wherein she prints onto it, then goes over it with watercolours and then a bit of oil after that. Or maybe I remembered wrong?
Regardless it's something I'll definitely try as that should fix my concerns about linen's texture :) I've no idea where I'd find sheets of copper, but that's an interesting idea as well!
I appreciate the detailed feedback btw :B it's always a good motivation to keep working and pushing
Painting over gessoed watercolour paper is a fascinating idea and something I'll definitely try out! I'd remembered hearing/reading that Rebecca Guay has a mixed media process with watercolour paper wherein she prints onto it, then goes over it with watercolours and then a bit of oil after that. Or maybe I remembered wrong?
Regardless it's something I'll definitely try as that should fix my concerns about linen's texture :) I've no idea where I'd find sheets of copper, but that's an interesting idea as well!
I appreciate the detailed feedback btw :B it's always a good motivation to keep working and pushing
Sheesh. Five days later....
I figured! That's my complaint about duck cloth, too. It's like someone laid an advertisement for teeny squares over your painting. But I think you get the viewer's eye away from that texture by the confident handling of light and color. The canvas texture didn't bother me, and it usually does.
I'm not sure how Rebecca handles her work, to be honest, it's been a while since we talked and I heard she's doing some very big gallery pieces these days. It wouldn't surprise me if that's how she did it, thought.
Starting with an underdrawing, scanning it in, doing an underpainting in Photoshop, then printing it out onto watercolor paper and gessoing the paper down to masonite or gatorboard--that was the way Todd, Randy, and Fred did their covers back in the days when I worked at WOTC (that'll be 20 YEARS AGO in March 2017--fuck! This "Old" shit snuck up on me, I could have sworn I was in my mid-thirties a minute ago). I've got some painting to do in the next few weeks and I've been thinking about going back to old methods.
I love seeing your stuff every time you post. Can't get enough of it. ;)
I figured! That's my complaint about duck cloth, too. It's like someone laid an advertisement for teeny squares over your painting. But I think you get the viewer's eye away from that texture by the confident handling of light and color. The canvas texture didn't bother me, and it usually does.
I'm not sure how Rebecca handles her work, to be honest, it's been a while since we talked and I heard she's doing some very big gallery pieces these days. It wouldn't surprise me if that's how she did it, thought.
Starting with an underdrawing, scanning it in, doing an underpainting in Photoshop, then printing it out onto watercolor paper and gessoing the paper down to masonite or gatorboard--that was the way Todd, Randy, and Fred did their covers back in the days when I worked at WOTC (that'll be 20 YEARS AGO in March 2017--fuck! This "Old" shit snuck up on me, I could have sworn I was in my mid-thirties a minute ago). I've got some painting to do in the next few weeks and I've been thinking about going back to old methods.
I love seeing your stuff every time you post. Can't get enough of it. ;)
Hahah, definitely mutual about it here! I love seeing new stuff by you :B
The steps you're describing re: Todd/Randy/Fred sounds pretty overwhelming, haha! But there's definitely a charm about doing things 'analog', discovering something that works and getting your hands dirty in the process rather than just a bunch of stuff with the computer, it's like getting back to your roots!
The steps you're describing re: Todd/Randy/Fred sounds pretty overwhelming, haha! But there's definitely a charm about doing things 'analog', discovering something that works and getting your hands dirty in the process rather than just a bunch of stuff with the computer, it's like getting back to your roots!
Comments