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Post by Celeste McCall on Jul 24, 2014 13:17:52 GMT -6
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Post by Celeste McCall on Jul 24, 2014 9:20:59 GMT -6
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Post by Celeste McCall on Jul 24, 2014 9:00:49 GMT -6
sandrasallin.com/gallery/Sandra paints in TONAL paintings also. How to recognize TONAL paintings 1. They likely have both white(ish) and black(ish) in their paintings. Remember that tonal paintings use VALUE contrasts. 2. They don't have bright colors with only 'near' values .....there are some muted colors in their paintings also. 3. They look 3-d or have depth of field. They look almost REAL. 4. When grayscaled, one can see the bright lights and deep darks in a TONAL painting. (In HUE paintings the values within the painting mostly appear the same gray all over. maybe only minute lights/darks....but the object in a HUE painting is to have same values....but different temps of colors)
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Post by Celeste McCall on Jul 24, 2014 8:52:38 GMT -6
kathytate.com/Look at the work of this great Stephenville, TX artist....Kathy Tate. Wow! These are TONAL or INTENSITY paintings. Any painting that has FORM.....shows depth and makes objects seem 'realistic' are TONAL paintings. And any painting that is mostly browns/grays with pop of bright clear color....and with only maybe TINY white or black in them....are INTENSITY paintings. These are not HUE paintings....which would have bright clean clear colors. I love these two different contrasts style of Kathy's. She has perfected her art for sure in my book!
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Post by Celeste McCall on Jul 23, 2014 13:46:43 GMT -6
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Post by Celeste McCall on Jul 23, 2014 13:25:02 GMT -6
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Post by Celeste McCall on Jul 23, 2014 13:22:31 GMT -6
"Hi Celeste I am a bit late coming into this You and others seem to have covered most things. However, I think the thing to aim for is why you wanted to paint it. Look for the emotion - sad happy, wistful, sunny, colourful etc and try ang go for that. In landscapes someone said people dont put enough yellow (Van Gogh did) They cant wait to put into the blues which are dark tonal values Hold back on the values as much as you can and then when your ready - pop! Arnold Lowrey" The above is quoted from another art forum. Arnold is 100% right. The more I learn....the more I realize that what he says is 'right' for me also. Emotion is the thing that first needs figuring out before using either VALUES or COLORS or INTENSITIES as the plan for the paiting.
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Post by Celeste McCall on Jul 23, 2014 9:41:06 GMT -6
Paula White paints with COLOR and LIGHT. She explores colors within objects....such as a clump of grapes is never just 'purple'. Here is some info on her and showing some of her work.
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Post by Celeste McCall on Jul 23, 2014 6:43:17 GMT -6
Thank you Pam. You are a sweetie pie. We all learn from each other because of our different styles and our different opinions. That's one reason why we want to hear other's opinions. We learn how others see things. Often, we see things or 'think' things which we have been taught. Sometimes we are resistant to new or different information. This is when we begin to stagnate as artists. The best thing to help spur creativity is to look at all art in categories on web. Example: type in 'rose art paintings' in a Google or Bing image search....and look at all the paintings. They are so varied and different.
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Post by Celeste McCall on Jul 22, 2014 21:41:44 GMT -6
Here are some good TONAL paintings. (Some are really good)
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Post by Celeste McCall on Jul 22, 2014 11:35:20 GMT -6
Also, check out this video.
1. AN OBJECT CAN HAVE COLOR and not have FORM/depth/volume 2. FORM requires VALUE changes.
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Post by Celeste McCall on Jul 22, 2014 11:25:58 GMT -6
When I paint with watercolor, and Tami has already done this....so this is for others...... RED-black is used in the foreground BLUE or GREEN-black is used in the background areas of a painting. This adds to the depth of the black. (Can even be used WITHIN an object.....like black hair.)
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Post by Celeste McCall on Jul 22, 2014 10:00:22 GMT -6
Also, Pam, I agree about color, but all of my paintings mentioned are mostly grayed tones. Very little bright color in them. and very little 'white' in them at all. It's actually a pale yellow...not white. Or pale blue in those paintings. I paint more tonal. But I do use color chaining to get color interest in them. But in real life they are quite domesticated and calm as opposed to bright colors. However, a couple are also 'intensity'.....bright color against mostly duller colors. I really like the mood that this type of composition makes. If ever one finds their work with 'dull colors'....the POP IN a Bright intense color....and it will really zizzzzz it up! Also, to answer your question....YES....your grape painting is for sure tonal. No bright intense reds, greens, blues, yellows, etc. These colors you used are tones (darker values) of reds like violet of iron, browns, etc. The reason you get most compliments on that piece is that it is: Unified Tonal Most people relate to tonal paintings. Paula Collins does not paint in bright intense colors. She paint in clean clear subdued colors and most people relate to those very easily. Some only like bright colors though....and I mean 'soap box' colors with lots of black and white. I think that we become prejudiced about what we like by studying artists that we like. Then become influenced by those.
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Post by Celeste McCall on Jul 22, 2014 9:27:45 GMT -6
Here is more on 'not' using white and black in colorful paintings: ianstormtaylor.com/design-tip-never-use-black/However, Simon Bull uses both white and black and high chroma colors in some of his paintings. However, they are not realistic style. But GREAT to look at. The point, I guess, is.....to figure out WHAT you want to convey to your viewer....then paint in the style and the colors.... OR contrast of values....OR color Intensities..... which you think will best suit the idea that you want your viewer to get from the painting. This will create unity in your paintings and a much more clear message to your viewer OR a judge in an art contest. However, some judges only know of one contrast....which is value contrasts....and that's all they look for....and they are prejudiced to only high value contrasts. They have trained their eyes away from the other two options as being worthy of their awards. So, be sure to check out the work of the judge first. If he doesn't appreciate color as much as value contrasts....then only paint in value contrasts mostly.
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Post by Celeste McCall on Jul 22, 2014 9:00:35 GMT -6
Cherryl and I learned that same thing from Arnold Lowrey workshop. And also it is in his books and videos. So, I guess that's why I heard it that way from Skip.
Arnold told us to not paint 'pure white' (nor let paper show)in 'Intensity' contrast contrast paintings. Many artists warn against bright white and black being used in paintings. Thank you for asking questions, folks. As this is how we learn from each other. I love hearing your opinions also. Great job....Tami and Pam.
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Post by Celeste McCall on Jul 21, 2014 16:19:46 GMT -6
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Post by Celeste McCall on Jul 21, 2014 16:12:49 GMT -6
Actually he mixed white with his yellow color in those tree trunks that he painted. He is actually talking about the white of the paper....and also WHITE paint itself. Don't use with (maybe tiny bit) bright colors. Here is another tip showing that both white and black (in larger areas) will kill the power of bright colors. Look at examples #2 where he mentions that strong darks and lights will diminish the power of either HUE paintings....or INTENSITY paintings. Strong darks and lights are usually effective MOST in VALUE contrast paintings. See Here: www.thepalettemagazine.com/learn/tips/pdf/Tip_2004_00006.pdfI think that this is the most difficult of all things to understand in art. That if someone is always saying you need bright lights and dark darks in every painting....then they are not fully aware of the other 2 ways to create effective paintings like shown on that tip sheet. Some don't like bright color contrasts nor intensity contrasts.....they only paint in high value-contrasts all the time no matter if they use bright colors or not. I really do like all 3 types of contrasts. And I do understand them. Because Arnold Lowrey taught us that light vs dark is only ONE way to paint. Then showed us intensity contrast.....and hue contrast. He would begin a painting with "How do I feel about this painting"......THEN he would chose one of the 3 ways to paint it. GENIUS!
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Post by Celeste McCall on Jul 21, 2014 15:02:17 GMT -6
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Post by Celeste McCall on Jul 21, 2014 14:59:51 GMT -6
Ok, so to begin this lesson....we need to learn that we either do MOSTLY ONE......or MOSTLY the OTHER.....either COLORS (bright)......or contrast of VALUES with less clean clear colors.
So, FIRST, let's explore why Skip says to paint with MOSTLY bright clear hues... See Here:
Notice that he is only talking about using MOSTLY PURE Colors in this video.
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Post by Celeste McCall on Jul 19, 2014 12:36:17 GMT -6
After learning from Skip Lawrence and Christopher Schenk's videos I bought sometime wayback......I learned some very important lessons which I'd like to share concerning Using COLORS or VALUES....the why, how, etc. Not everyone is going to agree with this thread because we all see differently. It's what I see as taught by the above artists though. All art theory is just that....a theory. So not trying to convince anyone. Just suggesting that this is something to think about when painting. First, I'm going to concentrate on my favorite which is 'value painting'. Their strengths/weakness as I see them. My most favorite artists are all tonal painters...which means that they don't paint with a lot of bright colors. In fact, most paint with grayer colors like Andrew Wyeth, Whistler, and Rembrandt. In the next few weeks we will hopefully be exploring this through examples and finally through an original tonal painting. Look under my name and you'll see I just earned 20 coupon points for starting a new thread. (Had to try it out to see how it works). This way......they always show. Can you see it? If not.....I'll have to click another button for it to show.
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Post by Celeste McCall on Jun 26, 2014 7:57:09 GMT -6
Dear Priscilla, So glad to hear from you. Prayers for your health also. Thanks so much for the post. The good thing about watercolors is no firing and no messes as the paint always comes out of whatever it gets onto. (like porcelain paint...same thing...comes off). The bad thing is having to 'think' like a porcelain painter. Which, for us porcelain artists, is GREAT. Painting light to dark like the factories did. So, we already have the mentality for watercolor. The techniques are different. But suggest one mists or floods with water...first.....before painting...and all is good that way. The paper won't suck up the paint and get 'stuck' in that position....in other words. Easier to move. I like Birgit O'Connors method of painting and Soon Warren's method. Both do similar. Both have online videos to purchase and see snippets of.
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Post by Celeste McCall on Jun 17, 2014 14:49:48 GMT -6
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Post by Celeste McCall on Jun 16, 2014 7:19:46 GMT -6
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Post by Celeste McCall on Jun 9, 2014 11:02:59 GMT -6
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Post by Celeste McCall on Jun 9, 2014 10:04:27 GMT -6
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Post by Celeste McCall on Jun 9, 2014 7:00:48 GMT -6
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Post by Celeste McCall on Jun 4, 2014 15:18:53 GMT -6
Dear Tami, Thank you so much for the sweet posts. You are too kind. These flowers are actually more yellow than I can photograph. The always read more read on my monitor. Since I posted this, I changed that little set of leaves to the left of the bud on the bottom of the painting. And put blueish colors down there instead. I thought that branch mimicked the bud above it too much. If I did this again, I would not make it so swishy. I think that the swishyness of the leaves should be more like how Catherine Klein does in all of her work....in that she generally has many of the leaves in her painting which share the same repeated angles of the sides of her leaves. Probably she does this to give the leaves a unity of direction. Can't wait to see other's efforts on this one. Yellow roses are so hard to photograph. Maybe because they pick up too many 'room' colors....sort of like white does. Thanks again for the posts Tami. And thank Rick also. He has such a good sense of what looks good. He would probably make a great artist some day if he was inclined to do so. He already is a totally great artist in wood and fixing houses and such.
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Post by Celeste McCall on Jun 4, 2014 11:51:47 GMT -6
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Post by Celeste McCall on Jun 3, 2014 20:23:35 GMT -6
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Post by Celeste McCall on Jun 3, 2014 20:14:14 GMT -6
Dear June, Thank you so much for the post. I like it also as a light painting but will be adding darks just because I know that they appeal to judges and such. They just love high value contrast paitnings. But I want to be more like Aulich and Bischoff watercolors and hopefully only have SOME darks. And those being the smallest area on the whole painting....I hope I can do that anyhoo. But my next one I'm going to do totally light values like the one that Bischoff did shown on Pinterest. I think that Cherryl showed that one time is where I first saw it. Fell in love with very light filled painting. Dear Bev, Thanks for posting. I appreciate each and every one of you who does so. Make me want to post more when people want to see what we are teaching here. It's been a wonderful ROSEFEST this past few weeks and I'm loving it! Glad that you are too! Dear Cherryl, Thank you so much for the post. I love it when you point out design tips and make suggestions. They are always spot on and I always appreciate you so much. In the previous photo, it was too light and sort of flesh colored looking....but in real life these are pure cad yellowish roses. Just can't get a good pic of it. It's either too yellow in pic....or not yellow enough. Tomorrow I will try to get a better pic. Also, even though I like the light airy look of the 1/2 finished painting.....I still want some darks in it like you said you prefer. But darks as accent areas and least dominant value on this one with mostly light and medium values with darks being the 'spice'. And for sure the leaves/stems and buds of Sadler, Klein, etc.....that I looked at for this.....and your examples of stems in your last photo of buds....and also Paula Collins stemwork, etc.....sort of gave inspiration to the leaves on this painting. Of course, had to improvise also when sketching to figure out how to make it interesting. Hope I didn't get it too swishy. The roses, were freehand of course....looking at nothing.....just letting the original shapes in the initial washes become roses as you taught out in CA. Thank you for showing that way of making roses. Thank you so much also for showing your videos. I think that you have done the most generous thing ever in doing those. Amazing!
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