American cyber criminals plotting revenge on Russian cyber criminals for causing a gas shortage
Tech war happens
Nature girl gets naked and no one notices
There are two experiments happening here, pointillism and masking fluid on oil paint.
I can’t find much technical advice on pointillism, like did the pointillists do an underpainting? Did they mix colors or use paint straight out of the tube? Are the dots supposed to touch, overlap or should there be space between all the dots? I’m going to have to guess. I know the rules of the academy. If I knew the rules of pointillism I’d try to stick to them for the learning process. Maybe there are no rules.
There’s an app for making dots if you like to do digital paintings, but I’m not into apps and it might be better for me to just wing it so I can improve my painting skill.
In this close up you can see the masking fluid dots which are covered by ultramarine blue.
I want to save some bright orange dots to represent shiny reflections of the sky on the water. It would be easier to have bright orange dots showing ( if this works) than if I paint the orange on top of the water when I’m finished with painting the water dots because the orange is a transparent color and if I want to put orange on top of blue and gray dots I’d have to underpaint them with white like I did with my azaleas, which are a transparent pink. I need to put water colored gray dots on top of the blue and that will make a thicker layer of paint on top of the masking fluid and also take over a week to dry before I can try to take the masking fluid off the painting to show the orange dots. It might not work out or it might work. Either way, I’ll post the results.
This is a color experiment in more than one way. I under painted my paper with orange because it’s the complimentary color of blue. The sky isn’t really blue but kind of hazy when I go to Back Bay lately. And the water isn’t really blue but kind of a mixture of two different grays.
You can see the underpainting of the foliage on the opposite shore. I did it with a red gray because it’s mainly a greenish gray and the red gray would be the complimentary color.
This was a real no no at the academy, tinting the painting with an unnatural color to start. They would call this “forcing color”. It might take away any depth and the academy was into creating the illusion of depth. Modern art doesn’t care about aerial perspective which is the illusion of depth. Pointillists were modern.
I often see a landscape with a bright tint showing that isn’t there in nature. Some artists like violet or red and will tint their canvas with a bright color because the landscape around here doesn’t have any bright colors and the artist doesn’t like to paint mostly grays. You can see spots of violet or red or some color showing through between brush strokes. It’s a modern look and it does take away any aerial perspective. When I see a bright tint showing through I say to myself, “forced color is weak.” Now I’m doing it.
This is 18 x 12. Dotting the whole paper will take some time. That’s ok. Patience is my super power! hahahah
This artist went slowly nuts (schizophrenia) and painted cats the whole time. You can see the progression of the disease in his art.
Sometimes I neglect everything else in life and paint for days. Other times I do things that need to be done and neglect painting. This is one joy in my amateur status. It’s not a job.
When a subject takes up most of the space on a painting the negative spaces become an important design element. The art viewer’s eye needs to find a place to rest so it doesn’t get tired and will look longer.
Making an interesting background keeps the art viewer’s attention on the painting with more contrast and texture but it’s not as bright so it recedes.
The veins in the paint let my imagination think the painting is part of nature. It’s an illusion I like to make.
I didn’t see a plaque in the garden with the name of this variety of azaleas. Maybe I overlooked it. If it was up to me to name it I’d call it Candy Cane.
I’m waiting for my paint to dry on the azalea painting before I can finish it with the last color, pink. If I put the pink on before the other paint is dry, it might lift some white or gray and that would make the pink less bright. A couple weeks ago I bought a tube of fast drying white at Jerry’s Artarama because I knew Titanium white dries slowly. When I opened the tube it was dry in the tube! And I didn’t save the receipt. bummer.
While I wait for the paint to dry on the azaleas I decided to sketch the rhododendrons which are starting to bloom. This is Inktense pencils.
There’s a real pretty path through the rhododendrons. It’s covered with moss and has a bench and spotty sunlight. I’d like to do a painting of the path but that might be a project for next year because it could be complicated and I need to figure out a good plan for it and do sketches first.
After I did the underpainting and waited for that to dry I went over this a couple more times, background, leaves, stems, and flowers. The gray is the shadows on the azaleas. At first I had a warm gray for shadows but after looking at it for a couple days I decided to make the shadows slightly darker and cool, so I put a cool gray glaze over the warm gray. It looks like neutral gray in this photo. I’m not sure if you can see the layers of paint but you can see some veins in the paint which I like making. It gives the painting more variety of brush strokes and direction in the petals.
This azalea is past blooming but I have my sketches to go by and I’m pretty sure I can finish it at home. I think it will work out with the pink looking as bright as possible. I did some color roughs. I might do another one. I’ll continue with glazing pinks next. Then it will be finished.
I wasn’t going to show it at this stage because it’s almost done, but I thought if I just post a close up of this one section it won’t spoil the surprise.
Martian working in the garden
Harvesting the crop
Fine dining on Mars