mikec55
PlanetFigure Supporter
Quang,
That's a beauty! Definitely 'Best of Show'.I think I'll go burn my brushes.
Mike
That's a beauty! Definitely 'Best of Show'.I think I'll go burn my brushes.
Mike
Osage bust. Done!
- Thread starter quang
- Start date
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quang
A Fixture
Your lurking days are over, Stephen! Welcome to the planet.
Thank you, guys for your kind words. Glad you like my painting which I only do at gun-point . (Colin, FYI I use the standard Photoshop 7 with a special plug-in called 'Brushmarks')
As for my skin techniques, it's not the conventional way but it works for me.
First of all, the most obvious which many painters overlook: find yourself a good model to rely on. In this case, I used a few screen captures from 'Dances with Wolves'. Good clear skin tones and war paint details.
The skin was done in oils over a violet acrylic base. Why violet? I don't really know. Just felt it had to be violet.
Basic skin is a mix of yellow ochre, mars orange, burnt sienna. Shadows is 'basic' + sepia + violet. Hilights is 'basic' + Naples yellow. Extreme hilights is pure Naples Yellow. Never use white as it would 'gray' your tones.
The idea is to 'smear' a very thin film of oils over the acrylic base and adding layer after layer to get the tone you want (based on the photos from the film).
A word about brushes. I only use inexpensive acrylic brushes. I start with fresh new ones at each painting session (I keep the used ones for smoothing putty).
I usually use two (flat) brushes alternatively: one to apply the paint and the other (dry and clean) to spread and blend the colour. My usual stance is one brush in hand and the other clenched between my teeth, pirate-fashion.
The paint is 'dabbed' on the surface and (with the second brush) spreaded out and blended with the surroundings. Just think 'spreading butter on bread'.
The war paint is put on AFTER the basic skin has thoroughly dried. Again, you'll need a model to rely on. In this case, I did it on myself using cold cream in guise of paint (a nightmarish sight). I took some pictures to use as a guide (pictures were carefully destroyed after use).
The war paint is again oils applied with the two-brushes technique. I use 'vermillion' for the red and Payne's gray + 'lamp black' for the black. The contours were carefully 'blurred' to achieve a 'smeared' effect.
To sum it up, it's nothing superhuman. The key to the thing is NOT to use your imagination. Just get yourself a GOOD model and trust your eyes. After all, this is 'visual arts'. :lol:
Hope this'll help.
Quang
Welcome to the planet. Thank you, guys for your kind words. Glad you like my painting which I only do at gun-point . (Colin, FYI I use the standard Photoshop 7 with a special plug-in called 'Brushmarks')
As for my skin techniques, it's not the conventional way but it works for me.
First of all, the most obvious which many painters overlook: find yourself a good model to rely on. In this case, I used a few screen captures from 'Dances with Wolves'. Good clear skin tones and war paint details.
The skin was done in oils over a violet acrylic base. Why violet? I don't really know. Just felt it had to be violet.
Basic skin is a mix of yellow ochre, mars orange, burnt sienna. Shadows is 'basic' + sepia + violet. Hilights is 'basic' + Naples yellow. Extreme hilights is pure Naples Yellow. Never use white as it would 'gray' your tones.
The idea is to 'smear' a very thin film of oils over the acrylic base and adding layer after layer to get the tone you want (based on the photos from the film).
A word about brushes. I only use inexpensive acrylic brushes. I start with fresh new ones at each painting session (I keep the used ones for smoothing putty).
I usually use two (flat) brushes alternatively: one to apply the paint and the other (dry and clean) to spread and blend the colour. My usual stance is one brush in hand and the other clenched between my teeth, pirate-fashion.
The paint is 'dabbed' on the surface and (with the second brush) spreaded out and blended with the surroundings. Just think 'spreading butter on bread'.
The war paint is put on AFTER the basic skin has thoroughly dried. Again, you'll need a model to rely on. In this case, I did it on myself using cold cream in guise of paint (a nightmarish sight). I took some pictures to use as a guide (pictures were carefully destroyed after use).
The war paint is again oils applied with the two-brushes technique. I use 'vermillion' for the red and Payne's gray + 'lamp black' for the black. The contours were carefully 'blurred' to achieve a 'smeared' effect.
To sum it up, it's nothing superhuman. The key to the thing is NOT to use your imagination. Just get yourself a GOOD model and trust your eyes. After all, this is 'visual arts'. :lol:
Hope this'll help.
Quang
Panzer
A Fixture
Sweeeeeeeeeeeeeeeetttttttttttttttttttt ! Mrosko
Roc
A Fixture
Totally superb!
Roc.
Roc.
thegoodsgt
A Fixture
- Joined
- Feb 26, 2004
- Messages
- 896
"The key to the thing is NOT to use your imagination."
Great advice...I think! It reminded me of one of the best pieces of advice I've ever heard, "Paint what you see, not what you know is there."
Great advice...I think! It reminded me of one of the best pieces of advice I've ever heard, "Paint what you see, not what you know is there."
megroot
A Fixture
There is nothing more to say. It is all been said.
Marvelous, gorgious, etc.
Learned from your lesson in this thread.
Thank you so very very much
Marvelous, gorgious, etc.
Learned from your lesson in this thread.
Thank you so very very much
