Drawing in perspective on AI is actually WAY more fun than I thought. Brushing up on my perspective skills – this is 3 point perspective – I haven’t done since middle school. I actually really like it! And planning out the composition and general shapes with simple shapes like rectangles, straight lines, and ellipses for vertical objects like statues is very helpful to get a sense of where the general shapes will live.
Tag: studio
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Perspective improved. Now I go in with some minute details of the various signs around- on the wall, the door, and inside the church- the most important parts of the painting as the signs indicate what kind of place this is- especially the one inside, the words are the entire concept of the painting.
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So, the image I want to create is a space that has stained glass windows in it – so, I’ve been doing a lot of thinking and research on how painted and stained glass is actually made – how to achieve opacity, how to cover large areas in paint (how to stain, even though I have everyday access to numerous kilns, I don’t have the chemicals on hand to stain – I could look into this in the future, but these are the first samples). What I found was that I could leave the areas for the window uncovered and cover them in very transparent paint to give the effect of light spilling through, and cover the rest in more opaque paint and paint over that to give the effect of the inside of the room vs the windows looking out. these are just samples to see what the paint is doing on the glass and the kind of effect I’m going for.
Example of the way the light comes more through the window and less through the opaque areas – as well as what unified color grounds (orange-yellow and yellow) look like. The yellow resembles the initial silver stains that were used on medieval-16th century glass, which is the glass I’ve been researching – along with the various methods.
The red object is supposed to be a row of church candles in which only the center ones are illuminated – on a little podium holding them up. The lighter red shows more light coming through. I’m very happy with the effect achievable for the madonna – there are areas of more shadow and areas of more light – I saw in a video one can even use dry tools to etch away the paint or stain to let more light come through and draw detail in this way – which is what I did on the chair (the pew seat) and the madonna – wiping away and etching away slightly – and I’m very happy with the effect.
Mostly, next I really need to focus on building an image with 3 point perspective (something I haven’t done since middle school) so that I can create this church space exactly the way I want it. I have already experimented using one point perspective in a painting of a window into a hospital church – those images are coming in the next post.
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the woman at the art store advised me to start with the black pen to seal off areas and then fill them in – which I did. The result was an initial line drawing in black that I would go and fill in with the transparent paints. I liked the look of the initial line drawing, but this approach of drawing with line and then filling in feels and seems rudimentary to me – it’s not how I paint at all in my everyday painting – focusing more instead on masses, colors, shapes, values, etc. I do think I need to incorporate more interesting line quality and more attention to outline and line in general in my work – edges that are intentional, more contrast and variety of soft vs hard, etc. however, I don’t like the sameness of this black outline when I then went and filled in the colored paint after. it felt arts and crafty.
Initial outlines: (had to dry for 12 hours before I could go back into it)
Then, I experimented with adding in color in varying intensities – pure – mixed, etc. The important thing to keep in mind is that I’m not trying to create an image that will be illuminated from the front, the way most 2d images are created – but that will be illuminated from the back. So, the more paint I add over, the more opaque it will be, and the less light will pass through – darkening it and creating less light in that area.
As I started adding in paint: (first layer)
Next layer: Interested even in how the glass reflects color on the paper behind it. On this layer I set up a light that would help me see better where I am filling in to and how it looks if I hold it up to the light -retro-illuminated from behind.
Some effects I like: like the watery-ness of the paint as it mixes together – creating that glassy, watery effect.
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I’ve been mulling over the painted glass windows I saw at the Victoria & Albert’s Museum a few months ago in October. I’m absolutely enamored with the look of the painted glass. today I am giving my first hand at painting on glass – I’ve bought my new glass paints and procured some glass panels for myself – some my boyfriend’s mother gave me- she has done some really beautiful paintings on glass, and one bigger one I bought at my local art store. I cannot wait. Attached here are some initial reference images. I have a whole series of ideas I want to paint on glass. I’m really excited to get going. One initial question is to use the black tube that is faux lead in the tube or try to put it on a brush first. I will try both.
I’m also looking forward to experimenting with LED lights to put behind the panels to illuminate them if they aren’t in natural light – the way they were exhibited at the Victoria and Albert’s Museum.
From the 16th century – glass panels at the V&A
Other reference images
somewhat interesting effects:
A closeup shot of painted yellow and red tulips on the wine glasses What I am really interested in is the way one can mix colors together, and how this then looks retro-illuminated. My boyfriend’s mother has done this very successfully. I’ll have to photograph this for her.
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T for transparent
O for opaque
Trying to figure out when and why to use transparent paints, and when to use more opaque paints. Glazing? Impasto? How to layer colors to create new colors. How colors react one on top of another, how and when light reflects through colors and bounces back to the iris – or when it is absorbed, and what effect this creates – the optics/aesthetic/visual impact of a painting. Color “vibrations” – is this just how colors react when they are close to one another, side by side, or is this the vibrational effect of layers of paint and how they react one on top of one another?
Research transparent vs non transparent colors/color vibrations
New colors: phthalo blue (T)
Perm magenta (T)
Prussian blue (T)
Purple lake (T)
Burnt umber (T)
Prussian green (T)
Permanent Alizarin Crimson (T)
Permanent Rose (t)
Rose Madder Deep t
Cad lemon o
Cad red o
Sap green t
Cad yellow o
Cobalt st
Venetian red o
Ult. Blue t
Viridian t
Vermilion hue o
Ivory black so
Lemon yellow hue o
Lamp black o
Manganese blue hue t
Mars black o
Yellow ochre st (raw Sienna alternative – t?)
Naples yellow o
Buy: for lights in procession: cobalt
Perm rose – rose dore mad
Schev rose deep
Viridian(?) green deep
Vine black (?)
Scarlet lake extra
Perm carmine?
Use in blacks: burnt Sienna
Naples yellow (o)
Gold ochre transparent
Cobalt violet
Vermilion extra OH
Alizarin
Van dyck brown
Transparent red oxide lake
Transparent oxide yellow lake
Flesh ochre
Naples yellow deep extra
Flesh tint
Golden barok red
Ultramarine blue deep
Aliz
Yellow light
Cad yellow lemon
Naples yellow deep extra
Copied from various sources: A transparent pigment applied onto a white ground will appear brilliant, because some of the white surface beneath reflects the light back. If the same pigment were applied onto a dark or black background, most of the light would be absorbed, causing the color to appear dull. For this reason, translucent pigments are ideal for glazing techniques, as the color beneath is still visible.
Pigments that are more translucent in nature are: permanent rose, permanent crimson, alizarin crimson, dioxazine blue, ultramarine, pthalo blue, Prussian blue, viridian green, terre verte, sap green, burnt sienna, raw sienna and raw umber. These colors, being transparent in nature will need careful selection of an opaque color to provide body and covering power if this is needed.
Mixing Transparent Hues with White
Beware that mixing a translucent color with titanium white (which has high RI) will not bring a paler version of the hue. Apply a thin glaze of ultramarine on a white surface, and a brilliant blue will result. Similarly, apply a thin glaze of permanent rose on a white surface and a brilliant pink will be the outcome. Mix ultramarine with white, and an opaque, rather grayish, flat blue will come back. Mix permanent rose with white, and a candy-floss pink will be the consequence. Translucent pigments are ideal for glazing techniques, but careful mixing is required if an opaque paint layer is needed.
A selection of translucent, semi-translucent and opaque paints will come in useful for the artist. Translucent colors are ideal for glazing techniques and for deepening a color beneath. Opaque colors will come in useful for alla prima, impasto or simply to cover up unwanted marks. Opaque colors will also provide a flat, even paint layer if this is desired.
If you want to paint with a limited palette, then a great place to start is all three primary colors (red, yellow and blue), white, raw umber (or burnt sienna) and black.
Black is optional as you can actually mix a nice black tone by combining equal parts of the primary colors together, or by mixing french ultramarine blue with raw umber. Many great artists, particularly the Impressionists, exclude black from their palette due to the thought it was not a natural color of the environment.
Anders Zorn is thought to have limited his palette to only four colors for many of his paintings: white, yellow ochre, cadmium red medium and ivory black. Ivory black is a cool color and was used by Anders Zorn as a very dark blue.
notes from Ryan: Titanium white, yellow ochre deep, (transparent) red ochre, and I’ll switch between ivory black and vine black (st)depending on what I need 🙂
I really like burnt sienna in place of red ochre too, or Venetian red :~)
Red ochre is beautiful I think, it makes such a natural soft pink
A little hard to make warmer orange tones though, which burnt sienna and Venetian red are really good at
Ivory tends towards a cooler grey, while vine towards a warmer !
Also I think mars black also tends towards a very cool grey, like u can make sort of a blue with it
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I can’t tell if I should be ‘done’ (because what is being ‘finished’ with something anyway) with this work or not. Yesterday I was thinking I should darken the background, and also add in the little candles and bells around the Madonna. But do I need to do that? Is the painting rendering exactly what I want it to already? Does that mean that I shouldn’t work on it anymore? I discovered a local artist – a painter and photographer, that I think is incredibly talented. His name is Davide Bondielli. His work has such a naïveté to it- that is something that I love and appreciate. I fear it in my own work- still thinking that something is unpresentable if it isn’t finished or evolved enough. I do quite like how the painting is looking. Could I do more? That is always the question. I like the whole look of the painting. But could it be better? I’m wondering if I need to cover some of the brush strokes and tracks in the upper part of the painting and background- clean it up. Why do I think and feel like something needs to be ‘clean’?
Do I need to copy of experience of exactly what happened here at the procession (ie- the candles and bells around her- which are so characteristic and descriptive of the event, so specific) – or am I creating my own universe here? Do I want to be historically faithful and loyal to what is really happening in this practice and tradition- this cultural reality? Maybe? Kind of? I don’t know.
Part of my wants to move on. I feel my interest kind of waivering- coming and going. Maybe I just need to take time away from it?
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An artist I know and follow on IG organizes her palette this way, I saw in a photo- so I’m experimenting with my palette organized in ascending value scales I mixed for each color.
Also: should I buy cobalt blue even though it’s rly expensive? I’ve always been using ultramarine since school. Cobalt might be a good idea? Have more breadth of blue? Why cobalt? More precious? More beautiful blue? More vibrational?
So far: grey scale is useful to have. Green too- so I see it on my palette, since I tend to ignore cooler colors.
Also: it’s useful to, if introducing a new color to my palette- do one of these value scales to see how it behaves with different amounts of white mixed in. For example, I didn’t know that the Venetian red on my palette makes the most beautiful pale pink color when mixed with a lot of white. Will probably continue doing for all colors if introduced new to palette.
Also: for the future, could be useful to take the primary colors on my palette (variations of yellow and red, along w blue), and mix out the secondary colors (green, orange, purple) so that I see them on my palette and can use them for mixing new colors instead of having to guess the quantities that go into new colors. I’m thinking a lot about color these days. As in, how to plan out a painting w colors more consciously- rather than trying to nail an individual color and apply it, as though they all existed individually? I need to create a universe of color on the canvas, that all relate to eachother. How to be more intentional w color and choose colors that work beautifully and look beautiful, vibrational, side by side? How to get color vibration???