Traditional Art: Fisherman by Water

For the first time in several months, I sat down and speed-painted.  It was refreshing.  The freedom of expression and lack of self-criticism when speed-painting is unrivaled.  




NOTES on Speed-painting
It is an extremely good way to loosen up.  Perfectionism is just not possible in art.  One can come close to it, but perfection will always be out of reach.  Speed-painting helps an artist lose their preconceptions about what their making, and just paint it.  


It can also help with detail.  By being forced to make such general, quick detail in speed-painting, an artist's ability to create fine detail increases.

Sincerely,

KobaltWolf

SHINee Key: Portrait

This portrait is my first attempt at Acrylic paint in years, and the first with quality supplies.  It was an enlightening experience to say in the least.  While very fun, the technique was foreign to my watercolor fingers and, sadly, I cannot say that I completely broke away from my watercolor techniques.

The subject of the portrait is Key (Kim Kibum), a member of the Korean Pop group SHINee.  I chose to paint him because 1) he is very talented;  2) I was listening to SHINee's song Sherlock when I conceived the desire to paint; and 3) there were many references to draw from.  This picture is not original, and I do not claim it to be.  It is merely an experiment that I did in order to become more comfortable in Acrylic.

Color Technique
Because I am so new to this medium, I cannot give as much advice as I can in watercolor because I myself am not sure of Acrylic technique yet.  However, I can give advice on colors and color mixing.

I used only five pigments in this entire piece:  Cobalt Blue,  Med. Cadmium Yellow,  Med. Napthol Red,  Titanium White,  and Carbon Black.

In order to paint a picture in Acrylic, these are the only colors a person needs.  Of course, one can use different variations of these colors, as long as they are basically a Blue,  Red,  Yellow,  White,  and Black.  Almost any color in the rainbow can be mixed from these colors.  (NOTE:  An exception to this would be iridescent colors, unless your base colors were iridescent.)  It merely takes experience and practice to master color mixing. 

Here are some of the basic formulas I used in this picture:

Skin -- Red, Yellow, White (a touch of blue or black for shading.)

Hair -- for base mix Red, Yellow, and Blue (very small amount) 

        - for Shading add Black

        - for Highlights add White and more Yellow 

Shirt -- for base mix mostly Red with a small amount of Yellow

        - for Shading add more red and a dash of Black

Coat -- for base mix Blue, Yellow, and White (small amount)

        - for Shading add more Blue and some Black

        - for Highlights add more Yellow

Background -- mix Blue and White with a small amount of Yellow (adds brightness)

Stats:

Dimensions -- 8 x 10

Time Spent -- 3 hrs and 45 mins

Paper -- Stretched Canvas

Medium -- Acrylic Paint

Brushes used -- Size 4 square flat brush

Size 0 square flat brush

Liner

Do not claim as your own work.  Do not distribute without my express permission.

Sincerely,

KobaltWolf

Traditional Art: Hummingbird Among Flowers

I apologize for my long absence.  I regret to admit that I have no good excuse other than my own laziness.  Nonetheless, I have still been painting avidly.  This is one I did a few weeks ago.  It was very different from anything I had ever done before.  In fact, it is my first attempt at flowers and among my first attempts at a natural setting.  


It is completely original.  I took the base photos myself for the tree, leaves, flowers, and hummingbird feeder.  For the hummingbird, I examined several pictures of its form online, in varying positions, before sketching it freehand directly onto the watercolor paper.


Flowers
 - What I discovered while painting the flowers was that most shades and textures needed to be layered.  Each flower has at least five or more layers.  Start with the base color (this would be the lightest shade) and, while the base is still wet, add the basic shading.  This will create a smooth flow of color.  Wait for it to dry.  Then add more shading, creating your next darkest layer.  Continue adding new layers for shading.  After this, begin adding the texture and creases of the petals.  Fill in the center of your flow in the same manner as the petals.  Finally, with a liner (a very thin brush), add any extra detail that you see in your reference picture (or in your mind, should you be working from your head.)


Feathers
 - First, apply a base coat with the lightest color and basic shading (like the flowers).  Then, layer.  In this painting, where the feathers were the very small ones of a hummingbird, I used a liner for all detail.  In paintings of birds with larger feathers, use a slightly larger brush until you get to the fine detail.  Then, switch to a liner.


Overall
 - The theme of this entire painting was layers.  Layer after layer after layer.  Everything had layers, all using the same basic technique (ex. Flowers, Feathers.)  Do not underestimate the power of layers, and don't think that you can add all the detail you need in one layer.  

Traditional Art: Green-haired Girl (watercolor)

This is a watercolor I did from around a year ago.  It was my fifth portrait (yes, I can count the number of portraits that I've done), but I still consider it to be one of my better pieces.

It began with a desire to paint green.  Said green paint ended up being her hair, but the portions I am most pleased with are her clothes and the background.  Her skin also turned out very nicely, with a more natural, pale tone than what I normally do.


When it comes to dimensions, this is a very small piece, probably hanging in the range of  9 in. by 6 in.  My more recent ones (found in the previous posts) are much larger.  Both are approximately 24 in. by 16 in.  Currently, I prefer the larger canvas because it allows for a lot more fine detail.  However, a smaller canvas also has its benefits.  The image may not be as finely detailed, but the basic shapes and shading can be superior to a larger painting.  Because the image is so small, an artist cannot be distracted as much by the tiny details and can focus more on the basic shaping and lay of the skin, clothes, hair, etc.  Also, the background of a smaller portrait can be far easier to handle.  Because the background area is not very large, one or two simple brushstrokes can provide a very smooth, waterfall effect, as evidenced in this particular piece.


Techniques/Tips:

Skin:

 - Purple is your friend.  It is the number one shading pigment in my arsenal of colors, and most definitely one of the most flexible.  When shading skin, it can be mixed with the basic skin tone to form an absolutely wonderful shadow.  

 - In this image, I also used a tiny bit of black.  However, this is a VERY DANGEROUS and risky color to use in watercolor because it is opaque and utterly flat.  There is a pigment called NEUTRAL TINT that works well as a black substitute, but I did not have any at the time I was painting this portrait.  Again, I repeat, be very careful when using black, especially in portraits because it can flatten and muddy a person's skin in no time.

Hair:

 - Using abnormal hair colors can be great practice.  Not only does it create awesome looking hair, but it can help a person grasp the use of the color and its various shades to a greater degree.

 - GREEN is an especially difficult color.  It is extremely overwhelming, equal to if not more overwhelming than its complementary color RED.  It can easily dominate an image if not properly used.  Now, I'm not saying to completely reign in your use of green.  It is a great color with a wide range of uses.  However, it is simply a color that must be practiced with often in order to properly use it.

Background:

 - I used a WET-ON-WET technique for this background.  Now, the main asset I had in order to complete this technique was the small canvas size.  The paint spread perfectly to fill the entire space with no breaks or interruptions.  It would be harder to achieve on a larger canvas, though it would be possible with a large brush  and more pigment.

Clothes:

 - I used a DRY-ON-WET technique for the clothes, meaning that the brush was dry, but the canvas was wet.  This gave the clothing a more "block-y" texture. 

 - Also, I made sure to leave lots of HOLIDAYS.  A holiday is a small white space left in a picture.  Sometimes, there can be too many holidays, but a few are very useful because the lighten the image and make it less "heavy" looking.

Traditional Art: Genesis Rhapsodos (watercolor)

Yet another few photos of a watercolor of mine.  I managed to snap them before my camera's battery died.  As you can see, I am far better at offline work than I am at digital art.  

This is one of my personal favorites.  I am extremely pleased with how it turned out, especially the hair and the clothes.  There are so many techniques and tips that I have to go with this piece, resulting in a relatively long post.  I have not, however, put in a background yet.  I do not think that the drip technique would be good for this piece, so I'm looking to some of my older work for ideas.  

Have any of you recognized the subject matter yet?  Probably not, but this portrait is based off Genesis Rhapsodos from the Final Fantasy VII compilation.  I have recently been getting into Final Fantasy and once I saw Genesis's hair and coat, I just HAD to paint him.  Therefore, disclaimer time:  I in no way own the Final Fantasy series.  I'm not particularly fond of disclaimers, but I want to avoid being sued.  :)

Special Techniques:

Skin:

 - A quick note on skin.  The formula for a basic Caucasian, watercolor skin tone is ROSE plus MEDIUM CADMIUM YELLOW.  Phthalo blue, umber, and sienna (among others) can be used to fine tune the tone, but rose and cadmium are the two major ingredients.  

 - Black skin tones have a base of PURPLE and some shade of BROWN.  Again, other colors can be used to fine tune the tone, but these two are the main ingredients.

 - Always test your skin tone before you paint with it!!!  This is a must.  Do NOT, under any circumstances, skip the testing part.

Lips:

 - Lips have highlights, too.  They are not just splotches of red.  They have a huge amount of texture, resulting in defined shading and highlighting.  

 - Make sure to layer when painting lips.  Do not put all the color down at once as you will instantly be dissatisfied with the results.  Layering allows for more thought and texture.

 - I normally use ROSE as the base for my lips tone, with purple shading and sometimes CADMIUM YELLOW for the highlights (very rarely because it can be easily overdone.)

Hair:

 - I do hair in a very unusual way for watercolor.  I have yet to meet someone who practices the same technique.  I paint each strand of hair individually.  It takes several hours to complete, but the end result is beautiful, if done properly.  Use a flat brush, preferably square in shape, and a dry-on-dry technique, meaning both the paper and the paint are dry.  Then carefully paint each strand.

 - Leave highlights!  It saves time, and makes the hair seem more realistic.

 - Shading is a must.  Hair is one of the most colorful parts of a portrait.  It must be treated accordingly.  In one portrait, more than five separate colors can be used just for the hair, not to mention the colors' different shades.

 - Hair does not have to be one color!  In watercolor, a blonde person can have orange, green, blue, or even purple highlights.  But these are only highlights.  Be careful and delicate with your colors.

Clothes:

 - I use a wet-on-wet technique, but several of my art acquaintances use other techniques, including wet-on-dry and even dry-on-dry.  It all depends on your personal preference.

 - For my technique, wet the clothing area, but, before you do this, make sure your colors are mixed!  This is a must!  Then, dab the color in key points to create shading and highlights.  Know where your light source is and use it to your advantage.  Clothing is not flat.  It is rounded and folded and creased!  Remember this!