Hello Everyone,
I am sorry I haven't been keeping up with the blogs and painting this week. My mind has been focussed on the 'mother of the bridegroom's' outfit. My youngest is being married in Seoul next month. It will be a traditional Korean wedding with the bridal party and family wearing traditional Korean dress so I have to do a little better than drag out the old dark suit. So please forgive me if I become a silent follower of the blog for the next week or two. Have fun. I'll be back soon. (JJ is keeping me busy anyway.
Monday, February 9, 2009
Life is Good!
Update on the little contented piggy ....not sure if it is getting better or not. I am not too hot on the pig hair!!!!
Sunday, February 8, 2009
Ree asked, what is the difference between Chroma, Hue, Value.
The Three Sides to a Paint Color's Personality: Hue, Value, and Chroma
Why hue, value, and chroma are important in accurate color mixing. By Marion Body of paintng.about.com
Colors are the basic elements of a painting. Gaining an intimate knowledge of the personalities of the colors you use is crucial in learning to paint. We tend to simply call paint a particular color, whether general such as “light blue”, more poetic such as “aquamarine blue”, or specific such as “ultramarine blue”. But in fact every color has three sides to its personality: hue, value, and chroma. A painter trying to mix a color on their palette to accurately match a color in their subject needs to consider all of these. If you don’t, you’re doomed to never get the color mixed correctly.
What is Hue?
Hue is the easiest to understand: at its most basic, it’s artspeak for the actual color of a pigment or object. But the use of hue becomes more complicated when it comes to the names that paint manufacturers give their paint colors. This is because the term “hue” is used to indicate that a color is not made from the pigment(s) that were originally used for that paint, but modern equivalents that are either cheaper or more lightfast. Judging a hue is the first step in color mixing as it identifies what tube of paint to reach for.
What is Value?
Value or tone is a measure of how light or dark a color is, without any consideration for its hue. Think of it as taking a black-and-white photo of a subject where you clearly see what’s in the photo but everything’s in grayscale.
The problem with a color’s value or tone is that how light or dark is seems is also influenced by what’s going on around it. What appears light in one circumstance, can appear darker in another circumstance, for instance when it’s surrounded by even lighter tones. (See Tone is Relative to Other Tones for an illustration of this, and a longer explanation.)
What is Chroma?
The chroma or saturation of a color is a measure of how intense it is. Think of it as “pure, bright color”, compared to a color diluted with white, darkened by black or grey, or thinned by being a glaze. Variations in chroma can be achieved by adding different amounts of a neutral gray of the same value as the color you're wanting to alter.
But Aren’t Value and Chroma the Same Thing?
Color mixing would be easier if they were, but they’re not. With chroma you’re considering how pure or intense the hue is, whereas with value you’re not considering what the hue is at all, just how light or dark it is.
Do I Need to Consider Hue, Value, and Chroma Ever Time I Mix a Color?
As a beginner painter, yes you do. But the good news is that but with experience of color mixing it becomes easier and less of a systematic process. Initially it’s well worth taking the time to consider the hue, value, and chroma in a color you’re want to match, making a judgement or decision on each before you attempt to mix the color. You’ll waste less paint nor have as much frustration by mixing the “wrong” colors.
For more wonderful information, Click Here
Marion Body has a wonderful website, with easy to understand articles on all things painting..Her site is easily searchable too.
Why hue, value, and chroma are important in accurate color mixing. By Marion Body of paintng.about.com
Colors are the basic elements of a painting. Gaining an intimate knowledge of the personalities of the colors you use is crucial in learning to paint. We tend to simply call paint a particular color, whether general such as “light blue”, more poetic such as “aquamarine blue”, or specific such as “ultramarine blue”. But in fact every color has three sides to its personality: hue, value, and chroma. A painter trying to mix a color on their palette to accurately match a color in their subject needs to consider all of these. If you don’t, you’re doomed to never get the color mixed correctly.
What is Hue?
Hue is the easiest to understand: at its most basic, it’s artspeak for the actual color of a pigment or object. But the use of hue becomes more complicated when it comes to the names that paint manufacturers give their paint colors. This is because the term “hue” is used to indicate that a color is not made from the pigment(s) that were originally used for that paint, but modern equivalents that are either cheaper or more lightfast. Judging a hue is the first step in color mixing as it identifies what tube of paint to reach for.
What is Value?
Value or tone is a measure of how light or dark a color is, without any consideration for its hue. Think of it as taking a black-and-white photo of a subject where you clearly see what’s in the photo but everything’s in grayscale.
The problem with a color’s value or tone is that how light or dark is seems is also influenced by what’s going on around it. What appears light in one circumstance, can appear darker in another circumstance, for instance when it’s surrounded by even lighter tones. (See Tone is Relative to Other Tones for an illustration of this, and a longer explanation.)
What is Chroma?
The chroma or saturation of a color is a measure of how intense it is. Think of it as “pure, bright color”, compared to a color diluted with white, darkened by black or grey, or thinned by being a glaze. Variations in chroma can be achieved by adding different amounts of a neutral gray of the same value as the color you're wanting to alter.
But Aren’t Value and Chroma the Same Thing?
Color mixing would be easier if they were, but they’re not. With chroma you’re considering how pure or intense the hue is, whereas with value you’re not considering what the hue is at all, just how light or dark it is.
Do I Need to Consider Hue, Value, and Chroma Ever Time I Mix a Color?
As a beginner painter, yes you do. But the good news is that but with experience of color mixing it becomes easier and less of a systematic process. Initially it’s well worth taking the time to consider the hue, value, and chroma in a color you’re want to match, making a judgement or decision on each before you attempt to mix the color. You’ll waste less paint nor have as much frustration by mixing the “wrong” colors.
For more wonderful information, Click Here
Marion Body has a wonderful website, with easy to understand articles on all things painting..Her site is easily searchable too.
Saturday, February 7, 2009
Giants Causeway Stones
Another painting of a local scene. These stones can be found at The Giants Causeway which is about 13 miles from where I live. The Giants Causeway is an extremely popular tourist attraction with over 500000 visitors coming every year from all over the world.
As this is still a WIP any help would be appreciated .....
acrylic on board 8" X 12"
Friday, February 6, 2009
My hand and my fingers ....well why not?
I did these quickly last night just in case JJ shouted at me because I was not sketching .....you all know what she's like ....a real hard taskmaster!!
Especially for JJ
I had to take a picture from my front door this morning ....it was snowing .....not that much but I have been telling JJ that it was supposed to snow for days now but somehow it always missed Ballycastle ....so here is the proof that it does snow in Ireland.
I can't believe none of you see it!!!!!
The rabbit with the funny mouth putting on a sock or something like that because he has his leg up and is holding on to it with his front legs .....am I going crazy?
Today I painted .....
I went to my new art group today and had a great time. I felt young for a start as they were all older than me ....
I painted another Dunluce Castle ....I have to keep trying to get it right!! It's slightly bigger at 8" X 10" acrylic on board.
For a start I see that I need to change the horizon line as it doesn't look right at the same height as the top of the castle .....
Fire away!
Thursday, February 5, 2009
My Hand
This is a quick sketch of my hand I have just drawn, while talking to Maree on the phone ;-) She is drawing her sketch now too. Colleen sketched my shoe while she was here yesterday, I will get onto to her to post it too. ;-) Look out Colleen lol..
Wednesday, February 4, 2009
Wednesday 4th February Sketch
This is a sketch of the toilet roll wrapped in a paper hand towel for wiping paint brushes on - the cheap cosmetic brush I use for brushing erasure dust from my paper - my kneadable rubber.
Tuesday, February 3, 2009
Happy Pig C&C needed!!!!!
I have been working on this little chappie for the past 2 nights ..... Acrylic on board 12" X 12"
Fire away!
Annes Irish Castle
I haven't finished this painting, I haven't done the rocks in the foreground or put the grasses in. I may get back to it later in the week, I may not. Fire away, please all of you, I am looking forward to your critiques.Oh Dear...........
Discussion on critiques
Firstly, let me remind you guys, this blog is private, only we members can read it. I made it that way, as this is all about encouraging one another, without the added pressure of knowing strangers are going to be looking as well.
I have been having a discussion via email with some of you as to whether you want critiques on your work or not. So far all the responses have been positive. I thought though, that we aren't going to know what each one of us wants in respect of critiques unless we tell each other, so this discussion is born.
Yes!! I want indepth critiques. Let me have it, lock stock an dbarrel, don't be gentle!!!
It doesn't matter if one is a beginner or been painting for years, everyone has an eye and can see if something is amiss in a painting somewhere. ALL critiques are valuable to me. I wont always agree with a critique, neither will you, it is human nature. I will get miffed, but I do take a deep breath, walk away, and come back later and re-read the critique and look at the painting again, and see if I was indeed wrong. It is in my best interests to do this, as sometimes I am wrong and the critiquer is right, more often than not to be honest, so critiques are important to me, they keep me on my toes, and make me a better artist. They help me to see, more importantly they help me to really look. Look not just at my artwork, but all around me. I take my lessons into the real world, and most often what I see, the critique has mentioned, and nature has backed it up. . Such a wonderful learning tool, and one I cherish.
So what kind of critique you want. Ree, Sandy, Anne, Mimi, Colleen. :-))
I have been having a discussion via email with some of you as to whether you want critiques on your work or not. So far all the responses have been positive. I thought though, that we aren't going to know what each one of us wants in respect of critiques unless we tell each other, so this discussion is born.
Yes!! I want indepth critiques. Let me have it, lock stock an dbarrel, don't be gentle!!!
It doesn't matter if one is a beginner or been painting for years, everyone has an eye and can see if something is amiss in a painting somewhere. ALL critiques are valuable to me. I wont always agree with a critique, neither will you, it is human nature. I will get miffed, but I do take a deep breath, walk away, and come back later and re-read the critique and look at the painting again, and see if I was indeed wrong. It is in my best interests to do this, as sometimes I am wrong and the critiquer is right, more often than not to be honest, so critiques are important to me, they keep me on my toes, and make me a better artist. They help me to see, more importantly they help me to really look. Look not just at my artwork, but all around me. I take my lessons into the real world, and most often what I see, the critique has mentioned, and nature has backed it up. . Such a wonderful learning tool, and one I cherish.
So what kind of critique you want. Ree, Sandy, Anne, Mimi, Colleen. :-))
Painting of the week; Seattle waterfront
Have fun. I'm thinking of doing just the buildings. And if you want, you can view my two attempts at painting this already on my blog.
Monday, February 2, 2009
Just Checking in!
Hi girls! Just quickly checking in to let you know that I am unable to participate right now. It is good to see you are all busy contributing...
After today I should be back to "normal" (whatever that is!!!)I am looking forward to joining in again.
This image is an indication of what it has been like down here in Vic.Bushfires and 48 degree days ...still awfully hot and horrible.
The hand of the man who would not stand still .....
I did this one earlier in the week.....
Acrylic on paper about 6" X 7"
My Dunluce painting
This is acrylic on board about 5" X 6" I loved working on those greens ....hopefully I am getting better at it .....
Sunday, February 1, 2009
"GIVING A CRITIQUE" One of the best ways of learning about the technical aspects in our art, is to learn to "see" How do we learn to see?
If we are serious about our painting, and serious about learning to better our skills to take our art to the next level, we need to learn how to critique. Critiquing, is a wonderful tool for learning why a painting isn't working the way we want it to, compositionally, colour-wise, technically, whatever. Below is an article from the Open Critique Forum on Wet Canvas. Have a good read, and see if this will help you to help us, when we post our paintings, help us to "see" how we can possibly have painted the painting better.
Author: Henrik_Lindberg, Contributing Editor
Not quite sure how to give a critique? This article is an attempt to provide some advice.
There are two check-lists: a positive list for the elements that contribute to a successful work; and a negative list that looks at flaws.
Finally, you will find advice on putting it all together including the frame of mind needed for providing a critique. I have tried to keep the lists compact and general while still aiming to explain what is, perhaps, not obvious. The lists should work for both realism and abstract art as they are not based on a set of rules such as "Don't put the horizon on the middle".
Positive Check List
Focus/impact area - An effective focus/impact area makes the difference between a picture and a work of art. The impact area gives the viewer direction and establishes a sense of priority for all the other elements. A focus/impact area means that the artist has been able to capture what in real life is selective seeing - we can only focus on one thing at a time, the rest is seen through peripheral vision. Does the work have such an area?
Mood/feeling - Does the work convey a mood? Decide if it is merely rendering of parts or if there is a sense of interpretation and feeling.
Creativity - What has been done better, or differently, from the ordinary? Was creativity used in the selection of subject and/or use of materials?
Composition - Design - Are there interesting shapes - both positive and negative? Is there a variety of shape sizes? Are the picture elements arranged in a dominant design scheme - for example with rectangular or diagonal emphasis? Is the design based on one or several geometric forms and, if several, do they work together? Does the design work with, or against, the subject? Does it attract attention to itself (i.e. the arrangement takes over the subject)? Is the composition balanced?
Composition - Counterpoint - Evaluate the complexity of the subject and the selection of shapes used. Look for a dominant element, sub elements and repetition of elements. Is there variety/counterpoint? In general, the more complex the better - without going over the top. Remember the rule: ”Diversity within unity”.
Value - How has tonal value been used to convey mood, depth, dimension, and impact/focus? Look at the composition of general tonal areas.
Colour - How has colour been used to convey mood, harmony, and depth? Does the colour scheme fit the subject? Has colour been used to establish a focus/impact area? Check for the use of colour fundamentals like complementary or analogous colour.
Other fundamentals - Evaluate the use of other fundamentals (besides colour and value) such as perspective, edges, and style. How does perspective help to convey depth? Is perspective used creatively? Are hard edges used to pull elements forward and soft edges used to integrate elements in the scene? How is style used to promote the intent/mood?
Unity - Unity is what holds all parts together. Has colour, pattern or technique been used to establish unity?
Craftsmanship - This is where the technical skills such as drawing and the handling of materials are assessed.
Readability/flow - Can the viewer's eye move easily into the work? How has the artist used shape, line, value, colour, perspective, etc to guide you to the focus/impact area, to/from sub-themes and away from exit areas?
Negative Check List
Technical inaccuracy - Does inaccurate drawing make elements work against the logic or intent of the composition? For example, shadows that fall in the wrong direction, a sloping horizon, errors in perspective for realistic art.
Lack of imagination - Poor selection of subject and approach. A dull subject rendered in a dull way.
Lack of originality - Presenting a trite subject that has been painted a thousand times before.
Content discrepancy – An element that is not in character with the logic or intent of the work. For example: the artist intends to make a realistic wildlife painting but shows the animal in the wrong environment.
Style discrepancy - Inconsistent styles within the same work, or the obvious influence of another artist’s style in parts.
Inconsistent quality - Landscape good, wildlife weak.
Easy way out – The artist has obviously positioned a subject to avoid difficult detail.
Plagiarism - The artist has copied another's work, or used someone else's photographs, and presented it as their own. (This also has legal implications.)
Lack of interpretation - The artist was controlled by the subject. For example, including the shadow of a photo flash, or rendering a subject's eyes with effect of photo flash; a pleine aire artist has included an ugly object which detracts from their landscape simply because it was there.
Poor presentation - How is the work presented? Is it free from the non-artistic use of coffee-stains, globs of paint, brush hairs stuck in dry paint, fingerprints, shoddy frame, poorly cut matte, sloppily painted edges of canvas, canvas shining through, poor/uneven varnishing, cracks, scratches, etc?
Empty - No mood, message or feeling conveyed.
Your critique should be divided into two sections: what has been done well and what could be improved. The focus should be on providing feedback that will help the artist - and onlookers - learn something.
What has been done well - select a few of the best things and say why you think they work.
What could be improved – select areas where the biggest improvements could be made and say why. Suggest ways the improvements could be made and give your reasons. Where appropriate, provide links to relevant examples or reference material. If the artist has chosen to allow digital alternations of their work you may like to provide an edited image to illustrate your points.
Don't
*let the check-lists dictate the form of the critique - you shouldn't try to comment on every item. Use them to help you pinpoint and analyse what has been done well and what could be improved.
*overwhelm the artist by including too many suggestions or too much information.
Do
*critique in a positive, non-judgemental spirit.
*try to pitch your critique to the right level - you will not turn a beginner into an expert in a single step.
*try to be as objective as possible and set aside your own taste in art - the critique is about the artist's work, not about you.
Remember, the artist is seeking constructive feedback on how to improve - both in the work under critique and for their future development. Therefore, your suggested improvements do not have to be corrections that can be easily made. For example, it may not be possible to completely rearrange a watercolour but the artist can incorporate what is learned in future work.
When the artwork is exceptionally good, and you can not find any improvements you can instead elaborate on the analysis and point out in more detail what has been done well - this could be more for the benefit of the onlookers than for the artist.
Author: Henrik_Lindberg, Contributing Editor
Not quite sure how to give a critique? This article is an attempt to provide some advice.
There are two check-lists: a positive list for the elements that contribute to a successful work; and a negative list that looks at flaws.
Finally, you will find advice on putting it all together including the frame of mind needed for providing a critique. I have tried to keep the lists compact and general while still aiming to explain what is, perhaps, not obvious. The lists should work for both realism and abstract art as they are not based on a set of rules such as "Don't put the horizon on the middle".
Positive Check List
Focus/impact area - An effective focus/impact area makes the difference between a picture and a work of art. The impact area gives the viewer direction and establishes a sense of priority for all the other elements. A focus/impact area means that the artist has been able to capture what in real life is selective seeing - we can only focus on one thing at a time, the rest is seen through peripheral vision. Does the work have such an area?
Mood/feeling - Does the work convey a mood? Decide if it is merely rendering of parts or if there is a sense of interpretation and feeling.
Creativity - What has been done better, or differently, from the ordinary? Was creativity used in the selection of subject and/or use of materials?
Composition - Design - Are there interesting shapes - both positive and negative? Is there a variety of shape sizes? Are the picture elements arranged in a dominant design scheme - for example with rectangular or diagonal emphasis? Is the design based on one or several geometric forms and, if several, do they work together? Does the design work with, or against, the subject? Does it attract attention to itself (i.e. the arrangement takes over the subject)? Is the composition balanced?
Composition - Counterpoint - Evaluate the complexity of the subject and the selection of shapes used. Look for a dominant element, sub elements and repetition of elements. Is there variety/counterpoint? In general, the more complex the better - without going over the top. Remember the rule: ”Diversity within unity”.
Value - How has tonal value been used to convey mood, depth, dimension, and impact/focus? Look at the composition of general tonal areas.
Colour - How has colour been used to convey mood, harmony, and depth? Does the colour scheme fit the subject? Has colour been used to establish a focus/impact area? Check for the use of colour fundamentals like complementary or analogous colour.
Other fundamentals - Evaluate the use of other fundamentals (besides colour and value) such as perspective, edges, and style. How does perspective help to convey depth? Is perspective used creatively? Are hard edges used to pull elements forward and soft edges used to integrate elements in the scene? How is style used to promote the intent/mood?
Unity - Unity is what holds all parts together. Has colour, pattern or technique been used to establish unity?
Craftsmanship - This is where the technical skills such as drawing and the handling of materials are assessed.
Readability/flow - Can the viewer's eye move easily into the work? How has the artist used shape, line, value, colour, perspective, etc to guide you to the focus/impact area, to/from sub-themes and away from exit areas?
Negative Check List
Technical inaccuracy - Does inaccurate drawing make elements work against the logic or intent of the composition? For example, shadows that fall in the wrong direction, a sloping horizon, errors in perspective for realistic art.
Lack of imagination - Poor selection of subject and approach. A dull subject rendered in a dull way.
Lack of originality - Presenting a trite subject that has been painted a thousand times before.
Content discrepancy – An element that is not in character with the logic or intent of the work. For example: the artist intends to make a realistic wildlife painting but shows the animal in the wrong environment.
Style discrepancy - Inconsistent styles within the same work, or the obvious influence of another artist’s style in parts.
Inconsistent quality - Landscape good, wildlife weak.
Easy way out – The artist has obviously positioned a subject to avoid difficult detail.
Plagiarism - The artist has copied another's work, or used someone else's photographs, and presented it as their own. (This also has legal implications.)
Lack of interpretation - The artist was controlled by the subject. For example, including the shadow of a photo flash, or rendering a subject's eyes with effect of photo flash; a pleine aire artist has included an ugly object which detracts from their landscape simply because it was there.
Poor presentation - How is the work presented? Is it free from the non-artistic use of coffee-stains, globs of paint, brush hairs stuck in dry paint, fingerprints, shoddy frame, poorly cut matte, sloppily painted edges of canvas, canvas shining through, poor/uneven varnishing, cracks, scratches, etc?
Empty - No mood, message or feeling conveyed.
Your critique should be divided into two sections: what has been done well and what could be improved. The focus should be on providing feedback that will help the artist - and onlookers - learn something.
What has been done well - select a few of the best things and say why you think they work.
What could be improved – select areas where the biggest improvements could be made and say why. Suggest ways the improvements could be made and give your reasons. Where appropriate, provide links to relevant examples or reference material. If the artist has chosen to allow digital alternations of their work you may like to provide an edited image to illustrate your points.
Don't
*let the check-lists dictate the form of the critique - you shouldn't try to comment on every item. Use them to help you pinpoint and analyse what has been done well and what could be improved.
*overwhelm the artist by including too many suggestions or too much information.
Do
*critique in a positive, non-judgemental spirit.
*try to pitch your critique to the right level - you will not turn a beginner into an expert in a single step.
*try to be as objective as possible and set aside your own taste in art - the critique is about the artist's work, not about you.
Remember, the artist is seeking constructive feedback on how to improve - both in the work under critique and for their future development. Therefore, your suggested improvements do not have to be corrections that can be easily made. For example, it may not be possible to completely rearrange a watercolour but the artist can incorporate what is learned in future work.
When the artwork is exceptionally good, and you can not find any improvements you can instead elaborate on the analysis and point out in more detail what has been done well - this could be more for the benefit of the onlookers than for the artist.
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