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Thread: Saturated Beauty

  1. #1
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    Saturated Beauty

    Just a portrait... Reposted after some great advice on the eye from Al Kratzer (thanks Big Al )
    Attached Images Attached Images  
    Last edited by Juz; 08-03-2010 at 03:26 PM.
    "I paint because I love to cut mats" (Arthur Alexander)

  2. #2
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    Beautiful! Great job of blending and lovely colors! Al

  3. #3
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    Wow this is absolutely gorgeous!!!!!!! Amazing. I love the pose, her attitude. I wish I could paint people half this well. If you don't mind me asking, what is your blending technique? Once again beautiful. One of my favorite paintings!!!!!!!
    You can see more of my work at http://krasched.deviantart.com/.
    IMAGINATION IS EVERYTHING-Einstein
    See you space cowboy..........

  4. #4
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    Juz,
    An excellently painted portrait that is aptly titled. The palette
    is lush, exuberant and the artistry, expressive and most engaging.
    Very fetching art work ... it glows!
    Mairzie Dotes

  5. #5
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    @ Al, thanks for your kind comments (and for the advice in the pm), very appreciated.

    @Maizie, its always a joy to receive a comment from you... I'd swear you can paint with the written word ... Are you an author or work with words ?

    @ ArtGeek, more than happy to share anything I learn playing with artrage.... (Warning: I'm a designer by trade and by no means a painter, this is my second "oil" painting real or digital, and my blending method is just the way I've found works best for me... the paintbrush sizes I refer to were referenced from a book... I measured up against the artrage ruler to make them as true to the real life sizes as possible)

    With blending I tend to build up my painting using a dirty brush i've attached an image with the settings.... I set up a wacom button with the clean brush shortcut (if i'm hammering this button too often as I work then i'll switch to autoclean for a bit just to lay the colour in and then back to the dirty brush 'autoclean off').

    I lay in the strokes using a flip-flop or criss-cross technique (see attached... its exaggerated to demonstrate). I lay in large areas of flat colour using a big square brush (around 60% is about the same size as a number #10 real oil brush if you work in print rez.... these sizes don't work if you increase resolution by working with a massive pixel count while still at 72dpi)

    I use this flip flop stroke to start the blending between two areas of colour.... you'll notice in the image that between the yellow and the burnt umber as they start to mix that there are a lot of nuances in the shades of the inbetween colour from the brush being dirty.... I use the eyedropper tool (also set up on my wacom, alt/option on the keyboard) to pick up colours from the mix and basically go again.

    If i were blending toward the burnt umber i'd pick up the darker tones within the inbetween strokes and if i'm blending toward the yellow i'd pick up the light tones in the previously blended strokes.

    I get a chunky blended result and basically repeat this process with a brush sized 30% (number #06 real oil brush) and then again with a brush sized at 15% (number #02 real oil brush)

    I've found that if your brush didn't get dirty enough from a first go that if you undo the stroke and go again you can build dirtyness accumulatively as the undo doesn't affect the paint already on the brush. Also if you scrub with a clean 'autoclean on' brush it will start to dirty up.

    I use a pointy (round) brush to get into nooks and crannies and for defining tighter areas like edges hairs etc. This is also the brush I lean on for finer detail going as low as 1% size where needed.

    Lastly if absolutely needed I may come in with the knife for touchup if an area hasn't quite blended nicely (i don't like this tool as a rule and find it difficult to control so I use it sparingly and only towards the end of the work). More often than not i find it seems to scrape paint off the surface rather than push it around. It also has a tendency to overblend and make the paint look flatter (far less variation, which to me is less interesting to the eye). I've used it heavily in the backgound, you can see what i mean. So wherever possible i'm more likely to go back in with a dirty or clean brush. If I use the knife I just go with the flat one only and use the default AR setting of 50% pressure. I'm careful to use this tool in the criss-cross direction too.

    Some areas might need a touch of glazing eg/ shadowing under the finer hair strands. To do this I create a layer above. I use the same brushes but crank both the loading and the thinners to 100%. I switch the blend mode on the layer to 'colour' mainly as this colourizes without adjusting luminance or flattening the texture of the paint. I merge this down immediately so that it becomes part of the paint (its ideal to be on one layer for oils)... sometimes (rarely) I use other blend modes if they are giving a better result (multiply and soft-light in particular)

    Anyway hope this is helpful to you... sorry its a bit wordy... feel free to ask any followup questions you might have... and thank you very much for your glowing comments
    Attached Images Attached Images   
    Last edited by Juz; 08-04-2010 at 01:27 AM.
    "I paint because I love to cut mats" (Arthur Alexander)

  6. #6
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    Wow what a fabulous painting Juz, great work
    Sometimes...I remember better with my eyes closed

    My Gallery
    http://members.artrage.com/vb_users/6307

  7. #7
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    Whoa ! that is really a great one ! love the paintstrokes.
    Just say: "Rage It", because we already know it's art.

    My ArtRage 3 and 4 Gallery------My Site ------- BROWSE MY BOOK

  8. #8
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    Juz, I love this look. Plus the tutorials. Very nice and kind of you.

  9. #9
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    AS everybody says: beautiful palette, work and so kind from you to share you expertise...thank you so much..

  10. #10
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    Apr 2006
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