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Thread: How to do it...studies

  1. #21
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    Mar 2009
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    Thanks Caesar, really a great experiment. Cool.

    The parameters I used are on the figure. I did everything in a single layer, this way, you may add additional glazes. See HERE

    A few simple words on glaze:

    A glaze is a transparent finish which is added on top of the main color. The effect is to make the finish look richer, and with more depth.

    * If you tint the glaze with a hue from the same color family as the base color, the result will be to deepen the tone.

    * If the glaze and base color are different, the result will be a completely different color with a degree of translucence.


    Caesar, what parameters you used?
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  2. #22
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    Mar 2009
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    Quote Originally Posted by gzairborne View Post
    it's wonderful to see your studies and to learn from them Oriane. Thanks for sharing and helping us paint better pictures. Very helpful tutorial and study.
    Dear friend, I have great admiration for your ability to analyze a work of art. Thank you for your comment, your comment is very encouraging and I thank you for this. I hope these humble studies serve as encouragement to all those who wish to paint glass, metals, etc ...

    Thanks.

  3. #23
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    Mar 2009
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    About Metals
    "In painting metals the key is to understand they are distinguished by their color and their ability to reflect light rays."



    Read and visit this page here:
    "Give me some paint, brushes and canvas and I will give you gold, silver, ruby and pearl. I will give you the greatest treasures you have ever seen. I will show you magic. Artists are the greatest alchemists, the best magicians of all. They can make gold from base metals, they do that every day and more. Would anyone doubt the cost of Rembrant's painting below well exceeds the cost of the gold helmet? Oil and lead to gold ... now there is alchemy proven."
    read more

  4. #24
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    May 2007
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    I'll have to find the relant thread, dear Oriane, but I do remember that I used as much pressure as possible not to shift the underneath paint, but just to mix gently for the one on the same layer.
    Not to low pressures though, so as not to loose the hue intensity. This is because with layers at high thinner rates I don't use the dry feature, so that some littl mixing blends and smoothes a little Anyway more or less around 30% if I'm not wrong.
    For the glaze on an upper layer I gave sensibly higher pressures than 50%, because there's no problem and it keeps the glaze color vivid.
    As for the thinner it's on the image and the loading was full loading in these cases.
    Panta rei (everything flows)!

  5. #25
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    Mar 2009
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    Dear friend Caesar as you know, the painting of transparencies is not easy. It depends on several different factors, but it is strongly influenced by the chemical characteristics of transparency or opacity of the various pigments and also, by the technical skiil of the painter to deal with it. To try to reproduce the same thing in a computer program, is not also a simple task. Okay, we can use layers to achieve the desired result, and that is fine. Sometimes, we expend lots of time just to find the correct settings for one tool, sometimes found at random, just to achieve a similar result effect. For example, making the desired effect in just one layer. This does not mean that it is better or vice versa. The end result will be the same, I think, or approximately similar. That's what I found in these studies.

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