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Thread: Study for a Chinese fan ...

  1. #1
    Join Date
    Feb 2012
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    Portland, OR
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    Study for a Chinese fan ...

    ... iPad oil brush on dry varnish base ...
    Attached Images Attached Images  
    Last edited by chinapete; 08-02-2012 at 03:54 PM.
    xiěyž, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  2. #2
    Join Date
    Apr 2008
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    Cedar Rapids, Iowa
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    A thing of great beauty and technique! The textures and colors are superb!
    My real name is Neal Gilbertson, AKA Gilbert Neilson, AKA Jibes.
    I'm a musician too. Please come hear my music at:
    http://www.icompositions.com/artists/jibes


  3. #3
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    May 2007
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    Rome (Italy)
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    I expected to see a Chinesee supporter at Olympics LOL, but I do love this study, especially now in summer. Colors are rich, well constrasted and subtly modulated. Bravissimo!
    Panta rei (everything flows)!

  4. #4
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    Apr 2010
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    brighton uk
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    Hi Pete is this what you'd call a Chinese fan its hanging on my wall quiet large 3ft x 18"
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  5. #5
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    haha, eighty+, I knew I should have used a reference ... and I can make out the Chinese on your fan, it says "Made in China" hehe ... Cesare, the thought of a Chinese fan as a person never occurred to me, but now I guess I have to draw one! ... jibes, very much appreciate the kind words, I'm catching up with your graphics thread again ... ...
    Last edited by chinapete; 08-03-2012 at 03:34 AM.
    xiěyž, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  6. #6
    Join Date
    Feb 2011
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    Prineville Oregon
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    great use of impasto underpainting

    chinapete... I love your uses of thick impasto like under-painting and keeping it to a neutral white-gray and the fan seems to be a cloud of probabilities with beautiful color that plays nicely with the background and has hints of the impasto brushwork and unites the two... this is quite a different approach from your usual and I like it also... small incremental steps lead great skill and a wonderful process...

  7. #7
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    Sep 2010
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    Alabama
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    Very nice...like the BG very much
    Try to see as many angles of vision as possible...no single one of us has a "handle" on the whole picture.

  8. #8
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    haha .. well, you know, as your painting shows, the background is the foreground ... the difference between a Rembrandt and a van Gogh is noticeable for that reason ...
    xiěyž, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  9. #9
    Join Date
    Jul 2006
    Posts
    22,517
    Great textures, CP. Nice inventions you've been doing for a while now.

    That's hilarious about "Made in China". . . when I thought it was something a little less pedantic. Hahahaha.

    Shows you have at least one real fan in Brighton, England. You got one here too.
    "Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream

  10. #10
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    Feb 2012
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    Gary, we seem to be going in opposite directions, you're trying to flatten out textures and I'm building them up ... D Akey, as always, thanks, and that's a nice joke about the number of fans I have, in digital I can make infinite copies and then I'll have as many "fans" as I like ... by the way, the Chinese on eighty+'s fan actually is hard to read, maybe it's the angle at which it's photographed ... the first two characters beginning on the top right side look like 秋菊 [autumn chrysanthemum] and the last four are 龙泉艺苑 [dragon spring[as in fountain] art gallery [or maybe art salon]] ...

    ... today the weather again will be 100 degrees or higher, trees are exploding and it's safer to stay inside, and since no one took up my teaser about the difference between Rembrandt and van Gogh, I thought I would challenge myself to explain it ...

    ... the idea is that in Rembrandt, the impasto is beneath the surface, but in van Gogh, the impasto is the surface ...

    ... with that, I want to comment a bit on light in relation to underpainting, because its presence or absence determines to some extent how light is reflected back to the viewer ... and, as an aside, I think digital artists don't pay enough attention to the phenomenon of light reflected back to the viewer, that seems to have been forgotten along the way, or taken for granted, at least I haven't seen any real discussion of it ...

    ... in the old masters, light was thought of as unified in underpainting and surface, just as it was perceived to be in nature, while in van Gogh, to take one early modern example, all light is on the surface of the painting, there is no thought of depth ... the difference is in the handling of the gradations visible when natural light is cast on objects ... the shift from old master to early modern is a shift from light to color (the question of color in relation to light is separate but equally important ... after Newton, debates raged about the relationship between light and color, artists and scientists having radically different conceptions of both, but by the Romantic period in England, many artists had sided with Newton, Constable for, Turner against) ...

    ... the old masters had what can only be called a holistic sense of light, which they represented as evenly diffused through the entire picture, in the darkest of corners and in highlights, all light was subject to the principle of gradation ... there is a famous self-portrait by Goya that shows him wearing a hat decorated with small lit candles, allowing him to paint at night ... but the actual light in the painting overwhelms the feeble candlelight ... for these artists, firelight and candlelight were forms of lesser light, a point later exploited by Turner in his paintings of huge fires when seen in nature ...

    ... modern artists generally have lost a holistic feeling for light and therefore to some degree for color ... Picasso's monochromatic Guernica (1937) is lit artificially by a giant electric lightbulb, because he wasn't reporting on nature, or natural light, but on a massacre of epic proportions he'd been reading about in the newspapers, and the artificial light in that mural-sized painting is broken and disjointed ... in the mid-19th c., the huge naturalistic landscapes of Cole or Church or Bierstadt initially were greeted with enthusiasm but soon rejected, no doubt by then there was too much artificial light in the world, natural light had begun to fade and was given a lower priority, much of impressionism was done in studio and not outdoors, cubism analyzed artificial lighting to death, expressionism preferred black, etc. ...

    ... digital art to the extent that it strives for realism also wants to approximate the gradations of natural lighting, but we as viewers are less able to see the subtle variations in light in nature, everything is mediated by artificial light, which we mistake as natural, just as color in dreams is not actually seen, but remembered and reported ...

    "Also, observe that before we trouble ourselves about differences of color, we must be able to lay on one color properly, in whatever gradations of depth and whatever shapes we want"

    Ruskin, Elements of Drawing, Bk I (italics are his)
    Last edited by chinapete; 08-06-2012 at 03:10 AM.
    xiěyž, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

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