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Thread: Landscape on ipad

  1. #1
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    Landscape on ipad

    I find that when painting on ipad when uploaded to my computer the colors are lighter than what I see on the ipad, so tweaked it in photoshop, still practising
    so not as good as I would like
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  2. #2
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    Is that something to do with the programs, or is it a difference in the monitor calibration? Lovely scene, by the way!

  3. #3
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    Very nice Pat, do you find it different working on the iPad compared to a larger screen ?
    Geoff

  4. #4
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    not sure grayflo, new at this ipad, maybe someone here can tell us, thanks for your nice comment
    Geoff, I find it very difficult to paint on ipad, hard on the eyes, had to stop several times as eyes got so blurry, my moniter is 27 inches so it makes one big difference

  5. #5
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    Pat, I like the loosness of this pretty scene. I find I cannot see enough with one eye to use my IPad my desktop has a large monitor and I much prefer painting or doing anything on it

  6. #6
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    Really juicy colors. . . still. But I particularly like that these fit into a key of a cool color with the warms close to us. It's much the same as singing in the key of G or something and the accompanist playing in that key as well. It's harmonious. It sets up a premise and plays according to that structure. It's one way to unify the picture. You did a really nice job at that here. You're doing what I'm about to talk about. And I'm sharpening the focus for my own edification, hahaha.

    There are other ways of using color that are far more splashy (like what you used in previous paintings) like with Pino, who basically exploited color for a living by doing paperback covers for romance novels. I'm sure he could control color in a narrow way as a choice, but he would most often place color all over the color wheel and yet make them work.

    If you analyze his work for color, he would assign parts of the painting a color, like green in the upper right quadrant, red in the lower left and yellow ocher in the upper left. . . and then within those areas he would do mini-color harmonies that related not only to their own area but also to other parts of the painting. That's why earth tones and/or flesh tones work as a kind of neutral that works throughout and unifies the work. It was a bit of an orchestration. But the point that is relevant here is that he changed keys within a picture.

    My guess is that how he may have discovered that method was because paperbacks often had montages where a number of vignettes were strung together. And many illustrators would color the different bits differently in order to separate out the vignettes while they were still physically connected. Well, I think Pino did that, only he got to where he was able to use that in a single setting, rather than a montage, and still make it work because he was practiced at it and it was an easy jump for him to make. Stick that in the back of your mind because it may make sense as you pursue this direction more. You have it all working her together because of the subject being clear and the color is keyed to one main area. That's very good. Note how the colors play together here. It works well. Sometimes less complex can be wonderful when compared to putting a lot of things in where it doesn't quite fit. (Not referring to your work, just a generalization).

    Anyway, Pino and his clients doubtless found that the covers with several keys worked because it was eye catching and implied a colorful story with lots of dimensions and action. Plus it was pretty, combined with his beautiful ladies, which sold books which is why he was popular as an illustrator in that market before he stepped over into gallery work. When he went to gallery work, he already had his chops down and it certainly worked on that level as well. He was a master of color and story telling in a single image. So much personality came through beyond the beautiful women he painted. Because of his gorgeous details, I certainly felt I really knew them like I knew songs with lyrics and music aiming at the same story. Such color and style works the same with any subject. I know the location and feeling you're painting here based on the things you put into it -- the arrangement of the hills in relation to the expanse of space, the colors, lighting -- it all describes a moment and place as surely as if it were a portrait of a beautiful woman.

    All methods and colors are legit when they work, that's the trick, when they work. And one can get a good color range intuitively, without knowing theory. One would like to most often shoot from the hip and be less analytical when first diving in. But the advantage of theory is when wants to go out of their comfort zone, or when something isn't quite working, it gives us an idea of how to bring it in line without messing up the free artistic expression. One of the advantages of doing the same thing over and over is that one can go into that intuitive space safely, if that makes sense. It's familiar ground, and one gets past having to analyze much. And then the artist is more balanced where they can delve into the subtleties more.

    I found that to be the case when I painted the same way for a long time on a daily basis. It's also less laborious because I was not fighting anything. It was the best head space for painting I experienced, especially in the area of color.

    You have it working well here. I look at this painting and I feel a cool, aromatic celebration of the cool colors. There is range beyond monochromatic to it, but it is also keyed in that range. So you hit on a couple levels.

    Plus the subject is presented nicely as well. It's a joy to look at. Well done Pat. Just tell me to shut up. . . I was a huge fan of his paintings for decades. hahaha.
    Last edited by D Akey; 01-27-2013 at 11:52 AM.
    "Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream

  7. #7
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    Quote Originally Posted by pat1940 View Post
    I find that when painting on ipad when uploaded to my computer the colors are lighter than what I see on the ipad, so tweaked it in photoshop, still practising
    so not as good as I would like
    This is beautiful Pat...it could be you have the same problem I do...I really have trouble distinguishing between hues
    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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    Thats so pleasant to look at Pat, well done
    Sometimes...I remember better with my eyes closed

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  9. #9
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    Jean, thankyou, I appreciate your kind comments
    DAkey, as always you give great info and I take it all in and I thankyou for that, greatly appreciated
    Steve, so glad you like it, thankyou so much
    Katie, so appreciated your kind comments, thankyou

  10. #10
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    hi pat, I have your Landscape up on my retina iPad and also on an inexpensive Toshiba laptop monitor, and I like both versions, the iPad image is intense and the Toshiba more muted by comparison ... I almost gave up on the iPad after I saw that what I was posting had little in common with what I intended ... Gary and others have talked about it, there might even be a thread on this forum about it ... But I am not a great colorist like you guys ...

    I can't really add to what D Akey has said so eloquently about the color scheme, but did notice that although the picture is very clearly divided top and bottom, there is a neutral resting place for the eye (the greeny meadows at the foot of the mountains) ...
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