All 'Art Tips' Thread For The Budding Artist - Page 2
 
 

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All 'Art Tips' Thread For The Budding Artist

This is a discussion on All 'Art Tips' Thread For The Budding Artist within the Horse Artwork forums, part of the Horse Pictures, Videos, Artwork, and Contests category

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        03-07-2012, 02:16 AM
      #11
    Started
    Subbing :) this is an awesome idea!
         
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        03-07-2012, 07:28 AM
      #12
    Foal
    I keep a hand mirror right next to my palette and look at my progress in reverse every few minutes to " check " to see if I'm on track...it gives you a fresh look at what you are doing! LOVE the book Right Side of the Brain!!! Been a studio staple for years!! I like to use it when I teach drawing classes...the students get a mental workout.
    One of my tips for the day...when painting in acrylics or oils...I never use black out of the tube...for a nice, rich black, mix your darkest brown with your darkest blue. You can mix in a little red or green if you want to warm it up a bit...makes the blackest black you can get!
         
        03-07-2012, 07:32 AM
      #13
    Yearling
    Quote:
    Originally Posted by Prussian Blue    
    One of my tips for the day...when painting in acrylics or oils...I never use black out of the tube...for a nice, rich black, mix your darkest brown with your darkest blue. You can mix in a little red or green if you want to warm it up a bit...makes the blackest black you can get!
    Keep the tips coming
         
        03-07-2012, 07:49 AM
      #14
    Foal
    One more for today! Try not to use the white if you can...I like using Naples yellow light and Naples yellow deep...mix that with your white for a bright sunny color. If you use too much white to brighten it will make your color chalky!!! If you are painting the blaze on a face or white feet and legs that are in shadow, tint them with a little blue with a dab of burnt umber for that shadowy look...not too much! Cobalt, ultramarine, work best for this...steer clear of Pthalo blue...it's a little greenish.
    Snizard93 likes this.
         
        03-07-2012, 08:36 AM
      #15
    Banned
    AWESOME! Thanks Prussian Blue...

    Anyone want to answer the GSM paper question? Pretty please??
         
        03-07-2012, 08:53 AM
      #16
    Foal
    Quote:
    Originally Posted by ConfusciusWasAGreatTeachr    
    AWESOME! Thanks Prussian Blue...

    Anyone want to answer the GSM paper question? Pretty please??
    For the GSM...I like a 325 smooth or ultra smooth cold press or hot press watercolor paper..the rougher texture is great for charcoal and for graphite, the smooth. You really have to experiment with the papers to find what works best for you. It's the tooth rather than the weight of the paper that determines how that medium plays out on the surface. Anywhere between 300 and 350GSM I find is the best for me!
         
        03-07-2012, 03:39 PM
      #17
    Banned
    Thanks Prussian Blue. Anyone else got any tips for graphite work? What makes of paper you personally like, etc?
         
        03-07-2012, 03:49 PM
      #18
    Super Moderator
    Quote:
    Originally Posted by confusciuswasagreatteachr    
    quick question!

    Can anyone give me some advice on what gsm paper I should be using for commission work?
    I think I am currently using 130 gsm. It's ever so slightly off-white, but results are ok. I have discovered recently that I should be using pure white to set off the drawing, right?

    Any help about lightweight/heavyweight gsm tips would be much anticipated and appreciated, thanks!


    "gsm"?
         
        03-07-2012, 03:56 PM
      #19
    Super Moderator
    I like what is written so far. I like to say to people, "Draw what you SEE , not what you think you see". But, she has explained it better.

    I also like to think about the lines of energy in a painting. For horses, these will flow down the neck and spine and one must think about how this very heavy animal is carrying its' weight. So, I kind of think of that line of energy to the ground (if the animal is standing).

    Or, maybe I should say, I think about the bones of the animal under the skin. I need to be able to feel the bones and where the should be in ordre to make the drawing look like it really bears weight. In order to do this, I often literally try to stand myself in a position that mimics my subject so I can feel which leg is more weighted, which hip stick up, which shoulder is above the other, things like that. I can "feel" an empathy with the position of the subject if I literally take up that postiion (in pretend) myself.
         
        03-07-2012, 05:21 PM
      #20
    Foal
    Quote:
    Originally Posted by tinyliny    
    "gsm"?
    Grams per square meter, referring to weight
         

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