Re: picture
Nikolaus Maack
(in message <2gbof4...@uni-berlin.de>):
> http://www.sende.co.uk/ada.html
It would look much better if for no reason at all you carved a whole bunch of
black lines through the face, painted each section a different colour, and
then splattered it all with flecks of green.
Or maybe that's just me. :)
By the way, her wig is falling off, revealing the hair underneath.
denise
> this is what it looks like now. still so much wrong but it's getting
> better. i'm struggling with eyes and the nose, the bit inbetween the
> eyes ins't right.
>
> http://www.sende.co.uk/ada.html
>
> sammi
>
I love the shadow over the left eye. I'd put more shadow under the nose
and take away the lines in the teeth. The shadow going down the middle
of the neck is weird. All in all, sammi, it has a haunting quality is
quite in your face with those eyes and I would love to see you keep
painting. d.
Dilettante
> sam ende wrote:
>
> > this is what it looks like now. still so much wrong but it's getting
> > better. i'm struggling with eyes and the nose, the bit inbetween the
> > eyes ins't right.
> >
> > http://www.sende.co.uk/ada.html
just shows how hard realist painting is.
D.
Nikolaus Maack
(in message <2ge69eF...@uni-berlin.de>):
> Dilettante wrote:
>
>
>> just shows how hard realist painting is.
>
> of thing before moving onto the rest. just as it developed, painting
> style over centuries, i think you need to follow that progression.
> i dunno.
I'd say that depends on what you're trying to do with your art. For me,
painting is mostly about getting a feeling out of my head and into the world.
Because I write, my realism tends to happen HERE -- in this collection of
alphabet bits strung together with punctuation.
In painting, I try to get down the more abstract feelings that don't fit
neatly into words. So, for example, yesterday I'm working on something more
abstract than usual, and I say to myself:
"Okay, now scratch it with purple. (Hmm. Wonder why?) Okay, now spatter
more black paint on it. (Okay. But why am I doing that?) All right, now
some black lines to divide it up. (Sure thing, but, uh, why?) Okay, it's
done. (Hmm. How do I know that?)"
Call it intuitive painting. Mani will call it something far less pleasant,
I'm sure.
In the past, I've done abstract works like these...
http://www.nikart.ca/painting/60.html
http://www.nikart.ca/painting/4/45.html
http://www.nikart.ca/painting/4/44.html
...strictly for my personal amusement. The faces are "the work". These were
for fun and personal growth. So imagine my surprise when people show an
interest in these abstract works. I didn't think anyone but me would "get
it".
And yet, it's also these abstract paintings that are far more difficult for
me to do. A face gives me something strong to hang the colour and lines on.
Painting without a face is like painting without a net.
Or, as Mani might put it, without a point. And that definitely makes it more
difficult to do.
Anyway, all of this is to say -- don't force yourself to follow non-existent
rules. You don't have to learn REALISM before you can learn ABSTRACTION. I
think it's far more important to find your own voice than to learn anything
else.