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FUNKYMONKEY1945 In reply to Grieverjoe [2013-04-21 19:38:13 +0000 UTC]

Yep. Wanna do it in oil but don't have the time so I do it in painter with some rules. No ctrl z, no layers. Brush and canvas that's it. Keeps it simple and honest

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FUNKYMONKEY1945 In reply to Mysticwhip [2013-04-21 15:50:49 +0000 UTC]

Where two tones meet. There's only 2 types. Soft and hard. It breaks down into relatively soft and relatively hard. Knowing when and how to manipulate them make all the difference. Loose paintings can look refined greatly due to the edge design. Like Nikolai Fetchin's works it gives order to all the chaos. That's just one way of using it. I'm learning more and more that values and shapes can be correct but if the edges are totally off, the painting feels awkward.

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Mysticwhip In reply to FUNKYMONKEY1945 [2013-04-21 15:52:44 +0000 UTC]

Ahh. That's my biggest weakness then. When trying to get rid of the line work in my art and paint over them, it's so difficult to make it look as 'tight' as it did with the line work.

so frustrating.

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FUNKYMONKEY1945 In reply to Mysticwhip [2013-04-21 19:42:54 +0000 UTC]

Yeah. Having really good edges can make simple ideas/paintings look really complex/sophisticated. It's like a magic trick. It occurred to me a few weeks ago that I really like the way Zorn, Repin, Sorolla treat edges. I want to bring that aspect into my own work. So why not do studies to learn the sensibilities? lol Duh right?

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Mysticwhip In reply to FUNKYMONKEY1945 [2013-04-21 20:03:34 +0000 UTC]

surprised you're not doing leyendecker studies!

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FUNKYMONKEY1945 In reply to Mysticwhip [2013-04-21 20:59:09 +0000 UTC]

Did a lot of those awhile back I wanted to understand his form design.

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FUNKYMONKEY1945 In reply to CalvinSimsArt [2013-04-21 04:39:49 +0000 UTC]

Thanks lol a lot of it is from the canvas

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chinagami In reply to chinagami [2013-04-21 04:39:17 +0000 UTC]

Definitely does sound confusing. Probably one of those things easier to do and show then to explain with words. There definitely is a sense of completion with just shapes, values and edges though.

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FUNKYMONKEY1945 In reply to chinagami [2013-04-21 04:29:35 +0000 UTC]

Edges in painting. Basically where tones meet. There's only 2 a hard edge and a soft edge. But that breaks into relatively soft and relatively sharp. ( example: cast shadows are generally sharper, round forms have soft edges where they turn. ) Knowing how to manipulate edges at will can really bring paintings together. You can create sharpness of edges and softness of edges with just color as well. By that I mean, colors with the same value but different temperatures. Sorry if it sounds confusing right now. I'm just starting to learn how to really manipulate edges. Thought I knew until I revisted my favorite Russian/ French artists. But one thing I'm starting to see is that the more advanced your knowledge of edges, the less rendering you do. Sorolla's loose paintings look really refined because of his command of edges, values and shapes.

I'll have examples when I get a stronger grasp of the subject.

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