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DeLumine — Moon Bay
Published: 2014-08-18 05:25:54 +0000 UTC; Views: 6082; Favourites: 527; Downloads: 97
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Description
Oil on Canvas - 16X20Related content
Comments: 102
Amazing piece! Love the moon light on the water!!
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Awesome! I like the light and the atmosphere of this painting very much!
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love the moon's shading and the reflection of it on the body of water.
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It´s a pleasure to watch good art work !
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Thank you for the kind words and the support!
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Bello!!!! You have the soul of Harold Pinker Rider and Turner. I love your art.
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I adore your work. Thank you for the kind comment.
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Man I LOVE the way you expressed the moon's sparkling reflections on water. Just love it.
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Would you consider taking the photos of your paintings from a farther distance so that the resolution will be a bit lower which will make the oil less noticeable? I don't know hoe to put it in English... it's like watching the same oil painting from a farther distance or a close distance.. if too close, the effect is less photo-like..
This work's light and shade effect will look more dramatic, if you try to zoom out, reducing it's size to only 50 percent of the original size.
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Hi,
Thanks for the comment! Actually, the point is not to look like a photograph (if I wanted that, I'd just take a picture) - it's intended to incorporate the elements of texture and, yes, imperfections that come with something less intent on perfection and more focussed on the 'impression' or personal artistic interpretation of the scene. I realize this is not everyone's taste, but it is an aesthetic that I aspire to.
Thanks again for taking the time to write!
JDG
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I understand that you want to let Internet users to see the oil's texture as well.
I understand that for drawings/paintings, the impression it gives to the audience is more important than being like a photograph taken by a camera.
I didn't mean your painting should be more like a photoraph instead of a drawing. I knew my previous message wasn't clear enough (English is not my mother tongue). I've just found a better way of explaining what I tried to say - could you go to have a look at this painting ( www.deviantart.com/art/Informa…) ? I guess it is an oil painting (correct me if I am wrong), but the 'margin' / 'border' / the cracks (i don't know the correct word) of the paint are not obvious. Somehow, in this way, I will be less distracted by those oil "paste"'s rigid margin and can get the impression/feeling created by the painting instantly. Because for an amateur of oil paintins (like me), the sun in your painting looks like a patch of yellow toothpaste when the texture is too clearly seen (no offence, but the texture between the two look really similar to me). The reflections on the sea, too. This disturbs me from seeing the feeling created by the painting as a whole, cos the details of the textures are too clear to be ignored by my eyes and I can't focus on the intuition/impression part.
I understand what you meant by the importance of the textures (at the end of the day, it's an painting made of OIL), and different people have different preference, I am not saying yours or mine is better. I just want to tell you that for someone who doesn't know anything about using oil to paint, the 'colorful toothpaste' problem can hinder him from focusing on your painting's impression.
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Hi,
Thanks for taking the time to explain what you meant. I'm sorry if my earlier reply sounded at all condescending or abrupt; it was not my intention. I actually understood what you meant the first time you commented. What I was trying to express was that the heavy impasto application of paint (hence the 'colourful toothpaste effect') is a very intentional feature of the style I am currently exploring. Again, it's not everyone's taste or preference, but it is a specific style of oil painting that I appreciate. I like a lot of different types of paintings as well, including paintings that are 'flat', smooth or 'thin' in their paint application, - many of my other works are not featuring a heavy impasto texture, this just happens to be where I'm at presently.
By the way, what you wrote, "Death looks at himself in the mirror, sees life." is brilliant.
Regards,
JDG
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You didn't sound abrupt or condescending, and I understand what you mean by wanting to explore different types of paintings.
So, the correct word/term is "impasto" (meaning 'applying the paint very thickly... that the brush/paint-knife strokes are visible", according to wiki)... How about laying/applying the paint thinly? Smoothly? Are there any jargons for them too?
Thank you for the compliment about one of my views on on death. I think, without an expiry date, what is the haste to do anything (whether to start it, or to finish it)? And, if you can eat something as much as you want, then even if it is your favourite food, will you enjoy it as much as when you can only take some bites of it? So, without death, what is 'to really live'?
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Very interesting perspective on death... - something I think a lot about. As for the terminology for 'thin' applications of paint, it is often referred to as 'glazing'. When thin layers of transparent oil paint are applied over other colours the light reflects off the foundation/base layers and filters through the top layers producing richness and depth as well as colour combinations. In this way, oil paint is very much like the layers of our skin, which takes its colour not just from pigmentation, but also from the underlying blood, muscle, tissue, etc. reflecting through the transparent layers of skin. Sorry for the wordy explanation! I guess I get carried away when it comes to this stuff...
Regards,
JDG
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Sorry for the wordy explanation! I guess I get carried away when it comes to this stuff
---- Oh, don't mind it. Also, it's natural that we get carried away when it comes to talking about things we enjoy/like/are interested in.
By the way, since when did you learn to paint with oil? Why did you learn it?
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I think it was about 6 or 7 years ago I tried my first oil painting. Before that, I had only done graphite drawings. In 2010 someone gave me a gift of sending me to a workshop, - "Alla Prima Portrait Painting" - led by Juan Martinez, at an Atelier in Toronto. It was only for 4 and a half days, but that was my first, and so far only, opportunity to receive any 'formal' training and it had a huge impact on me. I've been addicted to oil painting ever since.
How about you? Are you currently studying art or working in the art field?
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I see.
How did you mean by having a hue impact on you? You meant Martinez taught you some techniques you find very useful or said something that inspired you?
So after that workshop, you didn't go to any other workshops, and just kept practising by yourself?
Did you go to read any oil painting books to learn more after that?
Are your friends or people around you (in real life) interested in oil paintings / graphite drawing too? (I think if there're such people in your life, you can improve more or can keep liking it)
I am not studying art or working in the art field. How about you?
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Going to Juan Martinez' workshop was impacting because, for the first time, I was having some of the 'basics' explained and seeing the demonstration right before my eyes. As well, it was the first time I was painting from live models.
Since then, I have been 'self-taught' by reading books, art magazines and utilizing the internet. I also purchased a teaching video by Robert Liberace that demonstrates his process in painting alla prima portraits. Probably the most fruitful thing in my learning journey has been to simply study and appreciate the art of others, including and especially, the great works of the past masters. By viewing their works and by attempting to figure out how certain effects were achieved and trying to duplicate or emulate those effects, I have been learning one aspect at a time.
Before joining dA last year, I had never really shown any of my art to anyone but family members. It is helpful to have people around you who appreciate your vision and can encourage your progress, but I am convinced that painting is pretty much a lonesome discipline. I am not enrolled in any art classes and I am not working in any professional art venue, but I paint pretty much every day and usually complete 2 or 3, or even 4 paintings a week. If no one else ever 'gets' my art, or if I never sell another painting, I will still paint; it is my 'therapy' and a major outlet for the creative compulsion that drives me.
All the best in your artistic pursuits,
JDG
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I see.
You draw frequently. Did you take a photo of the scene you want to draw first, or you draw from your memory?
Also, if you draw 2-4 paintings a week, won't your house be full of your rather large oil paintings..?
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Mostly from memory and also imagination (what some of the teachers from the past used to refer to as "painting from the mind"), but at times I have the opportunity to be on location and take a reference shot. Other works will sometimes remind me of a place and serve as inspiration. And yes, - I have paintings stacked and standing everywhere! - I ran out of space a long time ago!
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I see. You have a vivid memory. I won't be able to remember the light and shadow parts of the scenery, and the textures.
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My 'memory' of such things is not at all perfect, but serves as an 'impression' I am trying to convey through my painting. When painting "from the mind" the decisions that are made regarding texture, lighting etc., are informed by preference, other examples and sometimes (unfortunately) force of habit/familiarity.
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That reflection is so stunning! Looks like real ripples in the water!
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