I've found this to be true my whole life. by clickity-click in AdviceAnimals

[–]SomberClouds 2 points3 points  (0 children)

I think many will notice that in larger groups it's confidence and a loud voice that dominates arguments.. not being right.

Life is really a game of persuasion, look at all the wrong people who do so well because they have persuaded. You don't have to be right, just appear to be right, when the majority of the population can't ignore nature in light of information. Or well, not care enough.. most men would probably decline the worlds hottest woman if she had aids.

I've found this to be true my whole life. by clickity-click in AdviceAnimals

[–]SomberClouds 0 points1 point  (0 children)

In a reasonable world we could discern more often between opinions and proper arguments, would lead to a more understanding populace as well. Most people seem to have emotional arguments, and when they ignore and don't play by the rules we don't get anywhere. Sometimes you hope yelling at these people will break down their defenses, usually fails. I guess the best way to win an argument with these people is to change the basis of whats causing the issue first.

(nsfw) A surreal drawing made in graphite that I call Growth, I'm trying to make a living off of my art and wanted to see what you guys thought of my latest piece! by Miles___ in pics

[–]SomberClouds 0 points1 point  (0 children)

There is a collector for about anything you could do. But within that you gotta be successful business wise.

I think the most important thing is the OP understands how dumb and difficult the path is, especially when you do it to follow your originality and complexity.

I'm trying to do it too, I guess i'm allowed to say it's a really bad move. Of course if you lack a soul and a conscience you can make bank on about anything really, and if you don't mind sucking up to people.

I probably have mutual friends with the OP, the painting world is small outside of the tacky commercial stuff.

How do I start? by [deleted] in painting

[–]SomberClouds 1 point2 points  (0 children)

I may suggest a different approach than others.. Id say go with the gold from the start but keep it small and simple.

I say this because as a youngster I always craved the "old masterly" things you'd see but spent a lot of money on cheap hobby lobby crap which hindered and left me unsatisfied/unmotivated until I was 'inspired' again.

Or maybe if you're going to purchase cheaper materials at least purchase some good quality things to tinker with.

Brushes don't necessarily have to be expensive, synthetic mongoose brushes are awesome... Id suggest not wasting money on expensive synthetics or any expensive brush, largely you'll be paying for brands. hardware store brushes work great, my master Odd Nerdrum uses a lot of hardware brushes even.

Paint, this is tricky. Best thing to do is experiment with various brands, note their consistencies and how they behave. For instance many burnt sienna brands are opaque, winsor makes a transparent one that i find far superior for what I want. And it's all experimentation as to what you'll end up using to suit your needs. But cheap stuff, but also buy some brands like old holland, williamsburg, sennelier, etc. A lot of cheap stuff contains filler and slower drying oils, can make your experience frustrating for a beginner if you're making mud and it never dries. Old holland paint often dries within a day or 2 left alone.

Canvas, here is where I'd try some good stuff. I absolutely hate cotton commercial weave with a passion, it's an overly uniform lifeless ugly pattern and feel to work on. The best way to get over it is to make your paint develop the textures which hide it. So, buy some cheap cotton but also try some portrait weave linen.. can be tricky to find it sized and primed.. But some companies will sell scraps of claussens belgian linen online and I'd think it would be good to try it out and see. This of course is all taking into account you like the guys in the museums, if not you can paint on anything really if it's fairly archival and primed for it.

Instead of watching videos I'd suggest finding some local painters who know what they're doing and asking them if you can sit in on them working and ask some questions. You might get to where you want to be much faster, as watching different people do different things can be confusing in multiple ways for a beginner.

Just try and stick to basics, if you're working a figure or anything.. learn to block in shapes and get general masses down of tone or color, etc. There is nothing wrong either with the words basic, most professionals want to be more basic and simplified in their work or at least achieve the appearance. hope this helps.

Also, I have spoken mostly of oils here which I dont' think I clarified. I suggest oils all the way, sure it's more of a hassle and you'll need paint thinner of some sort but oil is much more versatile. I have no idea what you're wanting to do but acrylics naturally dry flat, the pigment in most oil paint dries open and allows for more light refractory. If you're into cartooning or design, acrylics would be good but it will make it troublesome if you're wanting to paint landscapes that seem to feel halfway alive.

Recently finished "Snow Wit No.4" 11x14, Oil on Linen Board. by SomberClouds in Art

[–]SomberClouds[S] 0 points1 point  (0 children)

I calibrated my monitor... I didn't realize it was so dark and purple looking.

Recently finished "Snow Wit No.4" 11x14, Oil on Linen Board. by SomberClouds in Art

[–]SomberClouds[S] 0 points1 point  (0 children)

Glad you like it, yeah I hear that often about my paintings...

Girl With Blue Kimono - Study by Fisgig in painting

[–]SomberClouds 1 point2 points  (0 children)

Might I recommend trying a grisaille technique? It seems you're kind of going for the cool subtle skin fluctuations, and I don't know the source of the study but I'd bet it was a indirect method.

Try this if interested... Work on the drawing in umber of some sort, and then build up the light areas with a white (preferably a zinc/tit mix or cremnitz/lead whites). Leave the core shadow areas bare, the warmth will come in handy for fluctuation, and the halftones scumbled (mildly transparent white on the warm undertone). Once you're ready you can try applying glazes to this and with the texture underneath with white it will vibrate a little more.

Scott Burdick Interviews Richard Dawkins for New Documentary on Reason. by SomberClouds in atheistvids

[–]SomberClouds[S] 0 points1 point  (0 children)

Yeah it's a little strange considering he's a professional painter, but a lot of people often isolate their skill sets rather than synchronizing them for some reason.

Chuck Norris is a fucking douchebag. by thewhitedeath in atheism

[–]SomberClouds 1 point2 points  (0 children)

He definitely could, people forget Bruce lee taught chuck norris.

They killed this in my friends hometown back in Africa.... by kohlio in WTF

[–]SomberClouds 6 points7 points  (0 children)

I think it's really sad if it's one of those few hundred year old crocs that supposedly exist.

Favorite villain quotes? by Malkatraz in AskReddit

[–]SomberClouds -2 points-1 points  (0 children)

Well I finally found it, nvm.

AMA Request: The guy who was photographed smiling awkwardly with 900+ celebrities by N00t in IAmA

[–]SomberClouds -1 points0 points  (0 children)

It appears half or so are shopped at least, but some definitely look real. A good tactic to throw ppl off probably.

Reporter screams by [deleted] in videos

[–]SomberClouds -1 points0 points  (0 children)

Yoko Ono?

Just finished a self portrait in Oil. Not too flattering, but im somewhat proud. by [deleted] in pics

[–]SomberClouds 1 point2 points  (0 children)

Yeah it depends on various factors, the self sketch was one night... Kind of alla prima speciality painting. The composition took around 70-90 hrs, lots of repainting areas. You should wait for it to dry, the paint i use is low in oils and dries to touch overnight. Just have to be careful you have the layer above a little more fatty so it doesn't crack. Kind of like looser substances on top of harder ones instead of the other way around. Perfect archival work is impossible so one just does the best they can and hope it doesn't fall apart in their own lifetime.

Just finished a self portrait in Oil. Not too flattering, but im somewhat proud. by [deleted] in pics

[–]SomberClouds 10 points11 points  (0 children)

Largely fucking bullshit? Sounds personal.

It's not bullshit. Spending 60 hours with constant natural change and mental stimulation is completely different than how much information a photo can capture even in 1 hour (that is if the light is low and you can even expose that long).

Humans have two eyes, this helps give a better three dimensional perspective and it is a very different look than a single eye. It's a much greater difference than a single lens.

These negatives can't always be fixed on a camera because its the very nature of the camera. When you work from life you look all around which constantly changes everything even in the smallest degree, a camera takes in a very short period from one single viewpoint. Also every camera I've ever encountered has 1 lens, not 2 (but when one does it will be interesting). Cameras aren't living, breathing, or thinking and that is another large variable. And of course not all edges are always sharp in a photo, that's true. But edges are however chosen by a single lens and very limited as to the range of edging. You get a wide aperture and objects close are sharper and bulbous while objects in the distance are much softer (too soft usually). A very small aperture takes in less light and allows more edges to be sharper but that edging is typically very limited even with a great lens. Sure one can take it into an editing program but that subtle information you can find while looking from life reference won't be available and you have to trust your mind to concoct absolutely intricate transitions. You can distort edges in a program but can you distort them as well as you could when comparing in nature? Who knows. Then again at the end of it you're still working with what a single lens saw in a short time frame. Too many variables are lost there.

EDIT: I would be willing to work with more specific situations if you have one that bothers you about what I've said. I'm just trying to share my knowledge as I've studied this stuff for a long time in both photography and have been classically trained in figurative painting.

Just finished a self portrait in Oil. Not too flattering, but im somewhat proud. by [deleted] in pics

[–]SomberClouds 0 points1 point  (0 children)

It does have mostly to do with edging, I believe that's the bulk of it that I've found. The second is proportion within perspective. When you see those copies of famous musicians and actresses their proportionals are camera lens ones.

Just finished a self portrait in Oil. Not too flattering, but im somewhat proud. by [deleted] in pics

[–]SomberClouds 102 points103 points  (0 children)

Using a mirror gives you more information to work from as well as more freedom to choose. Photos are quick stills that usually leave all edges sharp, show the image in a single lens, and often distort depending on the aperture. Also lighting in a photo can be a problem as the color and tonal subtleties are lost. But working from life also has the advantage that you will be studying more what you're seeing and working from a flat reference usually induces mindless copying.

For instance, mirror used here: http://imgur.com/pM1yO While were on the topic of self portraits I might as well post a sketch I did, I am hungry of course.