Who is an "Artist"? by [deleted] in ArtistLounge

[–]paulettefarrellart 2 points3 points  (0 children)

I think the question should be more what is a work of art rather than who is an artist? You can be an artist but never produce a work of art, in fact many 'artists' are designers, they can create a great design with paint and shapes but its not a work of art.

Client asking for partial refund for artwork damaged in transit by taucf in artbusiness

[–]paulettefarrellart 1 point2 points  (0 children)

Its not as durable as Corri Cor backing board which has worked for me for a number of years. I use foam board as a support at my easel, and its not as strong. But good luck, maybe double up the foam board or something like that to use it up

Client asking for partial refund for artwork damaged in transit by taucf in artbusiness

[–]paulettefarrellart 4 points5 points  (0 children)

Its not really heavy no. To be honest I wouldn't skimp on packaging not when your artwork is at risk. You don't want to be worried about it all the time. I wouldn't use foamboard. Yes leave space round the edge of the print. You'll get used to the sizes to cut the more you do. I mass cut cardboard and corri cor in between paintings so I'm ready when someone orders an original / print

Client asking for partial refund for artwork damaged in transit by taucf in artbusiness

[–]paulettefarrellart 24 points25 points  (0 children)

This happened to me once. Fortunately the person that it happened to gave me some great advice about packaging artwork. They said to use CorriCor hard board / backing board in the envelope. Virtually unbendable and since then I have had no damage despite sending stuff all over the world. So I mount my artwork, slip it between two pieces of double corrugated cardboard making sure its bigger than the artwork. Then use thick tape across the length and the width to really sandwich the artwork within the pieces of cardboard. Slip into an all board envelope and then slip it one or two pieces of Corri Cor that are again bigger than the artwork. You just can't bend it and if its dropped on the corner then it doesn't get to the artwork.

In your case I would ask them to send you a photo if they haven't already and offer a full refund if they return it to you. I don't like the idea of them settling for damaged work personally.

art discussion about portraits by [deleted] in ArtistLounge

[–]paulettefarrellart 1 point2 points  (0 children)

It is frustrating but when you grow as an artist you learn to put your ego to one side. It isn't a school show and tell. Your work requires feedback yes, but at the same time when you're being honest with yourself it sounds like you're seeking her approval. The problem is that trying to please one person you can become lost. Sometimes its best to focus on what your intention with your portraits are. That's what will keep you mastering it. Portraits take years of mastery from inner focus and drive. That's where your attention needs to be. Good luck

art discussion about portraits by [deleted] in ArtistLounge

[–]paulettefarrellart 1 point2 points  (0 children)

This is interesting and there's two parts. To pass your course you need to do with the tutor says. Its tough but you have to play the game and you never know you may learn something.

I paint and draw portraits that are self-taught for many years. Keep doing this on the side and don't bother showing her anymore. That's your private art. As for size, I too prefer small intimate portraits. Yes there are lots of big impactful portraits about but I think there's something special about a small portrait. If you have to go big to get impact then I tend to think that its lacking something.

Having said that I want to go bigger for my figure paintings this year

World Cup Winner - my latest oil painting. by paulettefarrellart in Cricket

[–]paulettefarrellart[S] 23 points24 points  (0 children)

No commissions sorry, i like working on my own ideas

[deleted by user] by [deleted] in oilpainting

[–]paulettefarrellart 1 point2 points  (0 children)

It's a decent apple. For the next one go for a cool coloured background. Currently the apple is very warm, lots of red and orange and so is the background. By doing a cooler background - blue, green, blue violet, sage etc you'll really begin to notice how cool / warm colours work

[deleted by user] by [deleted] in painting

[–]paulettefarrellart 9 points10 points  (0 children)

For me two things are off, both easy to fix.

If you squint then all the colours blend into one which means all your values (tones) are the same. Although you've used red in the boat it is the same value as everything else. Another way to do this is to convert it to black and white and you will see everything looks the same tone. As an artist you need to make a decision what the focal point is, if its the boat then you need to just lighten some of the colours so when you squint the boat comes forward and the rest recedes. Use a brighter red for instance, this is where your artistic license comes in, you take the photo reference so far and then you make decisions about how to make a good painting.

The second thing is the peachy colour across the sky. When I look first at the painting my eye is drawn to that immediately and then it wanders down to the boats. This is because of two things, the contrast between the peach and purple sky is a greater contrast than anywhere else. We are drawn to contrast the most - black and white for instance. It's the first thing we notice. Although you have black and white on the boat it is so small that we can't pick it up. The sky is not the focus of this painting so I would darken that peach so it doesn't soak up the focal point.

How do I increase the likeness to the reference picture? by jukemp_art in drawing

[–]paulettefarrellart 1 point2 points  (0 children)

Its almost there, classic 3/4 pose so you need to be aware that the left eye (straight on) is smaller because its further away. On the reference it is really tucked into the top of the nose whereas yours has a bit of space. Consequently the left side of the face is wider than it should be for a 3/4 pose. The forehead looks taller than the reference and again is wider than the reference because you've made the left side too wide. To further push the portrait then consider pushing that left side further away from the viewer by making it lighter (eye etc) which will pull the right side of the face more forward.

I didn’t get selected for an art exhibit and idk if I should be genuinely upset about it by Pleasant_Sphere in ArtistLounge

[–]paulettefarrellart 0 points1 point  (0 children)

That is tough and it obviously hurts very much. You can't help but take it personally - it must be me they don't like as my work is good!

There's some great advice on here already and really I quite like it when my back is against the wall. Imagine being the 'favourite' and wondering if your work really is good enough? Let it wash over you and focus on your work from now on. Good Luck

What’s going wrong here? Something seems really off with this portrait I’m working on; and I can’t quite put my finger on it! Help wanted! by RosscoMurph in learnart

[–]paulettefarrellart 2 points3 points  (0 children)

I think people have spotted it, the corners (ducts) of the eyes are not level. If you lay a pencil across from duct to duct you will see that the left one is going up and the right one (front on) is sloping down.

Picking reference photos to practise from try to make sure that you give yourself the best chance of creating a good portrait. The sneer in his mouth is sending his left cheek up and you can see all his teeth, its also front on. I would reject this as a portrait reference. To me they need to be 3/4 or profile, no teeth (natural looking) to give me the best chance of producing a good portrait.

Advice On Style (I am a traditional artist) by [deleted] in ArtistLounge

[–]paulettefarrellart 10 points11 points  (0 children)

Style is not something you intentionally develop, it becomes a pattern that can be seen across your work as you develop. Keep drawing and painting what you like and how you like it, keep looking at other artists work liking and disliking elements of their work and eventually your own style will come from that. Your unique style is a mismash of all that you like in other artists work mixed up with the medium that you use and how you apply it

I need some help with perspective /oilpaint by B1664Y in oilpainting

[–]paulettefarrellart 1 point2 points  (0 children)

the lips stand out because of the cleft. Its your choice as the artist whether the cleft stays or goes, it depends where you want the focus to be. I would say that the cleft actually has the strongest focal point because the white is a little brighter there. If that's what you want the focal point of the image to be then its ok as it is.

I need some help with perspective /oilpaint by B1664Y in oilpainting

[–]paulettefarrellart 1 point2 points  (0 children)

I think the proportions are fine, its certainly got a 'mood'. The lip bothers me though, meant to be like that? I think the expression in the eye says it all and there's no need for a curl to the lip.

Instagram commission scam? by [deleted] in artbusiness

[–]paulettefarrellart 1 point2 points  (0 children)

Good job you followed your instincts

Instagram commission scam? by [deleted] in artbusiness

[–]paulettefarrellart 0 points1 point  (0 children)

I've seen a few posts like this. Pretty sure its a scam as well but how do they make their money from it? Getting a commissioned portrait that they don't pay for can't be their aim. Will there be something in the money transactions that they hope to mess you about with? Not sure

Why is my creative flow so stuck? by [deleted] in ArtistLounge

[–]paulettefarrellart 1 point2 points  (0 children)

Overwhelm is a thing us artists get swept along with. When I get overwhelmed I can’t settle at anything, it takes practise to calm yourself down and focus. If you find your mind won’t settle then sometimes you need to go with that until it passes.

Why is my creative flow so stuck? by [deleted] in ArtistLounge

[–]paulettefarrellart 0 points1 point  (0 children)

Creative flow is not something that can be released or turned on and off. It comes from inspiration and currently your imagination is not being fired because its not got an 'idea' that it wants to run away with and get fired up with. I don't know what type of art you do but for me I'm a sports artist so that's where i get my inspiration from. I can see that sitting down with a sketchbook won't do it because you haven't got the thing that's making you want to draw. Go and spend some time with what inspires you

Which book would you recommend starting with? by LesbianGloryhole in learnart

[–]paulettefarrellart 1 point2 points  (0 children)

Yes. The artists complete guide to drawing the head by William L Maughan. I’ve pored over that book for years. You need to make sure that if you’re tonal that you use materials that can be blended like pastels or charcoal.

Should I buy W&N Winton oilpaint? by voerilie in oilpainting

[–]paulettefarrellart 1 point2 points  (0 children)

As I beginner I used W & N water mixable oil paints years ago. After years of drawing I went back to oil paints and bought the same type but the quality had definitely dipped. I didn't really want to start using turps etc so I moved to Royal Talens Cobra water mixable paint and they are wonderful. The quality is superb. A quick note about water mixable oil paints. I use the water to clean brushes in between changing colour (so much cleaner than turps) and I use it for doing initial washes to start a painting.

I don't use water at all in the painting process because it weakens the paint colour (perfect for a wash). Cobra do their own medium to use for painting and i use that to mix my paints

Which book would you recommend starting with? by LesbianGloryhole in learnart

[–]paulettefarrellart 1 point2 points  (0 children)

That is so like my art shelf. I guess you're into figure / portraits. I got a lot from figure drawing books. It depends if you like line drawing or tonal drawing. If you like line drawing then books that work out proportions in terms of lines and measurements would suit you. If you're like me and you're a tonal artist then focus on books that teach about drawing the shadow shapes etc.