Still_with_garden_flowers

Oil on canvas, 60x80 cm, 10.2014
Done with Carder method

12 members like this

View Full Size

Tags:

Add a Comment

You need to be a member of The Complete Artist to add comments!

Join The Complete Artist

Comment by Roena King on June 23, 2015 at 13:03: Thanks for that info Silke. I had see that the Perm Aliz Crim is PR 177.

Comment by Silke Sauritz on June 23, 2015 at 6:05: Oh, thank you Marisa. I will try todo even more beautiful ones ;-)

@ Roena: I use the water mixable oils from Cobra. They do not have every color. S o I had to make some compromise, but about the red I found out later, that the permanent Alizarin Crimson is made from Quinacridone Violett PV19 or, even better Anthraquinone Red wich is 177. Both are good. They have different names relating to the brand. Cobra calls PV19 Primary Magenta.

In The stlls I used carmine red.

The cadmium yellow light I had to replace with cad yellow lemon ply s a little bit of cad yellow medium I think. But you have the cad yellow light. So everything's fine.

Comment by Marisa Comana Pessina on June 23, 2015 at 4:29: This is the most beautiful still life I have seen .......

Comment by Roena King on June 23, 2015 at 0:40: Ha Ha, I would come bail you out! What are friends for? LOL Mum is the word! Hey, what exact yellow did you use? I have Cad Yellow Light, and Lemon Yellow..........I have many very old large tubes of red too. The companies have apparently gone out of business so I can not discover the pigment numbers. On line research said that Perm Aliz Crimson is PR177 like Mark uses. Which one looks the best to you that I should try first?

Comment by Silke Sauritz on June 22, 2015 at 19:25: Wow, I am happy to have a printout! Will have to keep it safe now :-)

10 parts odorless mineral spirits

1 part stand oil or linseed stand oil

5 parts refined linseed oil

5 parts venice turpentine

2 parts oil of cloves

Hope he won't put me to jail now :-)

Comment by Roena King on June 22, 2015 at 5:50: Silke, I am in the process of collecting/buying all the ingredients for Carder's slow dry medium. I have the recipe for the s.d.m. but not the different one for T. White (just watched the video and he said it used less Stand Oil). He took the recipe off of his site when he started selling his own paint. I did not discover that until I had spent quite a bit of $$ for the ingredients. Can you please help me with the recipe? Many thanks in advance. Roena

Comment by Roena King on June 10, 2015 at 0:17: Hi Silke and Britt, Britt I enjoyed the blog post and agree that everyone just gets to do what ever they like and others in the world will also enjoy that style. I tend to be pushing for the skill to reproduce photo-realism........just because I want the SKILL that is needed to do it. I have not achieved to my satisfaction that level that I admire so much. Silke, I also am interested in creating "light" in my paintings and I have a YouTube video that you might enjoy demonstrating how to make a inexpensive, fold and put a way, light box with not electric tools needed (a girl can build it.....lol) https://youtu.be/UiR_LRsN0bg I used the light box to arrange how the light fell across this setup.

And another one I hope to paint someday.

I had a lot of fun playing with the lighting. After all the setups I tried, then I learned from Mark C about having a piece of white paper showing in the setups when you took the photo to help the camera get a better exposure, so I feel like I should do them all again someday.

Comment by Silke Sauritz on June 9, 2015 at 19:26: Thank you for all the questions and the link.

@Roena: Ich bought all the ingredients and mixed the slow dry medium myself. I do not know anymore, what it costed, but it may have been near 100 €. The colors were Burnt Umber, Ultramarine Blue, then a red like Quinacridone or Alizarin Crimson, Cadmium Yellow light, and Titanium White.

I arranged my stills and then photographed them, because the flowers would have never survived for three weeks :-)

The photo for my self-portrait was taken by my husband.

I had a look at your photos. The paintings are beautiful!

@Roena and Britt: Right, I am looking for my way of painting. First thing is to learn and practice and then you start trying to find your style and your themes. What I am allways impressed of is, when the painter really creates light in his pictures, something that seems to glow from inside. I want to be the chief of light in my pictures and I am not yet there. It can be done in photorealistic or more painterly style.

The realistic approach is what first "happened" to come out of my brushes. but the reason may be, that I work as a digital postproductioner and have to be very exact and precise the whole day long. So I want to try different approaches . Recently I read Michael Wilcox book of glazing and was very impressed and interested, too. I do admire a lot the old masters and the care and love they put in their paintings and that is still there after hundreds of years. But i will keep the slow work for the winter and use the summer to try some outdoor painting ,practice outside and do some quicker stuff. Even if the results may not be as satisfying.

Very interesting article, Britt. We should always be aware of the fact that the production and reception of art is something very individual. Nobody feels the same about a painting. Everybody is allowed to like and dislike a painting or to feel nothing about it, but If I do not like a painting that does not mean, that it is no art, no matter which style.

Comment by Britt Greenland on June 9, 2015 at 13:29: http://brittgreenland.wordpress.com/2015/05/06/what-is-real-art/

Here is a blog post I wrote about this kind of question. I'd love to hear what your ideas and thoughts are about it.

Comment by Roena King on June 9, 2015 at 12:21: Britt posted a good question...........I was wondering that myself. I do Flemish 7 layers because it is the best I have ever done. When I attempt a one layer painting (painterly) I am never satisfied with the result. Even my husband says it is not "good".