Monday, January 9, 2017

Great article at Oil Painters of America blog

I really enjoyed this article and think that it will benefit and  help  all my students

To be sound, a painting must be built on a compositional foundation in this order:
  1. Drawing
  2. Value
  3. Color
  4. Edges
If these get addressed in any other order, problems generally ensue.
Recently, the artist Jeremy Lipking was asked what advice he would give to painters, and he said:
“Draw more, that’s basically it. A lot of people feel like they know how to draw good enough already, but don’t trust yourself. Learn to draw better.”
With the fewest words and most pictures possible, I would like to briefly address the issue of drawing. In the following visual example, I have shown how fundamentally a piece can change when just the drawing is ignored. The values and color are the same in both pieces. The point is obvious:
Too often we divorce drawing from painting, and we do it to our own detriment. Drawing isn’t something we do in school once and then move on to the weightier matters of art; it is always the foundation. It’s also hard to do because it takes sustained and focused practice, which is why students usually, at least initially, copy the stroke quality and edges of other artists, because those things are more easily observed and imitated.
Another mistake we often make is to exclusively think of drawing as line-based. Line can certainly be a useful tool when drawing, because the instruments employed tend to create thinner marks, but really, drawing is about principles, not marks. Thus, I would like to address two principles of drawing: Proportion and Simplification of Form.


In these two examples, I have laid out how proportion of shapes, space, and value can affect a piece. No one of these proportion examples is correct or incorrect all the time, but it’s important to be aware of how and why you’re distributing/dividing space. When plein air painting, this is most often manifest in how we choose a horizon line and a focal point. We usually respond emotionally to everything we’re seeing in nature, and thus want to paint the sky, meadow, trees, and mountains all at once. But of course we can’t have a conversation with two people at once, so everything ends up feeling confused and passive. Next time you’re looking at a scene, try choosing one thing and letting that dominate. This is true within a shape as well (i.e. branches within a tree), which leads us to the next principle.
When I was young I saw how-to-draw books that broke things down into basic shapes and I thought they were lame. The drawings in those books didn’t seem to match the highly rendered pieces that I responded to and used as an aspirational goal. So, as most of us, I focused on rendering and shading and learned how to do it well. That was drawing to me.
But the more I learned post-high school, I started to see the pattern of truth re-emerge: Basic shapes REALLY ARE the way to draw. And it starts with training our eyes and minds to simplify down what we

see to the most basic elements:

To read the full article go to........
http://blog.oilpaintersofamerica.com/2017/01/back-basics-drawing/

Monday, November 28, 2016

Commissions

Commission an unique piece of art today, and you will have a timeless family heirloom to cherish it for generations !
You can ask me to paint portrait, figure, pets, landscape or others.
 Commissioned oil painting  can capture emotions, likeness and features people you love, celebrate the beauty of a special relationship, or honor one's lifetime work.

There are three ways to create a commissioned painting.

1. Call or email to discuss your vision for the painting and talk about size, number of subjects, clothing ( if it's a portrait) background elements  as well as the time frame for the painting. The painting commission fee will be based on these elements and will be discussed and agreed upon at this time. You should also know where you want your portrait to be displayed, as this is crucial when deciding on a size. 

2. Although I prefer to have an initial 3 hours from life sitting , but I can also work either from your own photos ( at least 6 high quality, color, digital photos)  or my photos of the model  
I'm collaborating with acclaimed, talented, young photoartist Heleyna Holmes, her photos are true art by itself and a perfect  reference for a successful painting commission.

However, live sittings are strongly recommended, as they produce the best results.
If you wish to sit for 3 initial hours for portrait I will try to make  process exciting and enjoyable in order to creating the perfect painting. The end result will be a  work of art  combined your original vision with the artist's unique style and execution.  

3.  At the initial sitting,over email or phone call  the client will sign a portrait commission contract and submit a deposit of 20 % of the painting fee. I will gladly accommodate your budget, so if you  prefer, a payment plan can be created.

4. I will create a mock-up photoshop of the portrait composition for your approval and will send via email.

5. Once the image approval received I will begin the painting, using the finest paints and materials to ensure that the portrait will be of heirloom quality. I work on Belgian portrait linen for a smoother working surface, and using only oil paints that have a proven lightfastness to stand the test of time.
6. I will email pictures of my progress, and will keep you update throughout the process.

7. Except for quick sketches, small portraits, landscapes and pet portraits which are completed from 3 hours to one week, a large portrait commission  takes 3-5 months to complete depending on their complexity. The artist will send a digital photo to the client to confirm the completion of the portrait. The remainder of the portrait fee is due upon delivery.

8 If desired, I  will frame and ship at cost.


Pricing :
3 Hour sketch portrait from Life :
11x14 - $500
12x16 -$600
20x16- $800

Prices out of studio or on location :
11 x 14 is $800
                                         
 12 x 16 is $1000
Prices subject to WA state sales tax


Long term portraits from life and photographs:

Prices are based upon size and complexity. 
Size(inches)     Personal Portraits**       Pet Portraits**
                          Based on 1 person         Based on 1 pet
9x12                           -                              $400
10x8                                                          $500
12x12 .                  $ 600 .                        $ 550
12x16                    $800                           $600
14x18                    $900                           $650
16x20                    $1000                         $700
18x24                    $1200                          $800
20x24                    $1800                          $900
22x28                    $2000                          $1200
24x30                    $2500                          $1500
30x40                    $3000                          $2000
**add $200 for each additional pet, and add $500 for each additional person
Other sizes available upon request
Prices subject to WA state sales tax.  Framing, taxes, shipping & handling are not included in the 
price.
 Pet Portraits based on photos $500- $ 2000

   
































Commissioned portraits from life session painting 
$ 600- $ 3000 







Saturday, October 8, 2016

Thoughts on composition ...

Composition is the single most important  thing in Art..Before anything else ....before even values...before colors ...There is an idea , design, hence composition...
We all started with the simplest thing: still life ..I found an interesting analysis by Will kemp.
Keep in mind, he is talking about just one approach, classical , or "worm eye view" and somehow forgot to mention other style of composition like "bird eye view with a very modern, contemporary, close-up idea. Anyway, you can see it for yourself. It's still a great, very informative article..

Are You Making Any of These 7 Compositional Mistakes with Your Still life Paintings?

 

Saturday, September 24, 2016

An Interesting info for acrylic painters

I just read a very interesting article by James Gurney..As an oil painter using acrylic underpainting and using more and more acrylic in my work, this is a good question to ask ....

Are Acrylics and Other Plastics Decaying?


Acrylics and other plastics are disintegrating, and that's causing a problem for museum conservators.

Everything from space suits to crash test dummies to acrylic paintings by Andy Warhol are showing signs of degradation after as few as two or three decades.

Yvonne Shashoua with a 1970s-era crash-test dummy
that is leaking plasticizer
"Plastic objects are among the most vulnerable found in museums and galleries,” says Matija Strlič, a chemist at the Centre for Sustainable Heritage at University College London.

Depending on how the plastic was formulated, it might discolor, bleach, form a scaly crust, give off foul-smelling gases, leach out acid or sticky liquids, turn to goo, or become brittle and cracked.

According to the April, 2016 issue of Scientific American magazine, exposure to oxygen or ultraviolet light removes the electrons that bind the larger molecules of plastics together.

Lisa Young restores Neil Armstrong's spacesuit (source)
Astronauts' space suits are composed of a variety of materials, including unstable plastics. A New York Times article quoted conservator Mary T. Baker as saying: ''None of these suits will ultimately survive,.' ''In 500 years, there will be the Mona Lisa. But there will not be an Apollo spacesuit.''

Many plastics are composed of a complex mixture of dyes, stabilizers, surfactants, plasticizers, and antioxidants. Those ingredients can affect how the material behaves over time and what should be done to try to stabilize it. Unfortunately, the actual composition of many plastics are not known because the manufacturers kept them secret.

The plastics most prone to degradation are:
• PVC (polyvinyl chloride). PVC was used in crash test dummies, which are now weeping fake blood into display cases.
• Polyurethane, an ingredient in panty hose and sponges.
• Polyethylene (HDPE or high-density polyethylene). People who have stored water in old milk jugs may have noticed that they will spontaneously rupture.
• Cellulose nitrate and cellulose acetate. Cellulose was one of the first synthetic polymers, and was used extensively in making motion picture and photography stock. Cellulose is flammable, and it degrades "malignantly," meaning it releases nitric acid and toxic vapors as it breaks down, and the acid can corrode adjacent materials. Conservators have become adept at recognizing chemical changes through telltale smells.
• Acrylic polymers, used by artists such as Andy Warhol, David Hockney, and Mark Rothko since the paints were introduced in the 1940s as a more permanent alternative to oil paints.

Andromeda, 1962, acrylic, by Andrew Liberman
suffers from a whitish bloom
Using water to clean an acrylic painting can be risky as it can make the paint swell and lead to surface losses, according to a conservation scientist for the Tate museum.
[Edit March 24: Please see the comments after this post, where Mark Golden of Golden Acrylics argues that modern acrylics do not suffer any longevity or stability issues.]


 http://gurneyjourney.blogspot.com/2016/03/are-acrylics-and-other-plastics-decaying.html

Wednesday, August 24, 2016

My workshop announcement

Hi guys, finally announcing my Master classes!
 I will be teaching a workshop " Color mixing Russian Style" in Cle Elum WA in September and Bremerton  island WA in March.
My specialty is plein air painting with a very limited palette of 4 colors plus white. Please contact me asap to sign up, as we only have few spots available at both locations. Thank you :)))
Date are : September 30, October 1,2 2016 - The fall colors of local wildlife in Cle Elum are spectacular !
Email milychka@gmail.com

"Beaver Pond" oil on linen board 12x12

"Storm is coming" oil on linen board, 12x16

Abstracting the Figure ...

 I was very fortunate to take a workshop with Liana Bennett this past weekend. The creative energy, impulse to learn, and power of inspiration was running high...I barely could contain myself and didn't sleep  all weekend :)
 This fantastic master class opened up endless possibilities of a shift towards abstract. I always loved Abstract art and was so ready to learn some principles. Also painting with  acrylic is also allowed me to try different texture, painting tools and uncommon process...  Liana, a very generous teacher and wonderful human being, she gave us 100 % of her attention and knowledge.. Here are some examples of that very fruitful weekend:)
"Three Sisters" acrylic on canvas , 12x16

"Stargazers" acrylic on canvas 12x16

"Parisienne" mix media on canvas 

"Pierrot" mix media on canvas