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Topic : "Illustrators using digital..." |
eyewoo
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 Posted: Mon Jan 10, 2005 11:49 am |
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I recently joined an illustration agent's group. She handles about 30 artists from all over the world, covering a wide spectrum of illustration styles and purpose. They are all professional illustrators making their living at it. For the most part these are not gamers, but the bread and butter illustrators who fill magazines, text books and whatever else with artwork. I was surprised to discover that more than half of the group do their illustration digitally. I had suspected something like that, but was still surprised to find it in fact. Just thought that was interesting and wondered whether her group is typical of the illustration biz today. I know I haven't lifted a pencil or paint brush in quite a few years...
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gLitterbug
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| Posted: Mon Jan 10, 2005 12:24 pm |
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| I have no clue about the scene, but it seems logical. Books and all that are made on the computer too, so using digital illustrations would probably save some time compared to scanning traditional pieces and all that. |
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Gort
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| Posted: Mon Jan 10, 2005 1:40 pm |
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I personally haven't used an airbrush, brush or colored pencil for anything I produced since 1998, and even then it was "slim pickin's". The toolsets for doing digital work are so powerful and allow so much more room for experimentation.
On the other hand I know of only one full blown professional illustrator that doesn't use a computer - Bill Mayer
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eyewoo
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| Posted: Mon Jan 10, 2005 2:14 pm |
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Yep! And after looking at Bill Mayer's work, I'd have sworn it was done on a computer...
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B0b
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| Posted: Mon Jan 10, 2005 3:44 pm |
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haven't picked up my airbrush since '94..
but i still doodle with ink and pencil.. |
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Gort
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| Posted: Mon Jan 10, 2005 6:08 pm |
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Bill is airbrush all the way - his work is damn awesome. I am fortunate to know him and have seen his work up close - it's the real deal; he's an extraordinary editorial illustrator.
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Lunatique
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| Posted: Mon Jan 10, 2005 8:43 pm |
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| I'm actually doing the reverse. I miss traditional painting, and have built myself a new oil painting studio. Just the feel of paint and the palette knife in my hands, with that linseed oil smell--digital cannot touch that kind of full immersion. My experience with digital has been valuable though--I'll still do all the preliminary experiments digitally, and only when I lock down on a rough version I'll paint it traditionally. I'll probably still paint all the sci-fi/fantasy stuff digitally though, as those always require a lot of tweaking throughout the painting process. |
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eyewoo
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| Posted: Tue Jan 11, 2005 7:14 am |
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Luna... I'm about to do the same thing. I grew up with oil paints and have been thinking about them for some time. In fact, today is the day I'm heading out to purchase the paint, brushes and canvas that I gave away so long ago.
Like you I will continue doing my illustration work digitally... it's just so much faster and easier to modify digital work when the client makes requests... and so easy to experiment. I'm not sure yet just how or even whether I will incorporate digital into my future oil work.
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Gort
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| Posted: Tue Jan 11, 2005 11:30 am |
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Rob, Phil - I'm on track with the both of you, although I am going to take the plunge into water based oils, as the lack of fumes will allow me to work upstairs and not down in the dark, windowless basement. Besides, it's been a long time since I've painted - a very long time. I'm almost sceered.
By the way, has anyone used water based oils? Any hints or things I should look out for?
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eyewoo
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| Posted: Tue Jan 11, 2005 2:17 pm |
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Yep Tom... same here... The last time I used oils was almost 20 years ago. And I don't think its like riding a bicycle. I'm starting off real small like the fella who is doing a painting a day, Duane Keyser... his work and watching the 200th anniversary of the Pennsylvania Academy of Fine Arts on TV (my alma mater) pushed me over the edge... 
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Lunatique
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| Posted: Tue Jan 11, 2005 6:06 pm |
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| Gort wrote: |
By the way, has anyone used water based oils? Any hints or things I should look out for? |
Yep. Used Winsor Newton's Artisan Water-soluble oils for a year (I'd have gone on using them, except I moved and left them in storage). I thought they were great--didn't feel enough difference from traditonal oils for me to notice. Some think it's stickier, but I didn't think so. Each manufacturer produces speicial mediums for their water-soluble oils anyway. I really liked the fact the Artisan line retained the linseed oil smell--that's part of the joy of oil painting for me--the wonderful linseed oil smell.
Read up on the other brands or water-soluble oils (Grumbacher's MAX, Holbein's DUO Aqua)--I think a number of people feel they are slightly superior to the Artisan line. Holbein's has the best reputation I think. I've only used Artisan, so I can't tell you about the others.
Whatever you do, just don't get into that whole alkyd oil paint crap. It's been proven that alkyd and oil doesn't mix in the long run--your paintings will delaminate years later. |
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Gort
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| Posted: Thu Jan 13, 2005 2:37 pm |
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One more question; what's a good color palette for the water based (or not) oils for portrait painting? Most of my palette is tailored towards landscape.
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Lunatique
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| Posted: Thu Jan 13, 2005 8:05 pm |
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| Gort wrote: |
| One more question; what's a good color palette for the water based (or not) oils for portrait painting? Most of my palette is tailored towards landscape. |
I don't think there really is that much of a difference between them, because what colors you use depends on the lighting situation anyway. For example, if you painted a very warm outdoor scene, you're more than likely to hit a lot of the same colors as you would in a portrait, and you definitely will use greens and blues and browns in your portrait. The best way to construct a palette is to have primaries (cadmium Red, Cobalt Blue, Cadmium Yellow Pale), secondaries (Viridian, Cobalt Violet, Cadmium Orange), warm/cool versions of primaries (ultramarine blue, permanent alizarin--don't get alizarin crimson because it is not permanent, cadmium lemon) earth tones (Yellow Ochre, Burnt Umber, Burnt Sienna, Venetian Red..etc. Some people prefer Raw versions of Sienna and Umber, and add Indian Red, Transparent Oxide Red..etc in the earth section), black and whites (Titanium White, Zinc White, Flake White, Ivory Black, Lamp Black..etc. Ivory Black is quite warm, and prone to cracking if you use it by itself, so be careful. The whites and other pale colors are often grounded in safflower oil, poppy oil, or walnut oil because linseed oil tends to yellow, but those other oils dry far slower and form weaker films, so you should compensate for that in your mediums. Actually you can disregard this last part since you're using water-soluble oils).
Here are some palettes of well-known painters, and you will see some common ground between them (and they are guys who are known for painting both people and landscapes):
Sargent's Palette:
Blanc d' Argent
Chrome (pale)
Transparent Golden Ochre
Chinese Vermillion
Venetian Red
Chrome Orange
Burnt Sienna
Raw Umber
Garance Fronce' (Rose Madder)
Viridian
Cobalt Blue
French Ultramarine Blue
Ivory Black
Cobalt Violet
Richard Schmid palette:
Windsor & Newton:
Cadmium Lemon*
Cadmium Yellow Pale or Aurora Yellow*
Cadmium Red*
Cadmium Scarlet
Cadmium Orange
Yellow Ochre Pale* (I add Cadmium Yellow Pale to this.)
Terra Rosa*
Venetian Red
Permanent Alizarin Crimson
Rembrandt (Talens):
Cadmium Yellow Deep*
Transparent Oxide Red*
Viridian*
Cobalt Blue Light*
Ultramarine Deep
Gamblin:
Alizarin Permanent*
Lefranc:
Titanium White*
Schmincke:
Cobalt Violet Light (Transparent and Opaque)
Cobalt Violet Deep
Nelson Shanks' Palette:
Colors include Gamblin, Winsor-Newton, Old Holland, and Grumbacher, unless noted.
Burnt Umber
Burnt Sienna
Venetian Red
Crimson Lake Deep Extra (Old Holland)
Permanent Rose (W-N)
Cadmium Red Deep
Camium Scarlet
Perinone Red (Gamblin)
Perylene Red (Gamblin)
Cadmium Orange
Raw Sienna
Indian Yellow (W-N)
Yellow Ochre
Cadmium Yellow
Cadmium Yellow Pale
Cadmium Green Pale
Cadmium Green
Viridian (W-N)
Pthalo Green
Cerulean Blue
Cobalt Blue
Manganese Blue
Ultramarine Blue
Dioxazine Purple
Ivory Black
Flake White #2
James Tennison palette:
Permalba white
(the following are Rembrandt oils)
Cadmium Yellow Medium
Yellow Ochre
Cad. Orange
Cad. Red Medium
Permanent Madder Deep
Transparent Oxide Red
Viridian
Ultramarine Deep
Bouguereau's Palette:
# Naples Yellow (lead antimoniate)
# Yellow-Ochre
# Chrome Yellow, dark
# Viridian
# Cobalt Blue
# White Lead
# Light Vermilion
# Chinese Vermilion
# Mars Brown (iron oxide); this available from Lefranc & Bourgeois
# Van Dyck Brown
# Burnt Sienna
# Ivory Black
# Bitumen
# Genuine Rose Madder, dark
Daniel Greene's Palette:
Flake White
Ivory Black
Prussian Blue
Raw Sienna
Yellow Ochre
Naples Yellow
Cadmium Yellow Medium
Cadmium Red Light
Alizarin Crimson
Burnt Sienna
Raw Umber
Burnt Umber
Sap Green
Thalo Green |
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eyewoo
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| Posted: Thu Jan 13, 2005 8:35 pm |
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Hey... thanks for that list of palettes. I've been working on my own oil palette, so it is most interesting and helpful...
EDIT - just uploaded my first oil painting in 20 years to the Life drawing thread... It's not much but... well, it's not very good either, but I got the smell of oil paint around the place again...
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Last edited by eyewoo on Fri Jan 14, 2005 11:27 am; edited 1 time in total |
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stacy
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| Posted: Fri Jan 14, 2005 10:29 am |
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It's good to see most of you still do traditional,
or are going back to it.
It's hard to beat watching that perfect line
or curve flowing out of the tip of you brush.
Not much point in even having a studio if it
doesn't smell like linseed oil and turpentine. |
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Gort
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| Posted: Fri Jan 14, 2005 10:36 am |
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Lordy, Rob! Well your response sure adds creedance to the old saying "be careful what you ask for"! You're definitely right about environmental conditions and the inherent effect(s) on flesh, but I knew there were some very dynamic warms in there that I didn't have (like alizarin crimson).
Thank you very much for the thorough response - it's well received!
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