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very cute! Cool that you're enjoying yourself, and I think you've got a real knack for values and colours, but I'm not sure the medium of paint on canvas is the best way to present this kind of simple, flat image. The structure of the canvas and the paint is very distracting. Have you tried painting on paper? Or maybe try to explore painting volume and texture (like in the tree painting before). I don't know, it just seems like there is a mismatch between the image and the medium. I've rediscovered charcoal, all the rage these days.    
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Nov 12, 2015 19:58
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Status Epilepticus posted:u've got a real knack for values and colours, but I'm not sure the medium of paint on canvas is the best way to present this kind of simple, flat image. The structure of the canvas and the paint is very distracting. Have you tried painting on paper? Or maybe try to explore painting volume and texture (like in the tree painting before). I don't know, it just seems like there is a mismatch between the image and the medium. I'm not sure how to parse what you're saying. What do you mean the structure of the canvas and paint is distracting? I've never tried paper before, do you have a recommendation? What would be different if done on paper vs. canvas? Also I do agree with you that it looks flat still. I'm mostly using these smaller canvases with origami to play with values and colors. I'll eventually move to slightly larger canvases and do better shading and blending to give things more volume.
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Nov 12, 2015 22:06
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I think they're referring to the texture of the canvas. Canvas is woven, and the interlocked fabric has a pattern to it. I think they're saying that for this type of image, that texture coming through the paint throws the image off, and that you'd be better off doing it on paper that doesn't have such an obvious texture to it. I can see where they're coming from. The penguin is all solid colors and straight edges. Looking at it, I see the origami influence, and would expect it to be smooth like paper would be, but the canvas texture isn't quite smooth so the image looks off. Whereas on paper you'd get that smoother origami look. At least I think that's what's being said.
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Nov 13, 2015 21:00
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Detective Thompson posted:At least I think that's what's being said. Yeah, that's what I meant. I talk gud.
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Nov 13, 2015 21:57
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Ah ok that makes a ton of sense. Thanks folks.
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Nov 14, 2015 02:41
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Knife painting in oil. 
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Nov 14, 2015 18:25
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 complete~
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Nov 15, 2015 10:50
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I'm curious about your technique. What medium are you using?
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Nov 15, 2015 11:02
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poopcup posted:Thanks! The liner glaze is a base glaze and the blue/green surfaces are the same base with oxide additions, 3% iron for the celadon green and .2%cobalt + .2%chrome for the blue, I wouldn't really call the blue a celadon because it's not iron based. I believe the places where the blue starts to blush up into a pinkish color is caused by chrome concentrations reacting with the tin in the base I think it's more the tin by itself, really. I have a copper/tin colored glaze that gets pinkish chunks in it whenever I fire it in particular ways. I haven't figured out exactly what causes it but I mostly fire to a bit under 9 with very heavy reduction. If I fire it a bit high or it's closer to the fire it can get pink in it sometimes. The same glaze without the tin has never, ever done that. Getting a touch of pink from the tin like that would make sense. How much tin is in the base glaze?
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Nov 15, 2015 22:30
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snaeksikn posted:my painting of kiersey clemons, wanted to do a picture of her after watching dope. didnt quite get her likeness in the facial shape or jaw, but good practice. Turned out great! Still obsessed with ballpoint. 
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Nov 15, 2015 23:33
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ToxicSlurpee posted:I think it's more the tin by itself, really. I have a copper/tin colored glaze that gets pinkish chunks in it whenever I fire it in particular ways. I haven't figured out exactly what causes it but I mostly fire to a bit under 9 with very heavy reduction. If I fire it a bit high or it's closer to the fire it can get pink in it sometimes. The same glaze without the tin has never, ever done that. Getting a touch of pink from the tin like that would make sense. How much tin is in the base glaze? There's 5% tin in the base, not quite enough to opacify it but in soda it'll flux to a nice white, tin looks much better than zircopax in my opinion but the cost difference is hard to justify. It's all fired to cone 10 in moderate reduction and soaked for 30 min in an Olsen 16cf. My last firing was just slightly uneven so I didn't get a full cone 10 soak up top and a lot of the wares had very small pinholing in the liner, hoping that a refiring will fix that. I've also reformulated the glaze to lower the expansion by swapping out calcium carbonate for wollastonite to source the CaO for fluxing and increasing the clay ammount from 5% to 9%. The ware has been crazing for over 5 days after unloading them, even now I'll hear a ping every so often and it's been 2 weeks almost. I don't mind the crazing on the exterior, but I'd really like a stable liner that's fitted to my clay body even though the fluidity of the glaze unchanged is really what i want for the exterior and how it interacts with my surface decorations. And it's been kinda fun teaching myself how to use digital fire's insight-live tool for glaze formulation.
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Nov 16, 2015 00:14
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poopcup posted:There's 5% tin in the base, not quite enough to opacify it but in soda it'll flux to a nice white, tin looks much better than zircopax in my opinion but the cost difference is hard to justify. It's all fired to cone 10 in moderate reduction and soaked for 30 min in an Olsen 16cf. What feldspar are you using? Calcium and potassium are the things that tend to expand the most. You might want to look for a different flux. You might also want to look into a different liner glaze entirely if you want the inside to be smooth. Certain materials have a ton of potassium (oddly enough I deliberately use a particular feldspar for just that reason but right now am forgetting which is which off the top of my head) and can affect that too. What you want to do is look for the formulas that tell you its expansion coefficient. In any event crazing means your glaze is expanding too much and needs to expand even less. Maybe look at a different flux? The ratio of alumina to silica might also need to be fiddled with. My memory is a bit fuzzy as the last time I did any glaze calc was months ago. Even so reducing the potassium and calcium should give you less expansion. Switching the source but keeping the calcium constant isn't going to accomplish a ton. But yeah glaze formulation is cool as hell and are part of why it's easy to fall in love with ceramics.
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Nov 16, 2015 04:12
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ToxicSlurpee posted:What feldspar are you using? Calcium and potassium are the things that tend to expand the most. You might want to look for a different flux. You might also want to look into a different liner glaze entirely if you want the inside to be smooth. Certain materials have a ton of potassium (oddly enough I deliberately use a particular feldspar for just that reason but right now am forgetting which is which off the top of my head) and can affect that too. What you want to do is look for the formulas that tell you its expansion coefficient. In any event crazing means your glaze is expanding too much and needs to expand even less. Maybe look at a different flux? The ratio of alumina to silica might also need to be fiddled with. My memory is a bit fuzzy as the last time I did any glaze calc was months ago. Even so reducing the potassium and calcium should give you less expansion. Switching the source but keeping the calcium constant isn't going to accomplish a ton. 45 - Soda Feldspar (I believe I'm using minspar at the moment) 17 - Quartz 15 - Ferro Frit 3134 13 - Whiting 5 - China Clay 5 - Tin Oxide +2 - Bentonite +tsp Epsom Salts And the reformulated batch I'm going to test is: 37 - Soda Feldspar 22 - Quartz 15 - Ferro Frit 3124 13 - Wollastonite 9 - Calcined Kaolin 4 - Tin Oxide +2 - Bentonite +tsp Epsom Salts I've got a noticeable change in the expansion rate base on that, my hope is that keeping the higher CaO level will keep the glaze fluid, but I've also made another reformulation that puts an even spread between MgO and CaO which has an even better reduction of expansion, my only concern is having the raise in MgO start to matte the glaze, but I've read that having boron in the recipe can help prevent that so maybe the frit will prevent that problem. I'm also testing a 1% addition of yellow ochre since I really liked the soft jade color I got from that on test tiles. If nothing else the reformulated batch seems to be much better about not firming up at the bottom of the bucket.
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Nov 16, 2015 08:59
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Nov 16, 2015 16:49
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Skwee posted:I'm curious about your technique. What medium are you using? Not sure if you're talking to me but just a small technical pen.
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Nov 16, 2015 17:43
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poopcup posted:The base in the pictures is: What you'll want to to if it's expanding too much is reduce the calcium and magnesium and replace it with other RO stuff. That can be Na2O, ZnO, MgO, BaO, SrO, or Li2O, most of which are nontoxic. Technically you could also swap in lead but that just evaporates at that temperature and is, you know, lead. If you're using minspar that's the same as NC-4 feldspar which does have significant amounts of potassium in it as well as some calcium. You could try switching some of the feldspar out for either clay or just raw alumina/silica if you keep the ratio the same. If your glaze is trending mat you might also be raising the firing point by changing the recipe. You want to have an appropriate alumina:silica ratio for where you're firing to. It looks like you increased the amount of silica and alumina in that glaze which can both cause it to go more mat. Too much silica causes it to devitrify while too much alumina increases the firing temp. Calculate the molecular weights. At that temp you don't want alumina over about .5 and don't want silica over about 4.5 or so. Don't sweat it too much. It takes a lot of tinkering and testing to get glazes right but once you do it's like striking gold or climbing a mountain. Trust me, it will be worth it once you get the recipe just right. Have you read Daniel Rhodes' book? If you haven't go snag a copy of Clay and Glazes for the Potter off of Amazon. You can find older copies of it dirt rear end cheap and it has a completely ludicrous amount of information.
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Nov 17, 2015 02:27
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pixelbaron posted:
 good job man
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Nov 17, 2015 04:57
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pixelbaron posted:Not sure if you're talking to me but just a small technical pen. I see, i was thinking it might have been wood block printing or something
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Nov 17, 2015 05:33
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I could turn it into woodcut pieces if I owned or knew someone with a laser engraver haha
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Nov 17, 2015 06:00
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  Did these over the last two days 
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Nov 25, 2015 00:45
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pixelbaron posted:
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Nov 25, 2015 07:02
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Second firing of the semester unloaded, a few works from it.     
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Dec 2, 2015 21:45
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Those are really nice. I especially like the middle one.
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Dec 2, 2015 21:47
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I like the top one
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Dec 5, 2015 09:37
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Disclaimer: I just paint as a dumb hobby to relieve stress from my job. I painted this picture of woodland animals getting ready for the ball.
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Dec 10, 2015 23:22
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CobwebMustardseed posted:Disclaimer: I just paint as a dumb hobby to relieve stress from my job. I painted this picture of woodland animals getting ready for the ball. That's absolutely adorable. You don't have to disclaimer that at all.
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Dec 11, 2015 19:59
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poopcup posted:Second firing of the semester unloaded, a few works from it. These are beautiful, I love the texture in the middle piece.
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Dec 12, 2015 01:33
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I am in love with this thread. This last year I've started doing artwork again and have been doing a lot with watercolors. I'm slowly trying to develop a more cohesive style and am really enjoying the journey along the way. Here's a few of my most recent posted from oldest to newest. Unfortunately I haven't made it to the print shop to get a good scan of the last one.    
BingitsLola fucked around with this message at 19:39 on Dec 12, 2015 |
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Dec 12, 2015 19:36
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I made a couple linocuts in the last week:  (Original image for #2 taken from Google, photoshopped a bit, then traced onto lino)
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Dec 19, 2015 12:50
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My last painting of the year: Origami Crane #3 on 30"x40" canvas. I started painting in September and finished 16 pieces this year. This is by far my best one.
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Dec 29, 2015 08:15
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First art of 2016. Cheers
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Jan 2, 2016 01:18
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Here are two recent pet portraits I did for my Aunts as Christmas presents. Both are watercolor and gouache. I am trying to move away from using black paint, using color mixing to get richer colorful darks and browns.  
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Jan 6, 2016 01:12
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Been practicing figure drawing, and trying to make a complete figure in < 5 minutes. Use to take me twice amount of time to draw those figures. Gotta keep practicing.
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Jan 6, 2016 07:54
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Zoben posted:First art of 2016. Cheers Dope.
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Jan 6, 2016 09:31
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Jan 9, 2016 18:32
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Autechresaint posted:Here are two recent pet portraits I did for my Aunts as Christmas presents. Looks nice! Good move getting away from the black, it has its place but you can achieve a greater luminescence by using color in your shading. (sez the guy who used Black Magic ink in his last post)
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Jan 9, 2016 21:24
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Feels like such a familiar sight.
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Jan 12, 2016 07:40
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GentlemanBrofro posted:Feels like such a familiar sight. Yeah, I probably should have titled it I am Protected.
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Jan 12, 2016 16:49
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Since I just wrapped up my college education I figure it's time to get around to posting some stuff I learned along the way. I snagged a BFA that primarily focused on ceramics. I tended to make a lot of more structural work and stuff inspired by ruins. The show I put together as a captstone ended up being largely about ruins. I made an absolute poo poo load of them and did the show based on what is really just one piece. Well sort of; all of the individual chunks were arranged in the final result. The hours were absurd but it was definitely cool to do. Some of the pieces already found homes. I had sold a half dozen of them before it was even over. Others became gifts.     This is actually pretty big. It's like 12'x17'x8' or so.
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Jan 18, 2016 18:14
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 Getting close to finishing this. Finally really getting the hang of acrylic paints!
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Jan 19, 2016 01:09
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