Don't go to art school dude I purchased a lifetime membership to New Masters Academy and I can say with full confidence that they have a great trad media program, including painting. >the problem is I want to be an animator so it's been a pretty big waste for me I'd stick with their cheapest subscription option (I don't think they offer the lifetime thing anymore anyway) and check it out.

>>29 Thanks for the recommendation but where are the books I asked for.

>>31 You could try the archived board page from 8kun but I don't remember what I put in there anymore ffs https://web.archive.org/web/20190721220321/http://www.8ch.net/loomis/hub.html People often say "Color and Light" by James Gurney is "the" book for color theory but I don't know a damn thing about it, I have to admit.

ALLA PRIMA II Richard Schmid

>>129 PDF? My library doesn't have it.

>>310 I think that book is just a bunch of philosophizing on behalf of the author isn't it? I feel like I skimmed through it before and surmised as much but admittedly I'm not completely sure.

>>311 From description alone, yes, yes it is mostly just reflections on art and not instructions or anything, I still would need a PDF regardless.

>>129 this. was about to recommend it.

>>311 If you don't see the value in his thoughts, then you still have quite a long way to go. The artistic process and the resulting painting or drawing is just a result of your experiences and knowledge. You might be able to achieve the technical skill to perfectly replicate what you see, but it doesn't matter if your art doesn't have a soul. It won't be interesting or emotionally engaging.

>>325 >you still have quite a long way to go I'll say I've probably colored less than 10 images in my life let alone painted anything

Guys I'm serious I need help, I can't paint for the life of me, color mixing is legitimately painful, I always end up getting it wrong. Should I just go full cope and used pencils or paints that are pre set and not mix my own? As long as the final image looks good how it got there won't matter r-right?

>>506 Did you get memed into only using a 5 color red yellow blue white black palette? lmfao

>>506 I used to only practice drawing for a long time too and i suck at painting, but somehow its easy for me to mix whatever color i want from the start, even from the three base colors if i have too. But as >>507 pointed out, artists don't usually do that. So, yeah, just buy a wide spectrum set and then restock the colors you ran out.

>>507 Is that the "Paxton Palette"? The atelier I went to was all about that lmoa >naturally they could do pretty amazing things with it-even with the emphasis on "sight-size" which I didn't care for

>>509 Nah, that's something else. I'm talking about the retards who try to do everything "the traditional way" who didn't realize that words have changed around. >Red, yellow, and blue are the primaries >Red and blue used to refer to different colors than they do now <Retards use R255 G0 B0 Red and R0 G0 B255 Blue as primaries >Mixing your own paint is important >Mixing meant the process of grinding up pigments and mixing in the binders <Retards never ever use paints that aren't primaries, because they are "mixed"

>>510 Color is another huge aspect of the discipline that I don't have the first clue about.

>>507 No, 1000 times worse actually, I use an unlimited palette and end up fucking up by putting in too much of one color. Honestly at this point I'm just gonna start drawing with pastels to cope for the time being but wow this is some embarrassing shit I mean I've fucked up some really good underpaintings with color.

>>517 Part of the reason to use a limited palette is so you don't fuck up and start going crazy with chroma. When you introduce a high chroma color, it's very easy for your other colors to slide towards that chromatic color and everything ends up oversaturated around one hue. It sounds very basic but when you introduce a chromatic color, find nuances of it where it's cooled off by other colors and keep in mind where the cooler/grayer colors in the overall picture are to knock things back a bit. As an example, here's a digital doodle I made a while back where I was trying crunch down my values and instead play a lot with broken color. Notice how every time a color is introduced it's cooled off by another color. Green is cooled off by purple and vice versa. If you don't pay attention to the other side of the color spectrum, it's very easy for your painting to slide to one color or becoming over-chromatic. If you're doing things traditionally, spend time at your palette and make sure you have a range of high and low chromatic colors already mixed up because colors can slide even more when brush-mixing. In general I find it way easier to get good colors out of oil paint but maybe I just have a knack for it. Have several of the same brush when working so the brush with cad red in it doesn't have to pollute your white or something like that. If you want to learn about color, the best book I've found is "Oil Painting Techniques and Materials" by Harold Speed. It actually talks about color in a meaningful way unlike Gurney or whoever.

>>617 >Harold Speed Welcome back Atelierfella. Are his words alone on the subject easy to follow? IIRC his book you recommended in the past (https://archive.org/details/practicescienceo00speerich) is in black and white and I've always wondered how that translates into teaching the subject of color specifically, I still haven't really started getting into color much yet anyway but I'm just curious if it translates well. I've seen that he's got great material on values though.

>>618 I guess I didn't entertain the idea that his other book could be in color (but his books are so old I can't imagine that being the case even if I were better able to track it down. REE!)

>>617 I really like the smooth, slick look of those rock formations by the way; some of the subtler details of the figure-like their waist area for example-are detly captured as well. Good work!

I STILL HAVE NO CLUE WHAT THE FUCK I'M DOING THIS IS MY BEST WORK THUS FAR AND IT'S STILL SHIT I LITERALLY HAD TO FOLLOW ALONG IN A CARAVAGGIO TUTORIAL JUST TO GET IT TO BE LESS SHIT I DON'T EVEN LIKE CARAVAGGIO HE WAS JUST THE FIRST GUY WHO POPPED UP I DON'T EVEN USE OIL PAINTS WHAT AM I DOING WRONG AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

>>1062 What do you want to hear? Want the secret sauce? I can give you secret sauce. it's ... . . . . . . . . . . . . Diligence

>>1062 Are you trying to do an oil paint tutorial with acrylics? Cause those are two VERY different techniques.

>>1063 EVERY SINGLE DAY!

>>1065 YOU'RE GOD DAMN RIGHT.

>>1064 I did the first one I found.

>>1074 Oil paint dries in a few weeks to a few months after being put on the canvas, acrylic takes about 5 minutes. So with oil paint you put down blocks of color and blend the paint around. With acrylic, you build up multiple layers of paint. After blocking in, you put the smallest amount of paint on your brush and smudge it around as you put it on the canvas before the paint dries.

>>1075 You also shouldn't use oils in the room you're sleeping, otherwise you might poison yourself depending on the paints you use. (This is less so with acrylic paints.)

>>1077 I don't sleep in the same room I paint, I'm not a savage. >>1075 So would oil be easier to use than acrylic?

>>1081 If your goal is to emulate the old masters then yes. Getting perfectly smooth gradients in acrylic is hard. Otherwise, I find acrylic easier because you can just paint over any mistakes you make as many times as you need to. Getting too much wet oil paint layered on a canvas can cause cracks as the bottom layers of paint dry.

>>1081 >So would oil be easier to use than acrylic? As always the answer isn't that simple. Both media have different pros and cons. Painting with acrylics is a lot cleaner (in the sense of cleaning time required after and during the painting process) and faster. It's a lot trickier to get smooth edges compared to oil paints. Oil paints are more involved when it comes to cleaning up. But they allow you to start a painting and work on it the next day as if nothing changed. (The paints really dry quite slowly.) Because of that slow drying time and the quality of the medium, creating gradients is a lot easier. But watch out. It's easy to overblend things when using oil paints.

>>1082 What if my ultimate goal is actually fresco? >>1086 I probably need to overblend if anything.