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10-30-2006, 06:39 AM
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#21
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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Hi Tony
Thanks for the informations,unfortunately I cannot get this book ...but I've seen many details in Sargent's paintings where the overlapping is evident . Anyway I'm wondering what would be your work if you had used brush overlapping. I cant realized how you can get such a cleaned and pastelled result just in one session.
Do you use a drying medium?
Ciao
Adriano
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10-30-2006, 06:43 AM
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#22
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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Some others
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10-30-2006, 06:47 AM
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#23
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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and others
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10-30-2006, 06:55 AM
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#24
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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I've just realised that I have to sey something if I wont to have my imagine posted.....or not?
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10-30-2006, 07:16 AM
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#25
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Juried Member
PT Professional
Joined: May 2004
Location: Americana, Brazil
Posts: 1,042
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Hi,
It's nice to see you guys chatting about these interesting stuff.
I'd like to suggest you Adriano to visit this link http://www.worldofportraitpainting.c...es/laszlo1.htm
Bye.
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10-30-2006, 07:44 AM
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#26
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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Hi Claudemir
Thanks for this marvellous site,
I'm going to extend my knowledge about portrait's painters .
Ciao
Adriano
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10-30-2006, 09:36 AM
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#27
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SOG Member
Joined: Aug 2003
Location: Southboro, MA
Posts: 1,028
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Yes Claudemir -- Thanks! Laszlo's comments about positioning a mirror so that the subject can see what you're doing at the painting --as a way to keep the sitter interested/animated in expression -- are particularly helpful! 
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10-30-2006, 01:59 PM
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#28
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Juried Member
PT Professional
Joined: May 2004
Location: Americana, Brazil
Posts: 1,042
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Quote:
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Originally Posted by Terri Ficenec
Yes Claudemir -- Thanks! Laszlo's comments about positioning a mirror so that the subject can see what you're doing at the painting --as a way to keep the sitter interested/animated in expression -- are particularly helpful! |
Yes, and the mirror helps a lot getting the likeness!
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10-31-2006, 03:55 AM
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#29
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Juried Member
Joined: Mar 2006
Location: Milano, Italy
Posts: 102
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Hi Claudemir
I found that sometime if you look at a photo edited on the contrary you hardly recognize your face,because we haven't got simmetrical features. I wouldn't be sure about getting likeness through a mirror.
By the way, Lazlo is a very skillful painter, but I prefer Boldini.
It seems to me that if you use overlapping and glazing your oil painting, you get deeper and richer in value.
Ciao
Adriano
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11-01-2006, 12:42 PM
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#30
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Juried Member
PT Professional
Joined: May 2004
Location: Americana, Brazil
Posts: 1,042
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Quote:
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Originally Posted by Adriano Maggi
I found that sometime if you look at a photo edited on the contrary
you hardly recognize your face,because we haven't got symmetrical
features. I wouldn't be sure about getting likeness through a mirror.
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Buona sera,
You have to stand back until you can compare both the painting and the sitter in one glance. Doing so, you'll be able to evaluate the effectiveness of your design. Believe me, it works!
Ciao.
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