07-21-2009, 11:34 PM
Hi and thank you for the response. I'm not quite ready to start such large endeavors, but I've done so much digitally for so long, that my traditional work has taken quite a dump. I missed a production spot yesterday (well, to be officially shot down next week) because I had no paintings (real, traditional) to show. Didn't matter what my texture and digital looked like, where the quality was. So that you've taken the time to respond means a lot to me, as it's another hint or help for when I get in trouble as I make a full run at traditional work again (taking 3-6 months at least off to do it)
I was also talking with another painter today and we didn't get around to talking about canvas or glass (or all those shower doors I walk by or slide out), and we only really got to talking about oil painting in general terms, not specifically working toward mattes.
But he did mention liquin, as it's got quite good drying time, as opposed to someone who would use an oil that could just be running off of the palette if you want to go so fluid and then take months or years to dry. I'm curious if you have any experience of liquin on glass, and also, again, controlling sheen and getting even play of light on the canvas or glass (so as to minimize glare, when theoretically 'shot' but also just more pleasing to view in general....) When I walk by the mattes at ILM, I am just floored 100% of the time, for a number of reasons- shot design, paint control, subtlety in the image, impact, quality of light, brush work, palette... But of course, no one there is really working like that and conversations of certain sorts are tough to have under deadline pressure.
Thanks so much again, will be sure to stay in contact. Just a quick note, yeah, I agree about using a digital layout and of course you can mimic perspective, nail the effects of different lenses, etc too... great stuff.