Painting Mini-Dump, Oil!

[RobRey]

Hey, here's some of the painting I've been doing lately. I'll call it a mini-dump but there should really be more to it. it's not the illustration stuff that I'd like to be doing, but it's been really good painting practice. And hey, I'm just out of school so I've got to make some money.

These are all oil on board, between 8x8 and 12x18, feedback welcome...

[Barts]

nice nice, no crits here im loving ur brushwork very clean

[bengine]

Ah, amazing. Your brushwork is sweet and inspiring mister, thank you! Very nice and clear colours! Keep up the good work!

[DSillustration]

that first one is absolutely sensational!
i also like the last portrait a lot.

[RobRey]

Thanks DS! I was at the demo you did at risd in may. it was very helpful to see the way you apply paint, made me realize I was using too much medium.

[Gilead]

These are great. I love that spoon. The colors are convincing yet bright and juicy.

[Kenny_Callicutt]

hot damn.. I really like that first portrait and that first still life. Loving how you got the ground coming through that brushwork.

[Pascallo]

Great work!!
keep it up and show us more..

[Kan Muftić]

Absolutely beautifull. I also used to do a lot of oils back in the school there..
Stars from me.
Cheers,

[Zaknafain]

inspiring...

[Arne S.]

really great paintings!!
-but do you photograph all of your models in the same light?

[Bowlin]

I really like the first one also. That spoon feels like a spoon.

This painting style is really making me wonder about edges. Most of the notable hard edges are the small darkest areas, such as shadow lines, where the objects meet the table... or corner of the lips, nostils and so on. But your light areas have hard edges but feel softer because of complmentary colors? Is the only places you ever purposely soften with a brush the contour of the face or hair? Do you wait till the end of the painting to conciously think about and soften those edges?

Great stuff man, hope to see more!

[RobRey]

Thanks all,

Arne S. - The portraits have the same lighting only because they're comissions an I'm trying to make sure the client gets what they're expecting after seeing my current portfolio, which has a lot of that lighting. Also, the last three were a set for a single client.

Bowlin - The lighter hard edges probably feel softer because there is less contrast between the colors. These paintings represent some of my newest stuff since I discovered and have been working more closely with edges. so the last portraits show where I was just getting a hold of them, focusing mostly on the sides of the head. I'm still working on getting all the edges the way they should be, still need some work there - good critique! but I don't just wait till the end, I develop them along with everything else.

[asoir]

Colours are incredibly vibrant and correct...super refreshing.

[Hyskoa]

Some very nice work in here.

[bhuddistmonk]

These are very nice paintings - they have a real sense of life. It seems most of your work is 'upbeat' in that most of the subjects have a warm light that really brings the color out. What did you think of RISD?

[Haxxxor]

nice stuff. i hope i can paint like this one day

hehe

no serious... absolutly amazing!

[yonson]

Top notch brushwork as stated above.

The spoon (and it's reflection on the table) are really nicely done.

One crit - and you might never change this if it's your thing - it's all a bit high chroma. Now I love bright colours but these are really saturated, they're a bit heavy on the eye. Maybe I'm just getting old.

Superb painting anyway!

[RobRey]

good to hear the crits!

bhuddistmonk - RISD taught me very well how to think and develop my ideas and illustration concepts and gave me a good sense of all aspects of the art world. However, most of what I know about painting is knowlegde aquired from outside sources, RISD's painting classes are a little weak. Personally, I think this worked very well for me, you can read a book to learn how to paint, but it's hard to find one that will teach you how to develop your own personal ideas and thinking.

[Elwell]

That first portrait is absolutely aces.

[Layil]

nice stuff, very precise.

[Justin.]

I agree with Elwell, that first portrait is captivating! Good work!

[Aether]

Great work. Especially the first one has a brilliant color scheme.

[Icon]

ugh, gorgeous oil works.

Makes me want to drop my wacom pen right now, and paint!

The bold brush strokes make these very peaceful paintings seem so much more dynamic. good job.

[junthi]

great sculpting with the brush=)

[Neil@GorgonCreations]

I love the first print, i think the expressive style of painting and warm choice of colours and trivial subject make it a really attractive piece

[taeyoungchoi]

Painting can say lots of thing, even though it is simple objects like your painting.

[Rascar Capac]

cant stop lookin at that spoon...
Have to agree with the others - the first portrait looks effortless compared to the others

[Smeagol71]

Really top notch work Rob, man I love seeing all those brush strokes. Really a pleasure to look at. And the way your bouncing color around, especially in the first two, is really fun to see! Thanks for posting.

[Priestley]

This stuff is beautiful. All that paint makes each canvas look as if it's pregnant. Heavy, brimming with life.

I think you balance that fullness the best in the second piece. The vague, almost starved, light background presents an excellent contrast to the vibrancy of the mugs. And you've highlighted it really well be placing the white mug behind the others. The transition is smooth but punctuated.
And then the teabag in the bottom left gives it a little twist. The background is empty of subject matter and light in rendering, the two foreground cups are dense in subject matter and heavy in rendering, but that sad little teabag combines a shriveled subject matter with a full rendering. A synthesis of the contrasted ideas. Totally cool.

I'd have to agree that the first portrait is definitely the best. Especially the hints of red and orange in the shadow. They draw the eye in deeper.

I think the last three pieces lack as much depth. The blue secondary lighting is a bit too much, it distracts the viewer and keeps the eye on the surface of the form. Of the three I like that last one the best. Rather than confronting us with an obvious light source, the lighting simply suggests a window off to the right.