tildee's journey in VERVE

Brush nr. 8 and 9 do magic, especially when they are really big! Doodling around 15 minutes and I surprise myself what comes out. The first picture with clouds done by me I like! Even when they look very 2D.

https://i.pinimg.com/originals/f8/62/61 ... e2d63f.png

[Taron]

There are (img) tags, if you look at the posting, which you just have to put around such a link... just with those hard brackets [...] link [/...]! Just click on "edit" on your post and you'll see what I have changed!
VERY authentic, very watercolor! The curious moodiness actually helps the natural impression it makes. Really nice going, Tildee!

Thank you Taron for your help, especially with embedding my picture.
I love watercolors. But with "oil" there is also so much possible.
I discovered the thread "inspirations" and it makes me crazy.
No no no I love it but only to read this thread and see which gem hides behind each link eats hours!
I have to force me to paint and not get lost...
I also have to try so much features of verve like custom made brushes, other backgrounds, the behavior of the brushes. Each little knob makes so much difference and to achieve the result I want to get by choosing the right tool is really difficult for me.
It needs so much practicing and I'm a often an impatient person.

[Taron]

Once upon a time I saw a documentary about Rembrandt and common methods at his time. I found that INCREDIBLY inspiring, because it so quickly gets you into a specific mood spectrum and you can focus on lighting and substances with lesser complication to colors. The "trick" was to base (fill) the canvas with your fundamental color, likely dark, then work out the light design with brighter colors of around that same hue, so to say, and work your way forward that way. It maintains beautiful coherence and just allows you to get lost in your painting, in your subjects, in the substances and the atmosphere. The whole concept of building up the painting also helps to maintain focus on the whole, rather than getting lost in a detail before everything comes together, while it always almost demands to be attractive the whole way through, you know. I find that exciting!

cool tildee, very live painting, it looks fresh n spontaneous,
n master advices from Taron.

Me, I like this landscape very much.
You see, if you would have tried to do the clouds more 3D, you probably would have destroyed the fresh atmosphere.
Something I tend to do very often - too often.

The art in art is to know where to stop.
For aquarelle, this has a very special meaning.
The inner view before you start is very important. The process itself, when it's about something loose and live, is often very short.

Me, I almost always start in verve something, because I want to escape from other duties
That means, I don't plan.
That means - a lot of results are crap.
But the joy is always endless

The strongest part in verve is, that it is almost always giving you something. A momentum of satisfaction and pride.
Priceless!

Me, I like this landscape very much.
You see, if you would have tried to do the clouds more 3D, you probably would have destroyed the fresh atmosphere.
Something I tend to do very often - too often.

The art in art is to know where to stop.
For aquarelle, this has a very special meaning.
The inner view before you start is very important. The process itself, when it's about something loose and live, is often very short.

Me, I almost always start in verve something, because I want to escape from other duties
That means, I don't plan.
That means - a lot of results are crap.
But the joy is always endless

The strongest part in verve is, that it is almost always giving you something. A momentum of satisfaction and pride.
Priceless!

Hi Knacki,
I thought that I could have written this, because it's all true for me, too:
The right moment to leave the picture as ready, also the many paintings I'm doodling around and the moment to stop passes by and I'm lost in liquid thoughts of color.
Sometimes Verve makes things happens which I haven't expected. In such moments it is essentiell to have your fingers on the keyboard to press CTRL-D immediately
But always I enjoy the process and Verve seems to be so much more artistic than most of the other programs.
The more I practice the shortcuts, the behavior of liquidity, brizzles, canvas and so on, the more pours out of me which I can't control and I do not want to control it: Pure creativity!

Hi tildee, knacki.
I agree, this Verve way of painting is very fruitful n creative, the so called "Verve Magic", almost as if it produces a subtle happy accident every now n then,
and is good to find forms and patterns within paint matter n fluids, to find your subjects, or even deviate from a current work in progress.
But imho, once you have a vision, if you can master the Verve Magic, predict the results of your paintstrokes(without turn them dull or stiff) and make them work towards your goal,
then in your hands Verve will become an even greater creative tool.
Look at the old masters very lifelike artworks, their strokes look so loose and random, spontaneous in a way, but they are indeed very well thought through.
I really used to think the paint matter became their second nature(like an instinct) and so they new in advanced the result of each of their paintstrokes(even many steps before),
also the nature itself belonged so much to them so they new exactly how to depict it.
congrats again man.

Once upon a time I saw a documentary about Rembrandt and common methods at his time. I found that INCREDIBLY inspiring, because it so quickly gets you into a specific mood spectrum and you can focus on lighting and substances with lesser complication to colors. The "trick" was to base (fill) the canvas with your fundamental color, likely dark, then work out the light design with brighter colors of around that same hue, so to say, and work your way forward that way. It maintains beautiful coherence and just allows you to get lost in your painting, in your subjects, in the substances and the atmosphere. The whole concept of building up the painting also helps to maintain focus on the whole, rather than getting lost in a detail before everything comes together, while it always almost demands to be attractive the whole way through, you know. I find that exciting!

Thank you for that, Taron. But that's the way to paint in oil. In watercolor it's the opposite. OK, you fill it with basic colors too, but mostly very bright ones. Than you go darker and darker. Real white is the canvas without colors or in little amounts opaque white. But whom do I tell that.
I understood what you/Rembrandt (mentioned in one breath... ) mean.

Thank you for your kind words, Eduardo!