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Aspenman
Sno - amazing work!!!!
Pointillism
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Mississippi Hippie
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Brilliancy!!
Bartc
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These are some really well done and lovely works.
Years ago I had played with pointillism and did fine. For some reason it seems to fascinate people. The common comment from even my artist friends was, "That must be so hard!" Truth be told, I never found it hard, just tedious. And in some ways with opaque media, it may be easier to correct than you would think.
And if you really examine the most famous Pointillists, you would see that they essentially did "draw" their subjects first at least crudely and then overlaid them with the dots, which you don't appear to have done, so you did it the harder way.
That anecdote notwithstanding, you've done really well with a variety of subjects. Congratulations!
Years ago I had played with pointillism and did fine. For some reason it seems to fascinate people. The common comment from even my artist friends was, "That must be so hard!" Truth be told, I never found it hard, just tedious. And in some ways with opaque media, it may be easier to correct than you would think.
And if you really examine the most famous Pointillists, you would see that they essentially did "draw" their subjects first at least crudely and then overlaid them with the dots, which you don't appear to have done, so you did it the harder way.
That anecdote notwithstanding, you've done really well with a variety of subjects. Congratulations!
stlukesguild
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Sno, I was going to suggest that you bust be mad doing all that stippling... but who am I to talk with all the detail, pattern, and tesselations on the scale I work. 
stlukesguild
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The MYTH about pointillism is that Seurat and others used dots of two colors to make a third color i.e. yellow and blue dots spaced close together to make green.
I never came across these claims.
What he did do was use mostly dots of the complimentary color of the mass color to create a certain vibrancy.
This is what I have read and heard concerning Seurat and Pointillism.
Many modern day plein air painters and others do something similar - painting a blue sky(ocean) over a toned canvas of burnt-sienna(alizaran) and allowing bits of the un-covered toned canvas to show thru.
This technique goes back at least as far as the Venetian Renaissance... probably further. Rubens used a streak gray underpainting... to create a degree of vibration... and then painted over this with a yellow ochre that often shows through... especially in the skies. Degas used various color papers and primers for his pastels... seeing this as akin to the Venetian use of a reddish primer. I use a reddish/burnt sienna primer myself and frequently employ compliments as the dominant colors... bouncing one into the other. It creates a sort of spark or vibration... and it also helps to unify the painting as a whole.
I never came across these claims.
What he did do was use mostly dots of the complimentary color of the mass color to create a certain vibrancy.
This is what I have read and heard concerning Seurat and Pointillism.
Many modern day plein air painters and others do something similar - painting a blue sky(ocean) over a toned canvas of burnt-sienna(alizaran) and allowing bits of the un-covered toned canvas to show thru.
This technique goes back at least as far as the Venetian Renaissance... probably further. Rubens used a streak gray underpainting... to create a degree of vibration... and then painted over this with a yellow ochre that often shows through... especially in the skies. Degas used various color papers and primers for his pastels... seeing this as akin to the Venetian use of a reddish primer. I use a reddish/burnt sienna primer myself and frequently employ compliments as the dominant colors... bouncing one into the other. It creates a sort of spark or vibration... and it also helps to unify the painting as a whole.
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Bart, you’re wrong, I DID do it the easy way. I drew the images and then put them on a light box. Still tedious work, but I find it sort of relaxing.
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I don’t know much about Seurat, pointillism, or indeed stippling, but I did scatter different colored dots of ink to change up the colors on the tree picture, because I didn’t have the colors I wanted.
Bartc
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Well, ya fooled me!!! LOLBart, you’re wrong, I DID do it the easy way. I drew the images and then put them on a light box. Still tedious work, but I find it sort of relaxing.
Gotta agree with the stippling description, though. Pointillism, while using dots or short strokes, was ever more about color. What you have done is similar to the etching technique or other printing techniques. Still nice work!
stlukesguild
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I don’t know much about Seurat, pointillism, or indeed stippling, but I did scatter different colored dots of ink to change up the colors on the tree picture, because I didn’t have the colors I wanted.
But Sno! You're following Picasso's theory of color: "If I don't have blue, I use red."
But Sno! You're following Picasso's theory of color: "If I don't have blue, I use red."
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That's just about the size of it.I don’t know much about Seurat, pointillism, or indeed stippling, but I did scatter different colored dots of ink to change up the colors on the tree picture, because I didn’t have the colors I wanted.
But Sno! You're following Picasso's theory of color: "If I don't have blue, I use red."
B
bob
Now I gotta google Henry DargerYou guys are quite funny sometimes..... From a chat about pointillism (a color theory/practice that’s about 150 years old and belongs in the annals of history), you somehow moved on to talking about dust....
Why don’t you get Henry Darger (a janitor throughout his life) out of his grave to sweep away every spec of dust??.....
