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Meorow — Oil Cat
Published: 2016-02-22 02:45:06 +0000 UTC; Views: 594; Favourites: 80; Downloads: 6
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Description
A quick oil painting of a cat I finished several days ago. Not that exciting, but a nice return to normal for a bit.I added some additional coloring in Photoshop and added more of a bottom to the image to center the cat's eyes.
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I don't remember where the reference is from, but I have it here: sta.sh/024nwj2l5bcx .
Time: ~4 hours
Oil paint on canvas; edited in Photoshop CS5
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Comments: 18
This looks like my little guy. Except (I'm obliged to say this) my little guy is cuter
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This is so nice, I love the texture of the and the warm colours
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"We are not amused." Hehe.
Not a good idea to center anything of importance. Centering is the epitome of symmetrical balance, which is antithetical to any kind of movement. The idea is to create dynamic flow - dynamic balance through asymmetry, which entertains the eye. Static symmetry was further emphasized here with four points forming the corners of a rectangle (the ears above and shoulders below - makes a big ol' X pattern).
While the under cuts and caves are treated very nicely with highly saturated shade (i.e. under eyelids, under chin, inside ears, cast shadow over chest) The sides of the face too readily blend with the background, which kills the 3DI in those locations. If the idea is to have the face emerge from shadow, then the background has to be dark. If there is another idea here, I don't see what it is (maybe psychedelic?). To have the background so bright would seem to indicate a backlight strategy where the light grades ever darker as it moves toward the middle of the face (as you did on the chest - which worked very well. In any event, the three dimensional illusion is weak on the face.
Note: One thing to consider is that when the subject is warm, a contrasting background that's cool can help to define it. That contrast separates the figure from the ground, where, here, you've confused, or blended, them (i.e. with respect to the face, not the chest).
The expression is priceless. It makes for a real portrait and character study. The color and application are full of energy. I think the depth you achieved between the face and the chest can be studied and repeated over the face to bring out the feel of each section of its surface as it moves forward, backward, and turns from the light.
TL
Wordy and pithy at the same time. How do I do it? It's a gift.
BTW - I gotta add that it looks very different as a thumbnail! At postage stamp size its got a clear outline and a fair amount of asymmetry. Looks damn good.
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True; I hadn't considered that and I realize now I really should have. In that case painting this image on a square canvas was probably not the best idea; the composition of the reference was much better composed.
Yeah, the lighting scenarios on the chest and face are rather opposing, which does throw off the 3D effect as I see now. I think it would have helped to darken the background around where it met with the sides of the face. Going for the backlight effect would take a lot of correction, but that would work too, yeah.
I'll keep the cool and warm thing in mind; I've known that, but I have trouble executing it. I also tend to forget when I'm too absorbed into a painting. That would have helped as well.
And thanks! I'll look into the goals you mentioned. I've done some dabbling in composition research but it's clear I should do more. I'll get right on it.
And yes; it's quite the gift.
Well, that's good!
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These things come out without having to thing about them. But for that they have to be put in. Some people just pick it up without consciously thinking about it, so that they have a feeling that guides them, correctly, when painting. Others have to learn it intellectually. I think the best is to do both - develop the intuitive side as well as the intellectual side.
I'm surprised this is from reference. I thought it was dreamed up from your imagination.
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