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rajnesh kumar
rajnesh kumar
india
Independent artist. Love to make portraits and study classical art but sells non classical art.
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rajnesh kumar
hi, what are some of the differences and challenges the artist have between outdoor and indoor? how to deal with people and not get them mess with the artist mind? i tried painting 3 times and i had extremely hard time mixing color, it went muddy to fast. the light kept changing and as i'm not proficient in mixing color fast i would be lost and didn't know what to do next. talk about the materials to carry.
Doug Madill
I always try to be nice to people out on the street, they have as much a right to be there as you do. When I bring home a painting from outside, I always expect my indoor eye will detect areas I had trouble with and think back to that moment outside. We all hope for the best. Usually, when a light/dark value wasn't behaving as it should, chances are you painted everything within too narrow a value range. Color won't matter if the value is off. Slightly exaggerate your expression of the lightest light and the darkest dark when you're outside to give your painting more room for value expression.
Stan Prokopenko
When I don't want to be bothered I wear over-ear headphones. People know I can't hear them, so they don't bother me. mixing colors - that's one of the biggest things I used plein air for.. Improving my understanding of color and mixing colors. It's very hard. You won't get it right immediately. Especially if you're not doing it with an instructor. Keep practicing. Read books on color and painting (two recommendations below), do studies of other people's plein air paintings, simplify, make sure to get values correct first then colors. You will get better slowly. Eventually you'll be awesome. Try to enjoy the adventure of plein air and the struggles will be more bearable. Alla Prima by Richard Schmid - https://amzn.to/3khxcUC Color and Light by James Gurney - https://amzn.to/3yWlbYy
Stacy Gibson
I recently watched a show called "Landscape Artist of the Year" on youtube where the one of the plein air artists took a photo to help them remember the lighting and shadows of the scene they were painting, then continued to refer to both the photo and the live landscape as they painted, choosing what they liked from each. Hope that helps!?
rajnesh kumar
how was the journey of meadow gist in the art world, from student to getting a gallery? how did she survive the early years as an artist? what work or jobs helped he in the early days? after getting proper skill set what all options does an artist have other than teaching and being a gallery artist?
Meadow Gist
I began study of art at a local junior college. At the time, it was just for fun and an outlet while I decided what I wanted to do. I found that I could not imagine a life without art, and decided to increase my learning by going to Watts Atelier, where I could get more specific about the subject. I worked part time at a Trader Joes, and did signage and artwork at the store, as well as cashiering and other duties. It was a good job, and for the time felt I would stay with the company part time, and do classes at Watts for pleasure. I began to do some teaching with the school and at the same time a mural at Traders. After 6 months of 2 am shifts and standing on a ladder, I was pretty burnt out with doing art at trader joes. Jeff Watts approached me with working more at the school and less for Joes. I did a lot of odd jobs at the school like model booking and organizing and some teaching. I started on a path of costume making for my own paintings that I was venturing into. Eventually I had was in a gallery. Galleries can be tough to rely on solely. I now teach a little, paint for a couple of galleries, and sell antique textiles through an online business. I started selling textiles after acquiring many of them for my costumes over a decade ago. I like to split my time between these three businesses. I run my online shop in the morning, and paint in the afternoons. I highly recommend having a side job or business to make the transition easier. It is extremely difficult to have a consistent income from just galleries alone. For instance, I would have been in dire straits had I only had a gallery income last year during Covid. My shows were cancelled for last year and this year. I am glad I have other means of bringing in income. It allows me to paint every day without a huge stress hanging over my head.
rajnesh kumar
Portrait study
rajnesh kumar
Portrait study
rajnesh kumar
while mixing color keep us in the loop for what are you thinking and why are you mixing those colors
rajnesh kumar
while mixing color keep us in the loop for what are you thinking and why are you mixing those colors
rajnesh kumar
Asked for help
i have painted in oil before but not portraits so i am taking some online classes and these are my attempts. i feel scared touching the canvas with oil so i just keep leaving the process so how can we overcome this fear and how can i improve oil painting . thank you . take care.
rajnesh kumar
Asked for help
these are my recent works. your critiques can help improve my skills, please be free to send your thoughts
rajnesh kumar
some of my early works, still long way to go. open to everyone's critique
Alec Brubaker
Hi Rajnesh, very nice drawings! I think something that would benefit you quite a bit is a bolder distinction between your light and your dark values. My approach here was to identify a group of values that would be my shadows, and a seperate group of values that would be my lights, and make sure they don't intermingle. Only after I have a bold light/shadow composition do I come back in and bridge the gap with a middle value where the form turns from light to shadow. Also the idea of 'simplicity vs complexity. Since the Asaro head has a lot of complicated values going on I'm leaving the background very simple with a tightly clamped value arrangement to help the focus of the image pop more boldly, and draw our eye to it. Hope this helps a bit, keep up the good work : )
Ade Jabo
3yr
The last one looks to me like a piece of modern art. I could swear I saw something not as nice on a cover of Polish science-fiction book from the 1970s.
Julia Whitenight
By "early works" do you mean these are from some time ago? I ask because if you have more recent work, that would be useful to see (maybe by way of comparison). If by "early works" you mean they're recent, but you're a new artist, then apologies for the misunderstanding.
Philipp Meyer
Good work. I would suggest splitting studies and finished pieces into seperate groups. Thinking about compositional ideas adds another layer of complexity and difficulty that might distract from the thing you wanted to study in the first place. But I guess that could be considered a personal opinion. Structurally there are some issues in your drawings. For example the features of the face in your first drawing do not line up correctly. I'll add an image with the alignments that shows the error. Additionally the individual eyes are tilted relative to one another which is a common mistake. Adding guidelines in the beginning stages of the drawing helps preventing that. The shading of the Asaro head is pretty well done in my opinion, even though again there are structural or proportional issues (check height and width measurements during the lay in). Hope that helps a bit. Keep up the good work. :)
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