Prabal Mallick's Discussions
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Larger than life
In other words this painting is called 'melodrama'. I call this a fantasy-scape. :)
Mustard Fields
This scene of mustard harvest is very common in the state of Punjab in India. Mustard fields have been romanticized in Bollywood films like DDLJ .
This is done from a photo. I did a preliminary sketch and then did the painting. I wanted to paint from the feel/impression that I had got from the photo. So when I was doing the painting I was looking only at the sketch for reference and not at the photo that I did the sketch from.
Painting dark to light
Sometime back I stumbled upon this page which talks about getting a lot of freshness in painting when one paints dark to light instead of traditional light to dark in watercolors. So I gave it a try.
First I did the sketch as suggested in the page and then did the painting with some changes from the sketch. In the painting I used the suggested technique in the trees only. And here is the outcome. I think the sketch ended up being more fresh looking than the painting.
Pen and Ink?
I have been wanting to use a little bit of Pen and Ink in my paintings for some time. I have never seen how a pen of the pen and ink drawing looks like. I went to some nearby art stores, but they did not have it. So I bought a black gel pen and used it in this.
This sketch is that of Mansi Ghat in Benaras. I wanted to do a quick sketch here and wanted to give finishing touches with ink, which was achieved with the black gel pen. :) Can anybody suggest some resources on the internet about Pen and Ink?
This sketch is that of Mansi Ghat in Benaras. I wanted to do a quick sketch here and wanted to give finishing touches with ink, which was achieved with the black gel pen. :) Can anybody suggest some resources on the internet about Pen and Ink?
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Its awesome. I think the hair is great. I was just wondering how did you manage that with watercolors.
Very nice work. Nice to see a pencil sketch for a chnage.
Nice painting. I too like the sunlight on the foreground tree. Like the scrapings in the bush too. When you do shadows just try to paint it with one quick brush stroke. It should look flat.
You have created a nice intriguing painting.
Very interesting,i love it,great colors,ink work is superb.
Roman
Profile Information
- Country (no abbreviations please)
- India
- City (no abbreviations please)
- Bangalore
- What's your favorite media?
- Watercolors
- How long have you been drawing or painting?
- 1 to 2 years
- Tell us a bit about yourself:
- I used to draw and paint when I was a kid. Then due to a lot of factors I had forgotten about it till I was reminded about it sometime back. I started painting again and this time with a lot more passion than ever. I am an engineer by profession and a self taught artist. I like all kinds of art work. From Indian traditional, folk, religious to contemporary works of art I love it all.
Prabal Mallick
My Painting Blog
p.s. - Some of my paintings are available here for sale.
Prabal Mallick's Artwork
Comment Wall (93 comments)
- At 2:30am on November 24, 2009,
Roena King said…
- I posted my drawing - Eastern Turkey. I still have posession of it, if you see anything I might try to improve it I still can make adjustments. I could not get the darks any darker. Ro
- At 8:44pm on November 23, 2009,
Deborah said…
- Hi Prabal,
If you're asking how I did the hair..... I laid in a wash of gamboge, let it dry than put in several different washes of burnt sienna mixed with ultramarine blue. After those are bone dry I lifted out the highlights than did some brushwork with a rigger to add in stray hairs.
I painted the skin using a technique I learned from Susan Harrison-Tustain's DVD "Watercolor Portrait Workshop". She lays in two clear washes to let the paper get really saturated before she adds any color on the third wash. (While the paper's still damp) The eyes I did entirely dry brush. Hope this answers your question. : )
- At 7:10am on November 19, 2009,
Ramnath Benegal said…
- Hi Prabal,
Thanks for your comments on my pencil drawing.I don't do many pencil drawings now except as a base for watercolour. This is one of my few attempts at portraits.Your pen and ink drawing looks great.Best wishes,
Ramnath
- At 5:43pm on November 18, 2009,
Alana Christine Cullen said…
- I'm working on Festive Artist Trading Cards(ATC) for an Exchange and having difficulty creating an original Christmas scene. I plan to copy your palm trees in ink and wash in Dec. over the holidays, when I am bored to death. That's the worst about being an adult, you don't get toys to play with. So I ordered me a new dip pen and I'll open it Christmas morning and I have three drawings lined up for my new pen, your collage, Roena's storefront and a sailor statue that I messed up and plan to fix. Later.
- At 4:40pm on November 17, 2009,
Roena King said…
- Yes, so you see what I mean. Start looking at every painting "as if you are the teacher and this is your problem to solve". The difficulty is being able to tell someone something that might help them, and still someway encourage.
My immediate challenge is a graphite drawing of turkeys. Each has the tail feathers fanned out (2) and one seeing only a portion of the tail as he is standing behind the 2 in the front. If this one turns out even 1/2 way good, I will post. It is a drawing requested by my nephew.
- At 4:46pm on November 16, 2009,
Roena King said…
- You are a valued friend, because we can just talk. I did not think you could change the painting, but I was just trying to solve a problem......then.......for another painting of a similar compsition WE would know one idea to try.
I view ID&P to be similar to when I taught art. When you teach, your students will bring you problems to solve, and you will be EXPOSED to much even when you are not the one doing the painting. So, I am exposed to many "problems" for me to think about and try to solve on ID&P. Go look at Carol Williams' first painting that she did recently of 2 bicycles riding in a park sitting. Look at that pond's edge closest to the road......it is standing up "looking right at you" and not laying down at all. That is a problem. I have been on a quest to try to figure out........in real nature at times you might could encounter that scene. WHAT IN NATURE are we missing that makes that pond laydown and go away from you? You know how angles make and break the direction things appear to go. Value going in the distance can help, but the other side of the pond in her painting is rather close..........you go look and see what you think.
I saw someones painting, and his street was going ----- a little down hill and the side of the street was a slight angle going into the middle of the painting. Is that the answer? You need to make things going directly away from you go slightly down hill? That might work for a street or a path..........but water does not go down hill. LOL That should give you something to think about.......and if you have any ideas, please share with me, as I can not get this out of my mind until I solve the problem for me. Later...........Ro
- At 7:58pm on November 12, 2009,
Roena King said…
- This is the 2nd professional painter that has mentioned this book as "the best landscape composition" book in print. I would LOVE to own it. I am up to my limit at the moment of books that I have not read, but someday perhaps I can own one.
Composition
There has been a great deal written with regards to
composition in painting and in particular, the landscape. Edgar
Payne’s book, Composition of Outdoor Painting is perhaps one
of the best I’ve come across. Unfortunately, Payne’s book is
out of print and is therefore very expensive. If you happen to
come across a copy for a decent price, snap it up. It’s not a
large book and it has only a few color plates, but I found a new
copy on Amazon once for $51. I signed up for the Amazon
credit card and got a $30 credit, so I was able to get this gem
for only $21!
I THINK THE OUT OF PRINT STATEMENT IS NOT TRUE ANYMORE, AS I FOUND NEW ONES ON AMAZON, AND THE $51 IS ABOUT RIGHT.
One of the comments I read in regard to the mentioned book, was that the author had many, many examples and thumb nail sketches for illistration to handle all sorts of situations.
Let me know ifyou get one, CAUSE I WILL BE SO ENVIOUS!!!!! LOL Ro
My Approach to Painting the Landscape in Oils
By Mike Callahan This is a free download book by Mike Callahan, and I wish you would download it and read it because it has so much good information about composition that you might could apply to your art.
http://www.mikecallahanart.com/ here is the link, and the free download is lower on the right. The book is only 29 pages I think, but I thought it was really good. Just skip the part where it is talking a lot about how he does oil painting if you are not interested.
I also signed up for his free news letter. He has some good ideas and points that I have enjoyed so far.
- At 5:08pm on November 12, 2009,
Roena King said…
- The reflection "problem" sounds to me like a PAY ATTENTION and draw EXACTLY what you see - Drawing on the Right Side of the Brain (book) exercise. I just attempted the negative drawing of a bunch of leaves. So far that has been the hardest exercise for me. Apparently I can not think of 2 things at once (lol), and upon thinking of the problem at hand (drawing only the neg. shapes and not the leaves), I had to cover up the leaf with my finger so that I could only see the neg. shapes. The drawing was not "correct" as far as all the placement, so I guess I need to, first, establish by small dots where the neg. shape goes, then draw the shape, then darken the shape, and then proceed to the next one.
I also have been giving much thought to your painting of the street (going out of the picture). I need to look at it again, and then think more. Hope you don't mind me trying to solve that composition problem in my own mind. Who knows, I might paint something similar one day, and I would have something already settled in my mind to try. Well, without looking again at the painting, my thought so far was.....could you lead the person's eye around in the painting using color? Could the bottom edge of the road be softened so not to demand attention, and then pick one part of the painting to be the subject and make it very detailed? A strong color and detail might keep a person's eye in the painting even though the road leads out of the picture. HUM? I also seem to remember that my sister-in-law told me that a line going out of the painting will not necessaary lead your eye out of the painting unless it goes out a corner. Can't exactly remember where the road exited the painting. Ro
- At 6:10pm on November 11, 2009,
Thelma said… - Enjoyed viewing your art. Especially like the bicycle by the window and also the old truck.
- At 5:47pm on November 11, 2009,
Roena King said…
- To me, the reflections would have to have a value that made them NOT BE NOTICED until the viewer kept looking at the building - door, wood work - and then noticed the reflections, just like in real life. I think it has to be a selection of value. What do you think?
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Here's my attempt. I used soft pastels first, then tried adding oil pastels to gray the water like you see with overcast skies.
When I added the rays of light, I got mud. Another learning experience. I've put pastel pencils on my Christmas wish li...
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