Winter Landscape Painting

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Landscape paintings of winter is not only white. Just like the darks in a painting, the lights or whites must be created through dynamic color mixing to grab a viewer’s attention.

Take every opportunity to mix colors and emphasize them. That’s especially true in a winter landscape. You see incredible color usage in winter. Shadows on snow are richly colored in blue and gray-violet, and the winter skies that can often seem one-dimensional are subtly prismatic. Pinks and greens and yellows are undertones you can see describing glowing sunrise or muted sunset .

 

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Figure Drawing

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Rodin drawing rendered at the Met.

 

Life drawing, the representation of the human figure, requires both technique and an understanding of human anatomy.

  1. apply expressive drawing techniques in capturing the human figure
  2.  draw the characteristic shapes and proportions of the human skeleton
  3. capture the basics of posture and motion through gesture drawing
  4. capture shapes and proportions of human anatomy and muscle mass
  5.  use contour and blind contour drawing to capture the shape of human subjects
  6. draw the proportions of the human face in frontal, profile, and three-quarter views
  7.   apply the concepts of volume, perspective, and shading
  8. apply tips for composition, including texture, balance, rhythm, variety, unity, and emphasis
  9. apply expressive drawing techniques in capturing the human figure 

     

     

Working Edges

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Diffused Edges
The contour of forms can become completely lost, leaving little or no definition. Use diffused edges for the following to:
• Indicate foliage in the last plane in your background
• Create ethereal cumulous clouds
• Create realistic waterfalls that appear to be moving
• Indicate crashing waves in seascapes

Soft Edges
The edge is recognizable, but blurry.
• Distant trees and evergreens in backgrounds
• Distant hills
• Things in the peripheral areas of a painting
• Water reflections

Hard Edges
Clearly defined with no sense of being out of focus.
• Rocks
• Buildings
• Rocky mountains

Principles in the light group

cast shadow

Color is brighter in the light. The shadow color should not compete.

More detail and texture is in the light source.

Light can any color. If a little of the light color is in all the painting your colors will harmonize. I usually glaze a light color over the whole surface to hold every thing together.

All forms within your picture should appear to be lighted by the same source and be lighted consistently with one another. Shoot your own reference that has clear light and shadow. You can multiple light sources make one primary and or make one warm and on cool to compliment  each other.

Brighter light, the spotlight. tends to make drama  a softer light. This light tends to be more dreamy and spiritual.

Highlights

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Highlights tell all. They tell you what kind of surface and texture the object has. The more reflective a surface is the sharper the highlight.  Highlights are shapes. They should decrease in value as they move away from the light source. They also should never be brighter then the light source. The color of the light should be in the highlight. When there is warm light , they will have cool shadows.  When there is cool light, they will warm shadows.

Color is duller than light group.  It will show less detail and texture.  You might let shadow be almost flat to simplify the design and put emphasis on the light group.

Reflected light belongs to the shadow group. They should not be lighter or brighter than the light group or they will flatten your form.  Also reflected light can be a shadow that changes values with out competing  with the light group. It usually looks like fog or mist and creates atomsphere.

Shadows are shapes. Good value patterns make good design. Good design mades good impact to the eye. By running shadows together by connecting them, will simplify your design. This will help your eye move through the composition.

The quicker a plane changes direction the crisper the shadow. The slower the plane changes direction the softer the shadow.

Three types of value compositions that have strong impact.

  1. light object on dark background
  2. dark object on light background
  3. dark or light objects on grey background

 

Feeling the Emotions in Your Paintings

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Creating incredibly powerful paintings capture the memory of the scene, mood, and feeling need the following components:

  1. Choice of scene
  2. Gathering visual information
  3. Editing the information
  4. Composing the painting
  5. Creating an underpainting to establish the value structure
  6. Applying color
  7. Manipulating edges, creating details, and finishing

 

Still Painting Water

calm water

The calmest water can have ripples or swell. When this happens, reflections become elongated and distorted forming abstract patterns. This is one area where a camera can be very useful for “freezing” the pattern of moving reflections. The photographs enable you to study the patterns more closely.

website

img4_lowreshttp://www.angelabarbalace.artspan.com

The Euphemia Gallery

 

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Gallery Representation 

The Euphemia Gallery

1319 3rd Ave

Spring Lake, NJ  07762

Phone(973) 998-1141

Tone

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Seeing tone takes practice. Set up  a few objects in a box. Spray paint the entire box and content white. Place a lamp light higher then the box. Look at how the light falls on all the objects in the box  and creates shadows.  Draw the shapes of the objects using 2B pencil. Keep in mind where is the cast shadow. This  will help you to create the 3D shape. Then add in the shadows of the shapes.

By doing this exercise will help you to learn how tone creates three dimensional shapes.

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