![]() ![]() ![]() Also investigated are a number of key issues related specifically to Vermeer's studio methods, such as the camera obscura, studio organization as well as how he depicted wall-maps, floor tiles, pictures-within-pictures, carpets and other of his most defining motifs. I will email you a pic of that commission painting.Looking Over Vermeer's Shoulder is a comprehensive study of the materials and painting techniques that made Vermeer one of the greatest masters of European art.īolstered by the author's qualifications as a professional painter and a Vermeer connoisseur, every facet of 17th-century and Vermeer's painting practices-including canvas preparation, underdrawing, underpainting, glazing, palette, brushes, pigments and composition-is laid out in clear, comprehensible language. I don’t add figures unless it is a commission or I need something to suggest scale, like Edgar Payne’s Indian on horseback at the base of a massive rock monolith.Įven with the commission piece I did of the young boy and his Golden Retriever the brush strokes are kept to a minimum with one color or value suggesting a plane change. Look at James Reynolds cowboys or Richard Schmid’s figurative landscapes (although Richard said in one of his videos that in his earlier days he would have been tempted to put a figure in it to clarify the center of interest – something he no longer does). If you look at the best painters of figures in landscapes their work borders on too little detail rather than the other direction. Simplifying detail and softening edges will create a feeling of realism. If we sat and scrutinized what was in front of us we might catch many of those details, but does the average person do that? We usually see that kind of detail in a photograph only. The reason for simplicity is that trying to fit in too much detail often has the opposite effect of realism because we don’t see all that detail with a glance. Simplicity is essential Lee, especially if the figure/s is small relative to the size of the painting. Want to enjoy the full Plein Air Training?Ĭlick HERE to learn more about the East Coast Plein Air Training – it includes the Indiana River mentioned in this post as well as training from 3 other beautiful locations!ĭo you have a question or tool you’re wondering about? Comment below and it might just end up as our next Painting Tip ‘r Tool! With the shadow under the trees along the right river bank, the shadow is cooler as it comes out into the river because it is a direct cast shadow on a warm-light (the sun) day, so I add more blues (ultramarine or phthalo blue) or greens (phthalo green) to the shadow color.Īs the shadow approaches the base of the trees it gets warmer because it’s affected more by ambient light than direct light and ambient light is generally cooler (like north light), so I add warmer colors to the mix like transparent oxide red or a touch of cad red medium – maybe even sap green (warmer green than phthalo).Ĭomplimentary colors and warm/cool color temps are fun to play with, and the warmer reds in the shadow color works well with the cooler green foliage placed on top. After those I modify the color by degrees based on whether the shadow is warmer or cooler. ![]() Ultramarine Blue and Alizarin Crimson Permanent are the base for my deepest dark values.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |