Ch 3 Light and Form

 Many different subtleties of shadow shapes, it’ll save time when you paint if you group light and shadow mainly then add a few more groups Image result for old master paintings

Texture in shadow is not the same as in light, much more visible in darker half tone (of light side) 
In over cast light upward planes are lighter but there is no shadow side 

Aimee Erickson's painting, "Sarah", awarded Best of Show at the 2014 American Women Artists national Juried Exhibition.


Separate light and shadow despite the objects color 
George Morton, beautiful African-American black young woman portrait, charcoal and white chalk on grey paper drawing. Florence Academy of Art. #loveart

Cast shadows in sunny days tend to be blue because they are facing the sky unless another source is more dominant 
Image result for old master paintings sunny day
To create drama light the top half of vertical forms and leave the rest in shadow
Zin Lim... | Kai Fine Art


Occlusion shadows are those created by the form itself ie fold in clothing 
Portraits are often created with 3/4 lighting, low enough to illuminate both eyes
Called broad lighting 
Main light is key light
Lighting on the foreshortened side makes faces appear thinner 
Rembrandt lighting creates triangle of light on cheek bone 

If you want to emphasize local color or pattern use frontal lighting 
Image result for apple
Outline appears in real life and reads well from far away Richard Schmid, 1934 | Tutt'Art@ | Pittura * Scultura * Poesia * Musica |
The width of the rim light is the same as the plane that is facing the light, lighter version of object not necessarily just white 
Contre jour subject blocks light source 
    Colors loose saturation - Contre jour #art, #peinture, #CharlesGiron

Comments

Post a Comment

Popular posts from this blog

Graphic LA - pgs 5-37, 58-82, 92

Image
drawing is symbol making reduce everything to geometric shapes and the fewest values value relationships are really important thumbnil to explore possibilities test: is design interesting and possible in two values large shapes make the design, about the wholistic effect you must alter reality, not just copy what you see to make good design, alter values to make readable and demonstrate focus find and emphasize rhythms reduce refine and interpret (can draw multiple times to get to this process)
Read more

Ch 5 Paint and Pigments

Image
ideal pigments are permanent plentiful and nonpoisonous color index names are made to avoid confusion in branding P(pigment) (letter for hue) ultramarine= PB 29 light means leaning towards color (cad yellow light, leans toward yellow) deep means leaning towards red 'hue' means a combination of pigments to replace costly historical pigments binder holds the pigment together gum arabic or linseed oil pigments have hue value and chroma transparency drying time and compatibility w/ other pigments tinting strength is how well it holds chroma when white is added mass tone is the color of pigment when spread thickly over a surface lightfastness resistance to fading of color when in light       colorant molecules break down in the presence of light dyes are not lightfast yellows magentas and violets tend to not be as lightfast tone support with warm colors to help improve your paintings really greate for skies and foliage, warm peaks through and adds an aesthetic quali
Read more