One of the most important lessons I teach in my workshops is to find the shadows first. It is almost a guarantee that if you find interesting shadows then the rest of your drawing or painting will work!
Cast shadow is a great compliment to painting light. Dali is a master of cast shadow and uses it often. Michael Newberry shows us how to make the most of them to help create light.
I started this painting circa 2006, and it started as a full-length life-sized work. Then I worked on it on and off for many years. with out getting everything to work together. Haha, not surprising given the theme. Then I cut out/cropped the face out of the painting. Happy with it now. Facing oblivion was …
Using color theory of cool shadows and warm highlights, I corrected this student’s painting. The student got stills with instructions of the steps, here it is simply a time-lapse. Shadows and distance are often either cool or warm, cool shadows imply a cool background. It works. I did about 12 steps, cooling up the background and shadows. For example, on the lips, I changed the blood-red shadows to violet,
“I began art lessons with Michael as a true beginning student. Michael was patient and kind, but honest, which allowed me to progress while not feeling intimidated. I was excited to learn about technique with different media, color theory and light. Michael’s passion and knowledge instills positive energy in his students.”
It’s a shame that Duchamp’s cynicism, Kant’s aesthetic nihilism, and the CIA’s misguided and malicious underwriting of Abstract Expressionism and its shills combined to foster hope of greatness to talentless, pretentious hacks. In his frank assessment of his art, Saltz is completely right. Expertise in drawing and painting, a grounding in art history, and vision, all those elements need to be mastered to become a great artist. Yet, instead of doing the massive introspective and technical work necessary, Saltz opts for a scapegoat. Truth is to blame.
Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate
By seeing everything outside and inside of us, and connecting the dots we become magnificently alive and fearlessly free to explore existence, and turn those experiences into treasures of creativity.
Perhaps the most difficult part is the introspective sorting of the emotions that lead and add up to a celebration of love. And to eliminate the cynical voices that have zero to contribute. And to be sensitive enough to have the “ah ha” moment when I see its manifestation in the models’ poses.
The idea is the paper is your dark areas, sketch in the composition and leave the darkest part alone. From there you focus on bringing out the light, driving towards the light, with the last touches happening in the last few minutes before your hour is up! This approach works wonderfully and it feels magical while doing it.