Composition in One Easy Lesson by Michael Newberry
Cezanne, Still-Life with Apples and Oranges, 1899
There are unlimited possibilities for what one can do with a composition; the combinations are countless. A composition is essentially the arrangement of objects/forms within the border of the canvas or paper. The aim of this tutorial is to illustrate that there is one essential ingredient to a superb composition.
Integration is, perhaps, the most complex problem in making art. Often it is the cause of an artist’s agony and ecstasy. In this two part series, each tutorial will focus on one problem and show how the solution fits into the whole.
The theme of Counterpose is about a harmony of contrast. At that time in my life, it reflected my quest to pull together many different aspects of art and life and to balance them.
I have removed the color from this image so that we can focus on the tonal values of the light.
Counterpose, 1990, oil on linen, 36×42″ (Black/white photo)
In the tutorial, Integration of Light, Part 1, I mentioned that the theme of Counterpose is about a harmony of contrast. I showed how I painted extreme contrasts in light and dark. In this tutorial, I am showing how, keeping to the theme of contrast, I painted extremes of color contrasts.
Jacob Collins, Sensuous Nature of Light by Michael Newberry
To talk about the art of Jacob Collins is to talk about his inquisitiveness.
Jacob Collins is a contemporary realist artist. He paints and draws portraits, landscapes, still-lifes, and nudes. Across the board, he imbues them all with sensuous light and an aptitude for finely wrought detail. He reminds me of a scientist who shines a light on an object to see it to full advantage. And like a scientist, he sees beauty in realizing his understanding of things. He told me “I find beauty in observing and in furthering my knowledge about light, the identity of plants and trees, and even such things as the nature of the formation of rocks and land masses.”
Currently, he is working on completing a landscape project of 50 oil paintings and graphite studies, with the centerpiece being a large landscape 50 x 100″. An exhibition of this landscape project will be on view May 8 – June 13, 2008, at Hirschl Alder Modern in New York City.
If you are like most artists, you love to start with a clean oil painting palette. But like most of us, a day or a week of painting goes by and your palette becomes crusty with dried paint. Okay, some of you have decades old palettes that have morphed into abstract sculptures. Nothing can help with that, but for relatively recently dried paint, the following is an awesome way to quickly clean your wood palette.
With this tutorial, I will take you through the drawing stages.
The preparation takes about 10 to 15 minutes. Now that you have prepared the paper you are ready to roll.
The charcoal rub on the paper is neither black nor light, but solidly in the middle of the tonal range. Here I am drawing with General’s charcoal pencil 6b. You will notice that I hold the pencil at the back end. It may not seem important, but you might be amazed at how the mark making becomes more fluid.
Charcoal drawing is 30,000 years old and marks the dawn of humankind. When drawn on great paper is one of the easiest and most rewarding techniques in all visual art. It is perfect for the beginner because it quickly conveys the image; mistakes are easily corrected, and it naturally enhances light effects. It holds challenges to expert artists as well: it lends itself to the extremes of the freedom of action drawing or insanely subtle realism.
Rives BFK paper.
Kneaded eraser, Pink Pearl eraser. Optional, a drawing eraser.
6 B charcoal pencils. Generals.
Flat compressed charcoal stick, soft. Alpha Color is a good brand.
Portfolio Cachet, 20 x 26 inches. It is lightweight and doubles as an excellent drawing board.
Shop Mechanics Paper Towels (hardware stores).
Sennelier charcoal or pastel fixative.
Glassine paper, to protect your finished drawing.
Exacto knife, for sharpening the charcoal pencil.
Cast shadow is a great compliment to painting light. Dali is a master of cast shadow and uses it often.
Dali, Young Virgin Autosodomized by Her Own Chastity, 1954
There are different types of shadows and a cast shadow is one in which it falls from an object. A good example of it is when you are walking on a sunny day and your shadow is tagging along, you wave and it waves back.
A review of a one-day visit to the Guggenheim’s Matthew Barney’s Cremaster Cycle, June 2003.
The Cremaster Cycle exhibition is a project of five films with some of the sets and props that have doubled as installations. A few unique mediums he works with are tapioca and Vaseline. The cremaster is the involuntary muscle that creates the rising and falling of the scrotum.
A Jerry Saltz, art critic for the Village Voice, comments that he has loved everything Barney has done since a 1990 group show: “Suddenly, this 22-year-old appeared naked, in a videotape, climbing ropes, then lowering himself over a wedge of Vaseline and applying dollops of it to his body.”
He continues: “Since then, Barney has been able to do no wrong by me, which is exactly the kind of unequivocal wet kiss from a critic I hate.”
Seek the Big Form: Study Sculpture by Michael Newberry
Figurative sculptors spend most of their time focused on the best way to present the figure. For painters, there is a lot to learn from how sculptors often bring out the big abstract form of the figure.
Seeing one perspective offered by the photo of the sculpture will serve our purpose. Our goal is to look for the abstract shape of the body.
When working with a model, it is always good for painters to shift your position so that you can find the best view that accents the big form.