Newberry Art Tutorials
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, red+blue=violet. Then I softened the edges where there was a strong line between shadows and highlights, they always need a middle tone dividing them. Then I finished with the light using a light peach, light orange or peach is the opposite of blue — Warm light, cool shadows. I hope this is useful to you.
Michael Newberry, Idyllwild, 4/1/2020
I studied with Michael Newberry for a year, and twenty five years later still use at least one thing which he taught me—about color theory, massing of shadow, the ranking of lights and darks, and sketching the figure, finding the lyrical line—every single day in my studio. He is a skilled communicator, a passionate artist and instructor, and my year studying with him was one of the best investments of my career. I would recommend Michael’s instruction one hundred percent.
Michael will help you evolve no matter where the level of your skill might be. He will guide you and help you with good techniques but at the same time, he respects the integrity of your personal artistic skill by allowing you the freedom to be yourself within your own art. I enjoy his mentorship. Within 6 months under his guidance and personal attention to my artistic needs, I am painting like there is no tomorrow, after each session, I could see how much I’ve learned and continue to evolve, it’s a life changing experience for me!!!
Chan LuuContinue reading “Student Testimonials”
There was a crazy split in art history between the modernist perspective of being true to the surface of the canvas vs. the classical window looking at out the world. Paradoxically, both are true but they missed what connects them: light and color vibrations dance on our cornea’s surface.
The recent color charts below are a range of colors of different tones and hues. The project was to bring each color up to the surface, they feel about 1/8″ above the surface as if they are painted ceramic chips. I successfully tweaked them until the paint raised the vibration of the color. Then I began editing small 9×12″ paintings from a trip on Route 66. In each I brought the color vibrations up to the surface yet maintained the “window on to the world”. Notice the rocking horse’s cast green-yellow shadow, and how it rises to the surface yet still resonates as a shadow.
Armed with this new insight I have been applying it to my current life size humanist work, a nude at home in my studio sanctuary. Integrating this new process will be my evolutionary project for the coming years.