Transcending Oblivion

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Title change from Man Moving Out of Oblivion to Transcending Oblivion

I have been living with the Man Moving Out of Oblivion for about ten years. The concept is one of a man stepping out of a black void into a ray of light with his hand leading the way. The painting has been through countless edits–everything from life drawings to pastel color studies. I had problems with his arm and hand gesture from the beginning, and it was a lengthy but fun and challenging problem to solve: the hand and arm went from being slightly sideways to ending forward and foreshortened.

 

The transparency of the clothes over a muscular body reminded me of super heroes, which complimented the idea that it takes a lot of strength to keep going when all around you is dark. There was a narrow spot light on his face meaning that his gestured hand had already past through the light and would be dimmed. The painting had thousands of tones of black, which was very tricky to place through space. Recently, I thought I could tweak it and take it to another level. There had been no collector interest in the painting, so I thought “why not?” Continue reading

True Lies: Warp Negative Space

True Lies: Warp Negative Space by Michael Newberry

Rembrandt, Socrates Contemplating the Bust of Homer

“Art is a lie that makes us realize the truth.”
Picasso

With this tutorial I will show how to shape negative space by warping it, thereby creating a believable 3-D image on a 2-D surface.

Painting is made up of positive forms and negative spaces. Think of planets and the empty space between them. In this Rembrandt, one example of negative space is the dark triangular space between the bust, the back edge of the table, and the folds of the man’s sleeve.

Lost in Space.

Many artists spend a great deal of energy on making the forms of the solid objects, such as people and tables. But when it comes to the space between the objects they tend to get lost in the emptiness.

Warping the negative space into a shape is the way to go.

rembrandtDP

This is a detail of the above painting’s negative space. Rembrandt has warped the negative space by a subtle tone shift. The triangular dark shape is more diffused, softer, as it goes back towards the sleeve. And it gets darker as it comes closer to the edge of the bust.

This change is indicated by the gray and black stripe.

negative space sketch

Here I isolated the negative space, and stylized it a little bit to show that it is not a flat space. Rather, the negative space curves to come forward, towards the bust, then it goes back towards the sleeve.

Vermeer, Girl with the Red Hat

This is my favorite Vermeer painting. The back of her head is turning away from us and the collar of the wrap is coming towards us.

redhatD

Here is a detail of the negative background space.

redhatDP

Notice how carefully the space changes: the tones get cooler and darker as they rotate back around the hair, and they get warmer and lighter as they rotate forward.

Monet, St Romain Soleil

Another favorite work of mine is this Monet.

monetDP

Here is a cast shadow inside the cavernous entrance to a doorway. It is a little tricky to discern Monet’s shifts of tone due to the ornateness of the building, and to Monet’s style of mark making.

But the tones do change and do warp the space. The front edge is flicked with darker tones, shifting the right edge towards us.

negative space demo

Here is a little demo of the idea.

Wray, Crystal Cove

This is a painting by one of my contemporaries, William Wray.

CrystalDP

If you think of the rocks as planets and the reflective sand and water as space, you can see how he warped the shape of the water–it comes zooming towards us on a dramatic diagonal.

Vermeer, Woman holding a Pitcher

Vermeer uses infinitesimal changes in tone to carve out space and light.

vermeerDP

Yet, he manages to warp the negative space of the back wall with very little changes of tone.

She has the slightest halo of light, which comes towards up to the edge of her headdress. The light then dims imperceptively, receding a few feet back towards the map.

negative space demo sketch

 

Here again I stylize the concept. The tones of the back wall change to bend the space forward.

Rembrandt, The Blinding of Samson

Rembrandt, The Blinding of Samson.

I wanted to use lots of examples for showing how negative space can be warped. It is really a very difficult problem. But once you have the idea of it, it makes it easier to isolate it when you visually study real life.

rembra34D

The sky in the tent opening changes dramatically in tone to shift the shape of the space.

rembra34DP

It follows the inner flap of the opening from some distance away and increases in light vibrancy as it wraps around and swings towards the soldier’s back.

Newberry, The Sculptor

In closing I would like to share one of my own.

This study of the problem gives a good idea how much I warped the space.

SculptorDP

I had to shift the space quite some distance from her arm and the back wall to come against the edge of the bust.

Again many artists would simply  think that the back is a flat space somewhere back there. But to be true to 3-dimensionality it is crucial to warp the negative space.

I hope you enjoyed seeing true lies in a fresh way.

Michael Newberry

 

Colors of Light and Shadow

Light and shadow are two of the most challenging problems facing a painter. Painters can’t harness real light and shadow; instead they must rely on subtle gradations of color to create the illusion.

rembrandtself.jpg
Rembrandt, Self-Portrait, 1634. Galleria degli Uffizi

In general, I use “light” in painting to mean all those areas which are directly lit by a light source.  For example, in this Rembrandt self-portrait most of his face, the glow behind him, some of his hair, and the front of his coat are in the light. The “shadows” are all those areas which fall outside of the light. To demonstrate the division between light and shadow, I cut and pasted squares of color taken from this painting, and divided them into two groups below.

 

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Grateful

Grateful

Grateful, oil on canvas, 24 x 20 inches.

In the last year I have been feeling grateful for friends, the beauty of Idyllwild, the ability to create so freely, and being in the right place to enjoy them all so much.
How does an atheist find images to express that? These overlapping hands had an abstract quality, something of a butterfly, and, for me, absolutely a feeling of thankfulness. A great pleasure to paint. Nod to Manet’s little fingers.
This painting and several recent works from Idyllwild will be in my show at the White Cloud Gallery in Washington, D.C. November 3rd – December 14th.

 

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Washington, D.C., Athens, and Rome. Follow him on Instagram at @artnewberry.

Anatomy of Light

Understanding the makeup of light and shadow is a fundamental art tool. Indeed, you cannot create forms without it.

eggs.jpg

Three-Quarters Classic Light

A 3/4’s light is falling on this egg form.  This means that 3/4’s of the object is directly lit and the rest of it is in shadow.

Four Key Elements

Just looking at the form, there are four elements: highlight, mid-tone, core shadow, and reflective light.

In the light: the mid-tone and the highlight are the areas that are being “hit” by the light source.

In the shadow: the core shadow and reflective light.

egg1p.JPG

Mid-tone: The tricky part here is to mold your mid-tones so that they accent the form of the object.  Artists tend to flatten their mid-tones by making them too light, and by making the contrast between the core shadow and the mid-tone too strong. Continue reading

Integration, Part 1: Light

Integration, Part 1: Light by Michael Newberry

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.

Newberry, Counterpose b/w demo

Counterpose, 1990, oil on linen, 36×42″ (Black/white photo)

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Charcoal Drawing Part 2

Charcoal Drawing Part 2 by Michael Newberry

In Charcoal Drawing Part 1 you will find what are quality materials you need to get the best results.

With this tutorial, I will take you through the drawing stages.

charcoal drawing demo

The preparation takes about 10 to 15 minutes. Now that you have prepared the paper you are ready to roll.

charcoal drawing demo

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.

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Cast Shadows

Cast Shadows by Michael Newberry

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
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.

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