Student Testimonials

Chan Luu, Orb, oil on panel, 12x16"

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.

Melissa Hefferlin

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 Luu

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Color Theory: Shadow and Depth Share the Same Color Base

Newberry, Clay Jar with Burnt Umber Shadows, 2017, oil on linen, 10x8"

Newberry Art Tutorials

Painting Is a Lie That Helps Us See More

An important part of being a true artist is exploring visual knowledge. In this series of small 10×8″ paintings I tested my hypothesis that the hue (color) of shadows would have similar hues in spatial depth. The idea was gleaned from two things: looking at landscapes when the distant mountains are blue and there is blue in the shadows of everything including in the foreground. And from my study of the colors of the light and shadows of Rembrandt and Monet, what was different yet similar between them.

At first glance of my paintings above look fairly natural and you will notice the simple objects gently lit. Which is a good thing. This implies that the hypothesis is working. They each have a different color base: red, black, burnt umber, manganese blue, ultra marine blue, gray, and sienna. This means when a lit white stripe in the foreground enters into a shadow it will merge with that shadow’s color base, for instance if the base is manganese blue the white stripe now turns turquoise. The real complexity begins when the further you go back in space the colors of things take on more manganese blue hues.

This fits with a classical view of warmer colors come forward and cooler colors go back but what happens when we reverse this and give the shadows the hot red or sienna and use those hues to blend with the background colors? Yay, it still works in the sense of creating depth and light. As soon as the first artists started painting real things like horses on two-dimensional cave walls there was a paradox that it was a lie and a truth. The advantage of being able to work with radically different color schemes gives the artist more emotional range and visual options. And it gives the viewer more to look for in the world around them.

Workshop Series: Composition!

Newberry Art Tutorials

Some Guidelines For Great Compositons

In my workshops students have plenty of time to compose the work, the line drawing set up before painting begins. The following tutorials show techniques you can focus on as you map out the painting’s composition.

Composition in One Easy Lesson

Van Gogh, demo
For demonstration a markup of Van Gogh’s bedroom in St. Remy. This was one of our wonderful locations in our 2019 Provence Art Experience Workshop, and might be on our itinerary in 2020.

The lesson in three words: Make interesting corners. In this tutorial I show how some of greatest artists of composition, Vermeer, Cezanne, Picasso, Van Gogh, Diebenkorn, and Velazquez make fascinating shapes and lighting in the corners. It is a very simple way to get the most out of your composition without having to remember a million rules!

Abstraction in Representational Art

My mark up of Rembrandt’s One Hundred Guilder Print, showing how he grouped light and shade into large abstract shapes incorporating several figures. Abstracting is handy way to organize a composition.

Though this tutorial is not strictly about composition it will be helpful to see how one can organize abstract shapes in a compositional way. Using Rembrandt, Kline, and Monet I show how they group things into broader abstract shapes. This is an extremely powerful technique that gives the viewer an epic journey through the big picture.

True Lies Warp Negative Space

A markup of a detail of one of Monet’s Cathedral paintings. The gray and dark gray stripes mark the darker, closer edge of the doorway’s shadow and the lighter, further away edge of the shadow. A very exciting and dramatic tool to breath passion into your work.

A very surreal artist’s perspective but indispensable to give life to your painting is accenting the negative spaces of things. I go into detail showing how Monet, Rembrandt, Vermeer, myself, and William Wray manipulate negative space to create a sense of movement in the painting. If you can take a few seconds, while composing, to check the negative spaces it will add tremendously to making a powerful painting.

Pushing the Composition Envelope, Melissa Hefferlin Still Lifes

A still life from Melissa Hefferlin, one of the greatest artists of composition alive today. Her biggest strength is balancing negative spaces.

This is a very helpful article on how Picasso and Hefferlin arrange their compositions, and how Melissa manages to do so in a realistic way.

When you are taking a workshop with me you don’t have to hold all this info in your head, that is my job, but it is good to read up on these tutorials. I hope you enjoy them and I guarantee you that adding them to your technique will feel great and raise your art up a few levels.

For more about studying with me please introduce yourself and your work via email, mtnewberry at gmail dot com.