Anatomy of Light

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

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.

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.

Pastel on Dark Paper – Just Add Light

Pastel on Dark Paper – Just Add Light by Michael Newberry

Pastel and dark paper are a great combo to create light effects.

Whenever I am a little stressed or some of my big projects weigh on my mind I get out pastels and some nice black or beautifully dark paper, like a Cansons, and go to town.

I love working pastel on dark paper for one important reason: the pastel being lighter than the paper directly creates a pure colored light.

I remember being in a kind of down mood and when Kimberly arrived to model I wanted to shake off that mood and feel free. We collaborated on this pose, one quite difficult to hold for more than 2 or 3 minutes.

The paper is black Cansons, 19 x 26″.

Advancements in Painting Light

Advancements in Painting Light by Michael Newberry

Light delights us. In paintings is easy to see, but the development of it through history is anything but simple.It has been the focus of some of the world’s greatest artists. It is worthwhile to get a glimpse of some of the innovative artworks that advanced light in painting.

Deliverance of Saint Peter, Raphael, 1514

Creating Denouement

Creating Denouement by Michael Newberry

Denouement, 1987, oil on linen, 54×78 inches.

Why this painting?

Painting Denouement was a chance to live inside glowing, colorful light and to express through art what love feels like to me.

Influences

Puccini, Polyclitus, Aristophanes, Beethoven, and Michelangelo rock my world. In their time, they were innovators with a love of beauty, humanity, and passion. Their art was a constant source of inspiration.

There were visual influences for Denouement. But most of the epic works were from “brown” painters, classic technique with a limited pallet in which dark things are brown and black hues. The French Impressionists had a fantastic sense of color harmonies in light and shadow. What I had in mind was to take the best of both and integrate them.

3 Visual Axioms: You’ve Got It If You Get It

3 Visual Axioms: You’ve Got It If You Get It

by Michael Newberry

Monet, Sunset

Titian, La Schiavona, 1510

As a teenager, I traveled a bit and got great pleasure going to art museums. I would quickly move from one room to another, skimming all the paintings at a glance, until one caught my attention. Then, I would stop to satisfy my curiosity or pleasure in that painting.

Only after I had my fill would I look at the signature or the identification card. The painters were names like: Manet, Rembrandt, Rubens, Michelangelo, da Vinci, Picasso, Titian, Van Gogh, Monet.

I had a particular way of cataloging my experiences with those artists–I sought out the common “things” that drew me to them. There were stunning and mysterious visual components that I wanted to understand.