There is a smoky quality to dark pastel paper that has a depth and softness of the infinite. I am surprised that some conceptual artist hasn’t done a show using store bought pastel paper with nothing drawn on them. Nonetheless the paper calls for light, and I try to leave much of the original paper to give a depth and mystery to the shadows. The bowl’s cast shadow on the left and background right are almost pure paper. If I draw careful gradations of light from a smidgen lighter than the paper to the brightest lemon-white I create a hierarchy of tones which in turn is a part of giving the feeling of light. An equally important but overlooked part of drawing/painting light is to place the marks through space, like stepping stones from beneath our feet that extend off in the horizon. Combining the dusky shadows, light, and depth transforms flat paper into an alternative reality. This bridge is what I find magical about art.
Today we’d like to introduce you to Michael Newberry.
Please tell us about your art.
Painting and everything associated with it is my ecstasy. It has given me so much joy, and I have learned so much about myself and humanity while painting. Two years ago I had a brush with death, and I was a little shocked at how peaceful I felt. My art had everything to do with that, not having any regrets. But I am very happy now to think of all the projects I get to paint.
But the incredible feelings I get painting are not the only reason I paint. Art communicates. And I try to make the world a better place by sharing meaningful feelings or showing something special and new to see. There are so many artists that have given me new insights into my soul — I hope I can return that experience, one person at a time. Read more with pics here
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. Continue reading “Anatomy of 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.
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.
Painting Denouement was a chance to live inside glowing, colorful light and to express through art what love feels like to me.
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.
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.