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.
Paul Rego is an artist that has a great reputation in the western art world, with shows at such esteemed places as Marlborough Fine Art, the Tate, and at the eponymous museum Casa das Histórias Paula Rego in Cascais, Portugal. She was made a Dame of the British Empire, and she has several honorary degrees, including one from Oxford. Her works, many of them large, are creepy, figurative narratives with distorted proportions, often dead colors, and intellectual rather than a sensory experience of light. Her works remind us of Lucian Freud’s ugly rendering of people and of Paul McCarthy’s myriad celebration of disgust, such as his turning Disney and other cartoon characters into self-mutilating, loathsome, and sinister monsters.
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.
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!
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.
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.
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.
The very first thing I teach in workshops is to compose using triangulation. It is a sight method of finding two main landmarks then triangulate to find the third landmark. The problem: when you are just drawing freely it is easily to over generalize, and it doesn’t take much to mess it up. Instead of getting a beautifully natural looking landscape, portrait, or building, you are left with something warped. Often master artists use variations of triangulation and other techniques in their mind’s eye, so you don’t see them literally draw in angles, so it appears like magic when they place things perfectly!
In this pastel drawing I started on the left bank drew the direction of the slope to the right edge, using my finger or pastel stick to mimic the slant. Then using the same technique finding the slant of the center of the palm in relation to the 2 edges.
The video above thoroughly details the process. How to use the pencil as a view finder, and using an imaginary clock face. This lesson makes for an excellent class. About 10 min.
In our last workshop in Provence, the wind really picked up and sought refuge in a wonderful church. A church interior had a high vaulted ceiling and windows placed in curved walls, they triangulation really helped get those nuances. This is the demo from there, time-lapse, 34 sec.
One of the most important lessons I teach in my workshops is to find the shadows first. It is almost a guarantee that if you find interesting shadows then the rest of your drawing or painting will work!
The hard part is that looking for shadows (cast, core shadows of the thing, and areas of dark) is counter intuitive, most people look for the color and a beautiful thing. Trust me, without the shadows it is a lot of work with little to show for it. In my pastels below you will probably notice the light and color, but what set up each one were the blocks of shadows.
The process starts with a dark paper, compose with any dark medium color playing special attention to main shadow areas. In cases with shadows of a yellow or white building, I lighten the shadow, but only one or two tones up from the paper. The rest is a lot of fun, leaving the shadow areas alone, then focus on the light and color areas, adding light by subtle gradations until I finish with the brightest light.
Time-lapse triangulation of a magnificent convent in France. 34 sec. One of the lessons from our @ProvenceArtExperience workshop April 2019, was how to draw this church’s beautiful interior using triangulation. It is an awesome technique which artists can use to place a few objects like a group of trees and a pond, or more complex things like a portrait or figurative work. The idea is to use two landmarks as anchors and sketch in the direction towards a third point/landmark, making a triangle, now armed with three points you map out like star chart all the relevant points. This process elegantly solves issues with perspectives, foreshortening, and proportions. I think it is the best path to arrive at beauty.
A Visit with My Friends/Collectors in their Palatial Home
Visiting Beziers and Making Amends
About 6 years ago I flew in and out of France to give a workshop. When my European/American friend Bonnie found out that I’d been there, she was terribly disappointed that I didn’t visit. This year I gave Bonnie and her husband Robin notice that I had 3 extra days before my art workshop would begin in Provence. To my great delight, both of them managed to come from London (main residence) and Germany (work) so that I could stay with them at their Beziers home!
Artworks Are Like Puppies
It was an opportunity to catch up with dear friends, to get updates on their adult kids –who I knew before they were born – and revisit some of my works and those of some of my past students. People say paintings are like the artist’s children, but that is hyperbole. Perhaps a better analogy is that an artist is like the head of a dog shelter and the pups are under his care until he finds loving homes for them.
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 “Transcending Oblivion”