Sometimes the simplest ideas for your artwork is the best. However, sometimes simple doesn’t paint the picture you wish to paint. The drawing to the left was done for a future watercolor. Although the simple, lone figure will be the main focus, he will be sitting amidst a very busy painting. Why? because that is what I wanted to paint when I began toying with it. The painting is still in the planning and sketching stages, but is coming along.
Richard Burton: Sketch work for future watercolor
Not all paintings tell a story, but many do. I wanted this one to show an elderly gentleman sitting on a planter area surrounded by exhibit booths. The gentleman sits reading a newspaper oblivious of the “going on” around him. He also is oblivious to his grandchildren sitting next to him (one on each side) that appear to have ridden their bicycles up to meet him to spend time with him during his break from working one of the booths.
Richard Burton: Sketch work for future watercolor
With sketchy parts, scissors, tape and some time, I began formulating the idea.
This painting will never work if I don’t get all the beautiful colors into it. This is one time that graphite sketches may not give me the value work the way I envision. Color is going to be everything.
The overall composition of the future painting is beginning to show signs of breathing…slowly, but surely, it’s coming alive. The great challenge has been the perspective. Although, It has been a tasking situation that truly tested my abilities, it was worth every agonizing moment. When I say agonizing, you might notice the drawing with the torn and dark spot created by the many times I placed the graphite pencil tip into the vanishing point. The composition is still “a work in progress.” There are still other booths to vanish on down the line, but since I’ve done the hard work figuring their proper location, it should be relatively simple.
Richard Burton: Sketch work for future watercolor
Now, my great challenge is to plan the overall color scheme of the painting. With the vegetation and colorful exhibit booths (umbrellas are red) diminishing into the vanishing point on the left and working back to the front on the right, hopefully it will direct the viewers attention to the main focal point, Pappy and his two grandchildren. I wish to paint the palm and ficus trees in the background to set the overall color of the composition. My intention is to paint some loose abstracts of the painting, experimenting on this.
colorful foliageColorful foliage
I took some snapshots of foliage when I was in Miami a couple of years ago. The picture of the elephant leaves are in the background drawing sketch behind ‘pappy’ and his grand children. The colorful leafy plant will wrap around his head like an umbrella. If it works out???
Exhibit booth in Miami Beach, FloridaRichard Burton: Sketch work for future watercolor
The photo to the right was my inspiration to Pappy’s Tropical Fruits and Drinks stand with its colorful fruits laid out on top of the counters.
I’m sure you can see that color work will be the success or failure to this hope to be watercolor.
The artistic movement, Art Nouveau, was given a name when the American connoisseur, Samuel Bing opened his shop in Paris in 1895. He named the shop “La Maison de l’Art Nouveau.
By 1900 the new esthetic was evident in the works of Post-Impressionist painters such as Paul Gauguin and Paul Signac, and was especially noticeable in the art of Toulouse-Lautrec.
Paul Signac: Portrait of Felix Feneon
In Austria the Jugendstil (youth style) was espoused by the Secessionist movement of young artists and designers. Gustav Klimt was one of its most prominent figures. However, the person who most represented Art Nouveau was Czech artist, Alphonse Mucha, designer of posters for Sarah Bernhardt.
Toulouse-Lautrec: (Poster) Reine de Joie
The movement swept across Europe and as a style extended beyond fine arts. Almost all aspects of material culture, from riding boots to ashtrays, postage stamp to furniture were redesigned in the “art nouveau” style, with characteristic swirling fabrics, wind blown plants and trailing tendrils. In New York, Louis Comfort Tiffany produced lampshades dripping fruit illuminated from within. The movement even inspired architecture. The Spaniard, Antonio Gaudi, designed buildings in a very personal style.
Art Nouveau embraces all the elements of design. It was international, genuinely popular and not restricted to an artistic elite.
Tiffany Lamp
Alphonse Mucha: (Poster) Donna Orechini
Gustav Klimt: Adele Bloch-Bauer’s Portrait: Oil and golden and silver foil on canvass (1907)
For the artist, communication with nature remains the essential condition. The artist is human; himself nature; part of nature within natural space~Paul Klee
Lynn Burton: (Oil on Canvas)
If an artist develops an attitude to the natural world of attentively having a modest view of ones own importance, feeling that, as an artist, they must return to the actual moment of creation of their subject, looking deeply into the dynamics of its structure and thus participating in it, the connection between art and nature clearly manifests itself in the finished work. The link between art and nature has always been intimate.
When Paul Cezanne contemplated natural landscape form, it led to his crucial ideas about underlying structures. This has shaped the course and influenced landscape painters for over a hundred years.
Paul Cezanne: Mont Sainte Victoire (1887)
However, before Paul Cezanne and his concept of underlying structures, the impressionists painted “en plein air” (in the open air). They directed their focus not to the human being as part of nature, nor to art as a separate language, but to nature itself. Today, painting “en plein air” has resurfaced and become very popular among many artists, but Cezanne’s concepts have so permeated the art world that the good art student still steps back in humility towards nature and peers deeply into its dynamics and structure.
R.D.Burton: (watercolor sketch for finished painting)
Although art has gone through many changes, isms and schisms, popular movements, and much much more, it still finds its way to be rooted in nature. Art by its very nature imitates nature. This is even true of the abstract and surreal artists. No matter how much they try to get away from Paul Klee’s suggestion that the artist is “part of nature within natural spaces,” the bond remains close.
As artists we can distort and exploit natural form, or attempt to tap into the unconscious or the realm of ideas as part of our quest toward originality. However, when we do, we tend to imitate (no matter how slightly) forms somewhere pre-existent in nature.
The night was cold and damp…dreary, to say the least. It was eleven-thirty in the evening, and I’d spent three hours walking from hotel to hotel in an attempt to find a room while wheeling behind me a large Sampsonite piece of luggage with another suitcase tied to it. In my other hand I carried a heavy briefcase completely filled with files. After three miserable hours of defeat, I realized I’d come full circle. I was back where I started, at the Le Meridien Grand Hotel. It was a hard days night in Nurnberg!
When I say a hard days night, I mean a hard days night. My work day began by getting on a two-hour flight from Ohio to LaGaurdia Airport, and after a two-hour lay over, an eight-hour flight to Frankfurt, Germany. From there I took an over two hour train trip to Nurnberg. With time in airports and layovers and train and taxi trips, I’d put in fifteen hours before my day began. I do not rest or sleep well on planes, trains and taxis, but I arrived ready to participate at a local division office of an international publishing company for which I was a sales trainer at the time.
It was in early December, 1990. This was not my first time coming to the ancient and historic city of Nurnberg. As a sales trainer, my responsibility was to help develop and train sales managers and representatives for the company. Our customers were the American military, so speaking German was not one of my requirements since the representatives all spoke English. Personally, I only knew a few words; such as guten morgen (good morning), guten noben (good evening), and a few others, such as Pils bitte, danke (Beer please, and thanks). I did know a few more than these but not enough to communicate.
Before this trip, I found most people working in the hotel and restaurant industry spoke adequate enough English for me to feel comfortable. However, since the Berlin wall had fallen the year before, everything seemed to have changed in the industry. Many non English speaking East Berliners had crossed over to the West and was now working in the hotels. I don’t know if it was just a late night shift situation this fateful evening of which I speak, but of all the hotels where I attempted to obtain a room not one person at the check-in counters spoke English. I understood well what they said to me in German, though. They all finished their sentences with “nein Zimmer,” meaning, no room.
I distinctly recall to this day the desperation I felt as I leaned against the outside wall of the Meridien after the hours of searching for a place to stay that evening, wondering how I had gotten myself into such a mess. Up until this time I considered myself to be an expert traveler, but I was in a quandary, having no idea what I was to do?
Actually, I, personally, had not gotten myself into this mess, nor had anyone intentionally done so. It was simply a failure to communicate. As usual, after the sales meeting with the representatives and local managers at the end of the work day, the division manager and I went to dinner to discuss more private matters important to his operation. As the evening began to wind down, I started to ask him where I had hotel reservations. Before I could ask him, however, he said, “Where’d you find a hotel?”
“What?” I asked, perplexed. It was always understood the local managers had my itinerary set up with hotel stays. “You haven’t set up a reservation for me?”
“No. I called the home office last week and explained that with the toy conventions all over Bavaria there were no hotel rooms available. They were all booked, and they had been for weeks. I couldn’t find anything anywhere. They told me not to worry…that you were resourceful. You’d find something.”
“Glad they had confidence in me,”I muttered. No one had bothered to tell me. I glanced at my watch. It was eight o’clock in the evening. “I better get started,” I said.
“What’re you going to do?” He asked, with a voice of concern and a perplexed look on his face.
“Drop me off at the Le Meridien Grand Hotel.” I said, trying to sound confident. “The hotels in that area are expensive…more likely to be cancellations.”
No, I hadn’t gotten myself into this mess, but it didn’t matter as I leaned against the hotel wall, wind blowing stinging sleet into my face. I was still in a heck of a mess. But there was a stubbornness welling up inside me that raised my ire to a level of self chastisement. I felt determined not to let this night end the way it was predicting. In my mind, with my ego, there was no way. Who was I? I was the person who spent his lifetime turning lemons that life dealt me to a thrilling and exotic lemonade. I knew at this moment that I had to reach deep down inside myself and become very creative.
Suddenly, I had a thought. It was brilliant! It was as if a brief, clear, blinding flash flickered across my brain. “Yes!” I said, almost screaming. It was truly one of those eureka moments. I knew exactly what I was to do. I grabbed my cases and headed toward the entrance of the hotel. This hotel was where I was going to spend the night, and I knew it. It was going to be my artistic and creative talent that was going to get me a room for the evening; of this, I was certain.
The young, blonde haired, lady that I’d spoken to a few hours earlier when I tried to check in was still at the counter. She looked up at me. When she saw me, she glanced down almost sadly, shook her head, and said something ending with, “…nein zimmer.”
“Ya, ya,” I said, as I confidently wheeled my luggage past her and into the lobby. I immediately settled upon a couch and took out a pad and pencil. Before beginning to sketch, however, I glanced back at her. I knew by the concerned look upon her face that she was worried about me squatting in the lobby all night. ‘No,’ I said in my mind, ‘…not to be.’ I was going to sleep in one of their beds. I just needed to hurry before she could call someone to run me off.
And hurry I did. It took less than five minutes to scrawl a complete communication that would hopefully allow me to score a room.
#1 sketch
I placed the first sketch on the counter, and asked, “Do you have a conference room here?” Her response surprised me. “Ya, ya…conference room,” she said, looking at the sketch. I thought I’d hit pay dirt by her reaction! She seemed to understand me perfectly. Had she said conference room?…in English? It wasn’t until the next day that I found out one of the interpretations for conference room was Konferenzraum. The pronunciation was very similar.
Gaining confidence, I pointed to the roll-away bed with the bell boy placing the bed inside of the room.
“Ya, ya,” she said, nodding her head positively as if she understood.
#2 sketch
Then I showed the sketch with a man (representing me) in the roll-away bed in the conference room. I hoped the z’s coming from him was an understandable universal language representing sleep. In the event she did not understand, I spoke a few words I knew: “Nacht (night)…miene (my)…zimmer (room)”.
She took the sketch and turned it sideways, upside down, and then right side up again. She looked at me, studying me, and then she looked seriously at the drawing. When she looked back up at me, I put my open right hand on my shoulder with my left hand over it and laid my head askance on top of them and shut my eyes, making a noise, pretending to snore. When I opened my eyes, I said, “Conference room. Meine…zimmer…nacht.”
“H-m-m-m,” she said, glancing back at the sketch. I think she was beginning to enjoy the charade.
#3 sketch
I laid another sketch in front of her. It had the following words written on it: Morgen (morning); zimmer (room); gast (guest); and abreise (check out). I’d forgotten I knew so much from my travels. I felt the four words would tell the story. If not, I hoped the drawing would do the trick. I could almost see the gears turning in her mind. She seemed to be keeping up with me. I crossed my fingers hoping to die that I wasn’t wishfully thinking.
“Morgen…wach…mich,” I said, as if suddenly I’d fallen into a pool of fluent German. (Interpretation: Morning…wake…me. I learned these words on my first trip to Germany so I could get a wake up call.) After this I handed her the next sketch.
#4 Sketch
This sketch showed a picture of the bell boy wheeling my luggage toward the room from which the earlier guest checked out. “Meine zimmer…morgen.” (Interpretation: my room…morning) I said, determinedly. I was hoping she understood that the person in the checked pajamas was me following the bell boy to the room that was first checked out in the morning. But I wasn’t sure. The way she kept glancing at me and seriously staring back at the sketch made me nervous. I came to the conclusion she was trying to critique my art, trying to see if there was a resemblance to me.
I wasn’t trying to impress her with my art. Didn’t she understand that I was simply trying to communicate? These were only hen scratches. I had a serious message to portray. I was tempted to try and explain. Fortunately, however, wisdom set in and I continued my quest.
I handed her the fifth sketch, pointing to the man in the bathtub, and said, “Ich…bad…morgen.” (Interpretation: I…bathe…morning.”
“Ist Sie?” She asked, pointing at the picture and then at me. I didn’t understand her words but did her action. She wanted to know if the person in the picture was me. “Ya, ya,” I replied.
“Nein,” she said, shaking her head emphatically no. Then she did the oddest thing. She reached over and gently pinched me on the upper arm and pointed to the arms of the man in the picture. “Sie,” she said pointing at me, and then holding her arm up crooked as if flexing a muscle like a weight lifter. “Ihn,” then she pointed to the man in the picture and held her arm out limply, giggling.
I felt as if I’d just had a serious critique of my art. “Baden…Morgen,” I said, a little more somber than intended.
“Ya, ya,” she said, becoming serious. “Einen moment, bitte.” She took the sketches and put them in order with sketch #1 on top, turned and took them to a room at the back of the counter. I hoped I hadn’t upset her.
In a matter of minutes a portly gentleman came out of the room with the clerk following behind him. He was holding my sketches. “Nein,” he said, shaking his head.
My heart sank to the soles of my feet. The sales pitch of my lifetime had failed and disappeared into the quagmire of bad travel experiences the world over. I was destined to a night of hanging around the train station, pretending to be waiting for a train. I would get no sleep, and I’d been up well over twenty-seven hours by now. Before I could say anything, however, I noticed what he was doing. He was rubbing his thumb back and forth between the tip of his index and middle fingers. ‘Yes,” I thought, “the universal language.” He was talking money, like in, give me some. I still had a chance.
It didn’t take me long to realize I totally misunderstood him. He wasn’t asking for a bribe. He kept using words like aber (but) and pries (price) and zimmer (room), I realized that he didn’t know how to properly charge for the conference room. “Room price…zimmer pries,” I said, firmly.
I couldn’t understand what he said next, but it had aber, pries and zimmer in it with a lot of other words. Somehow, he felt it wasn’t right to charge a room price for an open conference room for the night. “Ya, ya, it’s alright,” I said in English. With determination, I pressed my American Express card into his hand, and said, “Zimmer pries..ya, ya.”
He shrugged, gave me a look like it was a nutty idea, and then took the card and turned toward the computer. The clerk grinned at me, winked, and reached for the telephone. In a matter of minutes a bell boy came through the lobby with a roll-away bed, another came and took my luggage, and as short of a time as it was, I slept like a log after this hard days night. Promptly, the next morning at 6:00 a.m. I was awakened by a bell boy who took me and my luggage to a comfortable room already made up fresh. After taking a hot bubbly bath, I said: “Best $432.00 American I ever spent.”
The next morning, when asked by the local manager of our company if I had trouble getting a hotel room, I replied, “No problems…no problems at all.” The manager shook his head in confusion…or was it amazement? I think, perhaps, the latter.
I had this photograph taken of me posing for a future painting. As usual, when I’m in the mood to have a photo taken of a male model, I usually grab the first one that I find. So far, it’s always been me. As a matter of fact, I wrote a blog some time back explaining that you, the artist, is really the best model, because you know how you want the model to pose.
In this instance, I wanted to see the shadows created by an elderly gentleman sitting and reading the newspaper. Notice I didn’t say an old man. My interest also was capturing how the light source worked on the figure.
I’m always talking about sketching and the importance sketches and studies are for a painting. A couple of years ago I visited south Florida, and among the many photographs taken during the visit was several photos of a street in Miami Beach. It was a busy sight filled with people. There were restaurants under awnings and a numerous amount of concession stands shaded by umbrellas and awnings. I not only took photographs of the sight, but I also did a quick sketch. When I say quick sketch, it took less than a minute. I kept talking about doing a watercolor painting of the scene, but as often happens, it’s been mostly talk. A couple of weeks ago, I dug up the sketch, and when I say “dug up”, you should see my files.
Loose sketch of street scene in Miami Beach, Florida
My desire is to paint the picture with watercolors because I want it to be active and free. I also want it to be loose and vibrant. These are my wishes, however coming from a person that tends toward a more tight and realistic painting I will have my work cut out for me.
It’s not that I haven’t painted loose and impressionistic, I have. But I’ve never painted much without planning, and in this case, I feel planning will make the painting.
So, now we are back to why I’m sitting on my back patio and having a photograph of me reading a newspaper. I wanted to get past a loose sketching stage to a more realistic drawing stage so I can be loose when I paint. When people are involved, I especially like to get the proper dimensions, foreshortening, and body language correct. It doesn’t mean you can’t paint loose and free, just be correct.
Drawing study for future watercolor
In the sketch, you may not be able to tell that there are tropical plants in the immediate background behind the man sitting with two of his (I imagine) grandchildren. The man was wearing an apron, so I imagined he was taking a break from one of the concession stands.
I’ve gone past the sketching stage into a more structured drawing stage as these two displays show.
Richard D. Burton: Different attempts mixing skin colors
I wish there was a simple recipe for mixing skin colors. Goodness knows that I go through a ritual every time I attempt to paint a person’s flesh. Sadly, you can’t go to an art store and buy skin tones. Oh, some manufacturers advertise such, but I’ve tried some, and they’re nonsense as far as I’m concerned. I’ve found there is no such thing as one tube of paint or combination of colors that equals the overall effect of skin. The reason is because there are a myriad of interesting colors in the transparency of skin; and, most important, these interesting colors change with the affect of light and shadows.
Light is the greatest factor that determines skin color. When a face is affected by a warm light, the shadows become cool in temperature. However, shadows actually turn warm when affected by a cool north light. Unless you’re an artist, who would know? This means we artist have to be on our toes.
However, if you want a formula for skin colors and tones, keep in mind that most all person’s skin color has a predominance of red, yellow or blue. Some have more blue tones, while others have more red or yellow tones. This is beginning to sound like a lifetime of study, and guess what?…It is. Take for example everything I’ve said. Now, add to it a person with a ruddy complexion, or a person with a purplish-violet tone in areas of thinner skin such as the brow and eye area. This makes the recipe go right out the window.
Lynn Burton: “Love That Dog” oil on canvas
Tip:If you paint people with a range of skin tones, it will help them look more realistic and alive rather than dull, flat, and mannequinesque, so be sure to look for areas of warm and cool in your model’s skin colors.
Tip:When painting with water colors try using quinacridone rose, raw sienna, and ultramarine blue. These colors are transparent and tend to represent the translucency of skin. They also can mix in a way that creates unlimited hues. It may not be perfect, but it works for me.
We called one of our Golden Members of Art Center Information, artist Lynn Burton, and asked him a questions that we have been hearing from some of our students. As you may know, Lynn is the brother of our founder and CEO, Richard D. Burton. Here is the often asked question.
Question: When painting trees and bushes, should you paint the sky first and render the leaves over it, or should you paint in the tree or bush shape and paint the sky seen between the leaves and branches?
Answer: This is a good question. Remember this, these spaces between the leaves and branches where the sky shows through do not always show an uninterrupted view of the sky. There are small forms within these spaces that may not be apparent with the naked eye (such as small branches and leaves), and they affect the surrounding hues by interfering with the light passing through. It actually lowers the value. The smaller holes should be painted a bit darker than the color of the sky. A suggestion would be to design your foliage in a way that may not be what you are seeing but in a way that makes your landscape more interesting. For example, I like to plan these holes to be various sizes and spread them around in a “zig-zaggy” fashion. I also try to use them somewhat sparingly.
Lynn Burton: Babbling Brook Bridge – Oil on Canvass
If you keep what I’ve said in mind, you have to understand that painting the sky seen through these spaces requires planning. Therefore, that perfect sky beyond the foliage that we observe will not appear perfect without painting the interference of light. So, I recommend that you paint these skyholes in as you are painting the tree or foliage. However, if you elect to paint the sky first, use your sky as an under-painting in these areas.
I would feel derelict in my duties if I didn’t mention one other thing when painting trees. It is very important to recognize the effect color and light have on the overall silhouette caused by trees against the sky. Really good landscape artists are aware of transparency and the effect that light has around the edge of the overall shape of the trees. They find a way to express this in their paintings. Keep in mind, there are many colors in foliage. This is because of nature itself and the effect that light has on hues.
What you really don’t want to do is paint every leaf of the thousands of leaves on a tree unless it is the object of your art and done purposefully. In doing so, you will completely miss the best part – the sense of softness and interpenetration with the foliage and the sky.
Lynn Burton: (Oil on Canvas)
We are going to be giving away the beautiful art coffee table book in the very near future. Enter the free drawing by registering for our newsletter. SOON>>>(upper right hand corner).
There are at least three ways to light a scene: from a source shining outside a picture, from a light inside the picture that you can easily see, or from inside the scene that’s concealed from view~James Gurney (Color and Light).
Lynn Burton: Wall Mural
Along with planning shadow shapes goes an equal amount of planning light, determining the source and shape it takes in your painting. If anything, correct (or incorrect) light source can be easily detected by the naked eye of the viewer.
Pay attention to the effect light has on the colors of the surrounding objects in the paintings.
To help determine the source, use dark colors to enhance the feeling of the light
Richard D. Burton: Detail of “Old Woodie”
Be sure to sign up for the ART CENTER INFORMATION newsletter (upper right). When you do you will be entered into a drawing for the beautiful coffee table art book.
Inexperienced artists often paint shadows into their painting as an afterthought, without realizing the importance they play as a part of the overall composition. Shadows can create excitement and mystery, creating intrigue and entertaining a viewer. Although shadows are dark because of the absence of light, they can be colorful with reflected light from surrounding objects. An artists quest to master light should be a good understanding of the importance of shadows and shadow shapes.
Photo of artist Richard D. Burton posing – study of shadow shapes for future painting
Artist, Richard D. Burton, insists on being as careful as possible to get the angle of shadows correct, paying attention to the angle of the sun and the time of the day. Often, his drawing and paintings include many different objects that will create shadow shapes. Everything has to be considered. He explains:
“When I have a composition in mind, I usually pose in the light at a certain time of day when I think the sun is at an angle that I wish to paint the picture. It gives me a source to consider. For example, the picture of me posing to the left is a study of shadow shapes of a man sitting and reading a newspaper about 1:oo o’clock in the afternoon, eastern time zone, early March. The sun is obviously to my high upper left side.’
“I’m not planning the composition with a man sitting on his back patio reading a newspaper. The idea for the composition is a man sitting on large cement planter at a Florida festival street scene with a couple of his grandchildren next to him. To the immediate left of them are two bicycles in front of a citrus fruit and drink stand (which the man owns and is working at – he’ll have an apron on to suggest this), indicating the children rode to the scene to meet him at his break time. He, of course, ignores them while catching up on the latest news. The boy ( that will be to his right) will be peeling an orange, and the girl (that will be to his left) will be inspecting her fingernails on her left hand out of boredom. Behind them (in the background) will be some beautiful leafy plants, and to the left of the picture (beginning with the main character’s citrus fruit stand) the several other exhibit stands diminish down the street to their vanishing point. I’m sure as an artist, you can envision this, probably saw it the instant you saw the photograph above…right? But it will only work if I get the shadow shapes and the light correct. There in lies the rub.’
“I got the idea from a visit a couple of years ago when I was walking down 16th street of Miami Beech Florida. I took a few dozen pictures and even wrote a blog post about using some of them to create a composition. If you’d like to visit the blog after you read this one,
Miami street scene
go to the picture and click on it >>>”
Tip:Shadows are useful because they give your painting a three dimensional perspective and provides solidity to objects.
Tip: Plan and pay careful attention to shadow shapes in your artwork.
Tip: Make sure shadow directions in every bit of your objects is consistent with the time of day.
Tip: Pay particular attention to reflected light, never failing to paint them into your shadows.
Our CEO and founder of Art Center Information, artist Richard D. Burton, recently was invited to speak to a group of artists. He discussed the importance of using reflected light in realistic paintings. The discussion was much too long to repeat on the limited space of this blog post, so we selected some important segments of it and proud to pass it on to our artist friends. Please enjoy the following excerpts:
“It took me forever to use reflective light as a tool to create a more realistic, pleasant, and exciting painting. Now, I concentrate on it and am always seeking places in the painting where its use is beneficial to the overall picture. For example, artists often use shadows to help keep depth in their pictures, but there is no reason for them to lack interest or be uneventful when the use of reflective light can liven up the dark areas.
In pictures, shadows can be a large part of the overall composition; such as, a long shadow cast by a tall building. If you painted this large area a dull gray, it could make for a very drab and uninviting painting. My suggestion is to spice it up with reflective surrounding colors. It makes the painting so much more interesting and inviting. It gives the picture some OOMPH!
Mr. Burton continued on with his discussion, and ended it with a tip:
In conclusion, let me give you a helpful tip: moderation – don’t over do it. As important as reflected light may be in your paintings, don’t go blind searching for it. The important thing is that as an artist you are aware they are there, add them anywhere they will add spark to your work.
We thank all our fans that have signed up for our Art Center Information Newsletter. The free drawing for the coffee table art book will be held soon>>> If you haven’t joined us, please see the invite at the upper right hand side of this page.
Copyright For Artists: Quick And Easy Copyright Protection
Copyright For Artists Was Written By An Attorney And Jeweler. It Is Over 30 Pages Long. It Contains Specific Illustrations, Graphs, Links, Resources And Information For Artists About How To Protect Their Arts And Crafts.
Click Here!