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@stevesaxenian
•
7mo
added comment inContinuation and Completion
Hi Mikhail
In the fourth video at about 1620 you describe how to make highlights, with tinting with a small amount of glue. What does this mean? Could you describe more in detail what you are using and what you are doing? What is tinting? Is it a substance?
thanks, Steve Saxenian
Renee Reinhardt
2mo
I think he refers to the first video in which tinting process is done.
Adam Wiebner
•
3yr
@ketamine_dragon Perhaps consider setting up your light source on the still life scene with purpose to maximize your ability to identify a clear differences between the highlight, the half tones in the light family, the core shadow and the reflected light (also part of shadow family) on the different planes of the objects. Traditionally this is done with a single dominant light source positioned such that it is above, in front of and to one side of the objects (sometimes called Rembrandt lighting). This approach gives great insight into form shadows. Try this out in a dark room and aim a single light at objects, and it will become clearer for sure. Ask yourself when looking at each plane of an object whether it need be depicted as highlight, half tone, core shadow or reflected light, and draw accordingly with your decision. If previously you have been drawing still life lit by multiple light sources from different angles which are flooding light on scene, sort of the equivalent of in most photography of fashion models which aim to eliminate shadows on faces for instance, then that makes distinguishing shadows way more frustrating and challenging. I hope that helps.
Thank you, that was informative.
As for "one direction" (hah) light I'll need to figure something out as I don't have environment to have relatively dark area for the still life while keeping my paper lit enough so I can see what I'm doing.
D'you recon if using 2 lights from same direction (one colored the other one let's say 9000K) is too much? The color fills in some of the shadows which makes for a nice effect but it might be distracting.
I had a similar reaction. I really like the piece, and my thought was I'd love to see higher contrast in the composition to bring out a primary and maybe secondary point of interest. Overall the composition reads as a wash of similar grey tones. In my (very limited) study of old masters, I'm amazed at how commonly I see repeated the pattern of using high contrast to describe the main focal point of a piece, with usually secondary contrasting point to lead the viewers eye on a journey. I love the skull - that'd be a good candidate for a focal point!
I got a lot out of this (now old) video on the subject from Chris Legaspi: https://www.youtube.com/watch?v=nSJmcUPjIcY
Can I oil paint without solvents as I have no ventilation.
There is an instructor that does, but not found here. Would like to see one here, or know if one here is doing that. The other searched out paints of needed consistencies and quality. Clean up, I used a towel to wipe excess, than a brush cleaner, called The Masters Brush Cleaner - good stuff.
