Representational painting is like a magical performance in which the artist fools the viewer’s perception by creating a threedimensional illusion on a two-dimensional surface. It’s a lot like sculpting. In fact, in the academic tradition sculpture was intertwined with painting and the two were often taught together.
If you don’t think like a sculptor, your paintings may appear flat. When painting, you’ve got to feel as if you’re sculpting—pushing things back in space and pulling them forward into the light until they seem to be coming up off the surface.
In this painting I used the same color—of the same value—on a portion of the ticker tape, a part of the book’s spine and the copper penny. But you’d never guess this just by looking at the painting. The square of color in the image at right reveals that the three apparently very different areas have the same value and hue.
MODELING FORM
Rendering the light and dark values of an observed object in an order that gives the appearance of volume is referred to as modeling form. In modeling form, we are combining all the concepts of light, drawing, value and color to achieve form.
Every color relates to a value. It’s often said that color gets all the attention but value does all the work. Indeed, accurate value structure and accurate drawing are the two most important aspects of a successful painting. If you nail these, you are well on your way to making a good painting. If your value structure works, you can get away with not having the color be super accurate.
Esta historia es de la edición April - May 2020 de International Artist.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición April - May 2020 de International Artist.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor? Conectar
Intrigue in the ordinary
I've \"'ve never had any formal training always had a strong attraction to the arts and the practice of painting
Paper Textures
John Lovett guides us through the varying properties of different watercolor surfaces
Creating Ambiance
Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes
Visual Depth
Blending and smoothing with solvents, Holly Siniscal creates painterly portraits in colored pencil
Sharp Precision
Working with craft blades and tattoo needles, Conor Smith etches realistic renderings of wildlife
The architecture of water
When Then I moved from Toronto to a tiny community in Nova Scotia, I became fascinated by the ocean, its reflections and endlessly shifting patterns of color and light
Saturated World
Emphasizing the beauty of nature, Joe A. Oakes paints landscapes with warm colors and imaginative compositions
Pure Bliss
Working alla prima, Andreas Liss takes on a loose, unbridled approach in his artwork
Sculpting the Paint
Using a palette knife allows oil painter Maria Iva to create clean colors and rich textures
Forwad MOMENTUM
Artist Lisa Gleim shares the evolution of her career and how she grew into her preferred medium of pastels