I did some more studies and I specially like the way the way the last pink floating ball has come out. It is of a matte surface in outdoor light. Matte surfaces absorb light and have a uniform gradation from light side to shadow side. Here, the color gradation is also visible from orangish on the left, sunlight side to a slightly more saturated pinkish salmon tone at the centre and more of a reddish violet on the right top side which is catching the skylight. The bottom shadow side shows a bit of the reflected light of the green grass hitting it from below which also gradates from left(warm) to right(cool).
Reflective surfaces reflect light from light sources as well as other surfaces around them and values on them jump suddenly and donot have a uniform gradation. Highlights are sharp and take on the color of the light source except for metals (gold always keeps a dull yellow highlight, copper an orangish one..regardless of color of light source)
Translucent surfaces allow light to pass through them partially. As the light passes through layers of tissue in a grape, the light becomes more chromatic on the other side as it picks up the color of the material. The shadow is very slight, maybe a sliver across the middle. In semi transparent colored glass (maroon ball) the colored light spills out on the other side and makes for a light reflection in the cast shadow.
Pearls have all kinds of pastel colors bouncing off them, no deep shades. Soft highlights.
Every material has its own way of absorbing and reflecting light which gives it its own unique visual appearance.
One is showing the planes of the head from a portrait painting by Frédéric Fiebig and the other from a sculpture, added a bit of landscape around it for fun:
I am exploring ideas for future paintings. I want to do something that touches the fantasy, old Germanic mythologies and spiritual realms. I liked this sketch that’s inspired from an angel statue but I ran out of place before I could develop this idea further, silly me! It’s done in burnt umber and sanguine colored pencils. The other drawings in graphite are of the eye and mouth in perspective from Bargue plates and the woman from a Waterhouse drawing:
Just prepared a sketch for doing a portrait study of Sargent’s Lady Agnew. I found a cool demo in oils on utube, I just have to translate it in Gouche! I have been meaning to learn the medium properly:
I haven`t had a chance to work on my painting this past week, I got sidetracked with figure drawing and some geometrical pattern drawing, so today I wanted to get on with it and I have transferred my drawing here to a watercolor paper:
a page from my sketches:
and meanwhile the Jackson`s catalogues have arrived: art supplies are always tantalizing; I have chosen a few and they are kind enough to be sending them to me, I can`t wait to try out their specialty brushes like foliage, fan and dagger.
These Sennelier iridescent extra soft pastels look way too tempting:
I did these gesture drawings while on the bus, kids are always fun to do:
This is a study I made, when learning to get around Adobe Photoshop, a long time back. It is loosely based on a photo in a book on roses by John Scarman named Alte Rosen
Tuscany Superb Rose
I wanted to share with all of you that my painting ‘Datura’ is going to be published as the front cover for a book with the same name, which is a collection of Chinese essays by Mr Deng Changquan being published by Dreamseed publications. I will post an image of it when I receive a copy of the book, for now, I am quite happy for my painting!!
Photos of Book
painting size: 30*40 cm on Hahnmühle fine art 300g/m² acid free watercolor paper.
The following two sketches are exercises from Mr J. D Harding`s ‘Lessons on Art’. It is an excellent art book, public domain, available at sites like archive.org or gutenberg…