Jennifer "Yoshi" Yoshitani is a recent graduate of Rhode Island School of Design. She's lived on both coasts of the United States, most recently, in Seattle.
Source: http://drawingviterbo.blogspot.com/2011/10/yoshi-yoshitani.html
Saturday, December 17, 2011
Yoshi Yoshitani
Jennifer "Yoshi" Yoshitani is a recent graduate of Rhode Island School of Design. She's lived on both coasts of the United States, most recently, in Seattle.
Lately Lily�is the creative collaboration between illustrator...
Lately Lily�is the creative collaboration between illustrator Micah Player and apparel designer Erin Nichols. Using the interesting set up featuring Lily, a fictional traveling daughter of a photographer and writer for ?the world?s greatest magazine,? the site provides young girls a chance to view the world through her eyes. You get to see where she is currently, check out her traveling notebook, help her pack her suitcase, and be able to buy tee shirts featuring Lily?s striking visage. Bold colors, broad strokes, colorful design make this a fantastic site to visit for young ones. Or, for people like me, who happen to love great illustration.�
Source: http://blog.drawn.ca/post/13895177250
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Friday, December 16, 2011
Vermilion Flycatcher
My love affair with this little birdie continues ?
It such a privilege to see him every day!
It such a privilege to see him every day!
Source: http://blogdelanine.blogspot.com/2011/11/vermilion-flycatcher.html
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Lauren Hess
Lauren Hess is a Texan. She studies in the Illustration Department of Rhode Island School of Design.
Source: http://drawingviterbo.blogspot.com/2010/11/lauren-hess.html
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Color That Can Be Saturated and Subtle?Who Knew?
I adore color—deep ruby reds, bold blues, verdant greens, rich golden yellows...I could go on and on, but one thing that I often forget in my zeal is that color is not just a matter of hue. Saturation and subtle color layers also play a huge part in how a successful painting comes together.
That's especially true in watercolor. Because the pigments can be both transparent and opaque, and because colors are so easily layered on top of one another, there are an infinite number of colors to create in any watercolor painting.
In Christopher St. Leger's work, I see how prismatic his colors are, and by that I mean that no one color seems to be taken unmixed from palette to paper. The artist builds complex colors through delicate washes and intricate blending. And he applies the paint in such a way that you get a sense of the "basic" colors he starts with, and how he mixes them into something else entirely.
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| Wilma by Christopher St. Leger, 2009, watercolor painting, 26.5 x 22. |
Sometimes the best test of a color's depth is looking at one that we often take for granted. Sarah Yeoman, an Artist Daily member whose work I just love, has shown me how neutral colors like brown, beige, and grey are in fact some of the most exciting and complex colors to create. In her watercolor painting Falling Light, I see how many colors went into making the browned foliage underbrush, and trees, as well as the grey-blue-white of the air and sky.
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| Falling Light by Sarah Yeoman, watercolor painting, 22 x 30. |
But an artist also has to know when to turn up the color. Give it to us bold and powerful. That is what Nessa Grainger often does in her watercolor art—incorporates strokes of bold color that energize the painting and make it seem like something exceptional is happening.
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| Daybreak by Nessa Grainger, watercolor painting, 28 x 36. |
Color is the last thing any painter takes for granted, but knowing how to get the most out of color can take some doing. 600 Watercolor Mixes is a color workshop in itself. After paging through it and studying all the color "recipes" in the book, I really began to realize how expansive the possibilities of color in watercolor really are. It's made me better understand what I am seeing when I look at other artists' work, and it has also given me the confidence to explore watercolor all around the color wheel. Enjoy!
Kelly Murphy
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| Ceres |
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| Valle Cupa |
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| Abbigliamento Zaira |
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| Tabacchi |
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| Anselma |
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| Piazza Morte |
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| Il Monestero |
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| Il Labarinto |
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| Trattoria 4 |
Source: http://drawingviterbo.blogspot.com/2011/08/kelly-murphy_6300.html
Ross
Here is a sketch from another shot, i prefer the other reference but you have to have a go, don't you?
Source: http://sketchoftheday.blogspot.com/2011/12/ross_06.html
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Painting Darks That Are Too Dark to See
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| Nicole at Mille Fleurs 3, acrylic painting on canvas, 48 x 30, 2010. | In the Afternoon Light, acrylic painting on canvas, 48 x 30, 2011. | ||
Contrast is the difference between light and dark values. The human eye is able to see clearly across a contrast ratio of about 15,000 to 1 (the brightest area 15,000 times brighter than the darkest area). Paintings, by contrast, have a maximum contrast ratio said to be at most 100 to 1.
This presents a problem for painters—how to achieve the impression of natural contrasts without being able to show them directly. This problem is most urgent for painters who depict scenes lit by direct sunlight, where the brightest highlights and the darkest shadows share a composition. There is no perfect solution to this problem, but painters who invest in contrast expend a great deal of thought and effort in understanding visual cues that are interpreted unconsciously as contrast.
Victoria Selbach, a New York painter, makes lush paintings of nudes lit by sunlight. To present convincing contrasts in her acrylic paintings, she uses two related painting techniques.
In Nicole at Mille Fleurs 3, most of the figure is in direct sunlight. Selbach paints a full range of values in the lit areas, and lets the cast shadows drop to black. The eye would naturally be able to see detail in the cast shadows, but by painting them black, Victoria subliminally tells the brain, "this region is too dark to see." The brain then identifies these shadows as about 15,000 times darker than the highlights, heightening the implied contrast with the lit areas, which are nowhere near 15,000 times brighter than the blacks.
In her painting In the Afternoon Light, Ms. Selbach uses her other contrast-enhancing technique. Most of the figure is in shadow. So if Selbach had followed her "shadows = black" rule, the composition wouldn't have worked. Instead, she renders a large range of values in the shadows, and lets the lights go to white. Again, she gives the brain a strong cue for a full 15,000 to 1 contrast ratio, helping to work around the contrast limits of acrylic paint.
Notice that in the first painting, the technique gives a sense of warm, rich light and burnt shadow. In the second painting, there is a sense of cool, glowing shadows and diffuse, washing fields of light.
Selbach focuses on techniques for conveying extremely high contrast, because sunlight and shadows shown in natural light are her inspirations. She has mastered the contrast techniques described here, but many others exist. The key to discovering your personal preferences is to think about how you see what you see. Feel free to share your own tips and observations in the comments.
--Daniel
Thursday, December 15, 2011
Well, my day is made. I could watch Jim Woodring draw and listen...
Well, my day is made. I could watch Jim Woodring draw and listen to him talk all day long.
Source: http://blog.drawn.ca/post/13888296628
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Your Free Portrait Painting eBook--But I Didn't Get a Chance to Gift Wrap It
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| Ariadne by Janet Rogers, watercolor painting. | ||
Another thing my dad would love to do is have a portrait artist make a portrait painting of my brother and I as a gift for my mom. And while I'm not ready to take on any of the portrait artists out there, I know I can start learning the fundamentals with our latest eBook, How to Paint a Portrait: 38 Portrait Painting Techniques from Artist Daily. So maybe someday I'll be able to do the portrait painting that my father is pining for.
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| Jimmy Cooper by John Howard Sanden, oil on canvas, 40 x 34. | ||
And for oil painting lessons, none other than famed artist John Howard Sanden's paintings are used to show how a professional portrait artist works. I was especially interested to learn that Sanden uses three values of neutral mixtures on his palette, made from combinations of Permalba white, ivory black, and yellow ochre. Plus there's a step-by-step demo that Sanden does that makes the whole portraiture process seem so accessible.
Get all of these tips and techniques to add to your art instruction library by downloading your free copy of How to Paint a Portrait: 38 Portrait Painting Techniques from Artist Daily. Enjoy!
P.S. If you know someone who wants to explore portrait painting as much as you and I, pass along How to Paint a Portrait to them.
Tall Order: Drawing the Windows to the Soul
Click on any of the above images to see David Kassan's Drawing the Eyes . That is no small task, no doubt about it. Yet hundreds of thousands of us search every year online about how to draw eyes. Mostly, I think, because we take drawing eyes for...(read more)
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Lately Lily�is the creative collaboration between illustrator...
Lately Lily�is the creative collaboration between illustrator Micah Player and apparel designer Erin Nichols. Using the interesting set up featuring Lily, a fictional traveling daughter of a photographer and writer for ?the world?s greatest magazine,? the site provides young girls a chance to view the world through her eyes. You get to see where she is currently, check out her traveling notebook, help her pack her suitcase, and be able to buy tee shirts featuring Lily?s striking visage. Bold colors, broad strokes, colorful design make this a fantastic site to visit for young ones. Or, for people like me, who happen to love great illustration.�
Source: http://blog.drawn.ca/post/13895177250
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