Tip about highlights in painting and drawing! Highlights show structure in the lit side of an object, and they are just as useful as shadows for showing form.
Highlights like to hang out in corners because there are a lot of angle changes there, and therefore more chances for the light to be reflected back to your eye.
That doesn't mean that specular highlights can't show up on flat planes, it just means that you have to find the one perfect angle to do so, like this camera angle here.
Speculars will never touch form shadows!
Why can't highlights touch form shadows? Because the light is a reflection of the scene. See how the environment stretches over the form? The mirror reflection of the light source will never touch a reflection of an area that is not seeing that light.
I know what you may be thinking..."Devin, here is an example of a highlight touching a form shadow! The plane on the left isn't seeing the light, making it a form shadow, and the highlight on the right side certainly seems to be touching it. Don't you know anything??"
If we zoom in, you'll see that the corner actually is reflecting as if it were a sphere. As we make the angle more extreme, the highlight will definitely get close, and may appear to touch when viewed at a distance, but it still stays within the midtones!
If you are figure drawing, and you have a situation like this where the cylinder of the leg is mostly in shadow, it can be tempting to put the highlight right against the shadow. Give it some room to breathe! A cylinder would never have a highlight touching the shadow.
By the way, speculars can touch cast shadows, like here under the nose. This will often lead to a hard edge due to value contrast. Sargent knew this and used it to his advantage!
Try and look for the highlights and form shadows here! Imagine the highlights as a mirror reflection of the lamp and how it maps over the form.
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What is composition? Composition, at its core, is decision making about relationships. Is your canvas ratio 3:2? Will that be divided in half equally with light and dark? Will half of that dark area be warm, and the rest of the canvas cool? Each of these choices is composition!
Overly rigid formulas using math is not a great way to learn composition, because it does not lead to listening and trusting yourself. Composition is design, and design is intuitive. Theory is just a possible explanation as to why something works, not a rule or a process.
If you ever encounter a rule, like the rule of thirds, know that it is only named that way because it is an effective tool that is very commonly used. The rule of thirds creates motion, but where motion is not desired, it is not the right decision to make.
Drawing tip: don't look at the thing you are drawing!
This might seem counter intuitive at first, but if you look, take a second to memorize, look away, and then draw, you will get a lot more accuracy *and* train your visual memory too
Try drawing something completely behind you!
Take a look at this photo of Sorolla painting, he would have had to turn his head to the side to see his subject. Painters of the past did not always put their canvases right next to the subject so that they could see both in one field of vision
Check out these examples of students at classical ateliers doing the same thing, they were not flicking their eyes back and forth to the subject and drawing/painting rapidly. They were observing, then turning back.
Thread on finishing paintings! What does it mean to finish or detail a painting? What does the word rendering even mean? Here's a thread on 3 different strategies for finishing work, when to know that it is "done," and the pitfalls we might encounter along the way.
Here’s one of my sketches compared to the finished version. They look very similar when viewed small. I’m trying to solve the biggest problems first, loose but accurately. By focusing on the big picture, the details will relate to the whole and not distract and weaken the picture
When I was first starting, I often heard the advice to turn off your brain and enjoy adding details, and I was very discouraged that when I would try to detail paintings it would just get worse. I thought this was something that was easy for others, but not for me…
Let's talk about one of my favorite paintings and some of the reasons why I think that it works so well: a thread on detail, edges, gesture, composition, and shape design.
Notice how all of the detail in the painting is grouped into two main areas, an big area of complexity and interest, and a simple area to contrast and "activate" the complexity. If everything is detailed, then nothing is.
The main figure has a really interesting edge relationship with the background. Notice how with lost edges the values look the same, and with hard edges they look very different. Soft edges are somewhere in between. Look at the image really small to see this even more clearly!
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This tutorial goes over the mental side of art, my detailed process, how to study in a sustainable way, as well as all of the fundamentals needed to confidently understand painting
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These two volumes include pretty much everything I know about painting, including color theory made practical and understandable
Are diagrams like these bad for artists? Will they restrict creativity and and instill a bunch of rules of composition that you have to follow? Are the lines and shapes completely made up? What if I don't get it? A thread. 🧵
Will they restrict creativity? No, not as long as you know what they are for. Take music theory, it is great at analyzing how a Mozart symphony works, but it does not work at all as a step by step guide to writing an amazing piece of music.
This is analysis done after an artist had a great idea and made the work, it says nothing about what process you should use, theory should never do that. These are for recognizing where contrast is, since art is a language that uses contrast in different ratios to show feelings.