Limiting our focus to value for this paper, let’s begin with a review of “value” in regards to objective representational art. A common definition for value is relative lightness or darkness. Within a representational visual art context, value is often used to represent some measure of light or luminance. “Luminance is an objective measurement of… Continue reading
The article began by establishing the idea that just because you have seen a photograph of something does not mean you know “exactly” what something may look like. While I understood the basic groundwork that the author was trying to establish here, the opening signaled that what would most likely follow would be a series… Continue reading
Throughout this period of development for me there was one idea that came up from time to time regarding complexity and composition that I never seemed to adequately grasp: “resting places“. These visual “places” or “spaces” were often defined as regions of a pictorial composition where a fatigued eye can find respite from the demands… Continue reading
Let’s consider luminance (A stimulus that most representational artists would record with value.) “Luminance is an objective measurement of the overall intensity of a stimulus expressed in candelas/m2 (photometers used for this purpose measure radiant energy with a filter that mimics the sensitivity of the average human observer, thus specifically measuring light). The resulting sensations… Continue reading
Let’s look at one problem that seems to arise quite often regarding basic form study and perception: The cylinder is one of the most basic geometric solids that is often systematically studied in drawing or painting programs. The cylinder is a bit challenging for the uninitiated draftsman as both the shape and form appear to… Continue reading
Last January, I kicked off the year with a public thread that asked readers to define ‘art’. I started with a basic definition and hoped that the discussion would further grow (or perhaps narrow) the concept. The responses poured in and before I knew it the thread was alive with thoughtful contributions and insightful questions…. Continue reading
I use the Itten Wheel on a daily basis as a rudimentary compass. It can offer a relative frame of reference by which I can make informed decisions amidst either a pedantic or organic painting process. I can look to any color I am working with—and within the framework communicated by the IW, I can… Continue reading
I have had the pleasure of speaking to many art educators over the years (especially on several social media sites) and have interacted with both ends of what I would call the ‘qualified’ spectrum. Many are brilliant and shine a bright light onto the future of arts education—however, there are some that do not seem… Continue reading
1. Choose the tools that will deliver your desired finish. The majority of our charcoal drawings are done with compressed charcoal and white chalk (General’s Charcoal Pencils and General’s Charcoal White Pencil) on Canson Mi-Tiente’s Sky Blue paper. The compressed charcoal can produce rich, deep darks as the chalk allows for the addition of… Continue reading
Step 1: The artist began with an initial line drawing, or cartoon, paying close attention to major shapes and overall contours. These first lines were applied with the softest charcoal available using the lightest pressure that the artist could attain. Applying too much pressure early with hard or sharp materials can cause indentations or… Continue reading