A Little Girl in Winter Red

How do you work with shadow and light? Do you like flat imagery or that which has depth?

I worked on this piece because of an interest in learning how to create depth in a painted surface through conveying shadow and light areas. The coat became my primary focus and was challenging. But there have been classical to modern painters who've done this kind of thing extraordinarily well. I'm just beginning to learn what it takes. That is -- a different kind of 'seeing' -- looking at the folds of fabric for their light and shadow qualities, and color properties. Looking for the shapes of shadow and the shapes for the light. That takes using the base color and mixing it with gradations of tints and tones to use to create the contours of the folds and depth shown by a sense of layers in different positions in space.

I consider this piece a success because there is actually some depth to be seen in the coat. Even the tilt of the head works, and I've not done that kind of facial pose before.

Last but not least, the snowflakes were added digitally. To imagine painting them was anxiety-producing, since I wasn't as confident about being able to fix a problem if one came up in the process.

What are techniques that you use to paint light and shadow, and depth?

Note: Photo inspiration appears to be that of Mon-el Fine Art & Images.

Comments

New Project in Progress

I'm working on a new project with multiple layers and shapes of different colored organzas. It is an interpretation of lighting on an ice rink...from a show I recently saw. There is a lot more stitching to do, but I like how its coming along. I'm learning organzas are not easy to work with especially when you layer them and have overlaid edges. The fabric also tends to ravel easily. This post also linked to http://ninamariesayre.blogspot.com .

Fine Art Restoration - video

This is an exceptional video of a fine art restoration...just beautifully done (and the music is lovely too)!

People have great ideas! They may be friends, colleagues, artist contacts, or even strangers. In this case, it was an artist friend who provided the genesis of this new Blurb magazine through a conversation over zoom. The magazine contains 151 of my favorite photos taken over the years. I'm using it in an art class where the assignment is to review the photos we are drawn to -- for the qualities that draw our notice. Easier said than done, you may ask? Yes, it is. However, by looking at and thinking about why I like these photos, there are some common attributes. They may have patterns, textures, depth, play between light and shadow, and/or an overall pleasing composition. They all have a sense of 'quiet'. The occasional quirky and whimsical images are always a delight, even though more rare. In sum, the photos in the magazine (examples below) are one element of my point of view. That is to bring unnoticed...

Cay Denise

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