We've arrived in San Diego. Not much wi-fi where we are, but we'll try to keep up.
This Ankylosaurus is from Dinotopia: Journey to Chandara.
|Marriott Lounge, gouache, 5 x 8 inches|
"So much eye candy and information for the price of a fancy coffee!"
—Carole"Boom. That was easy. Spent more than that on a beer yesterday!"
Shari Blaukopf of Urban Sketchers says: "There is a lesson to be learned with every sketch in James Gurney's The Living Sketchbook — whether it's about light, colour, materials or composition. Spending time with each sketch and being able to zoom in on them with your tablet allows you to really think about how they were created. And videos that accompany many of the sketches enrich the experience because you see the sketch develop from large colour blocks down to final details. And of course hearing James narrate his thought process — whether it be about his limited palette choices or the characters he meets while sketching — is what makes it come alive for me. It's done with warmth, humour, honesty and a vast wealth of knowledge."-----
|Sketching with an LED hat|
|Lecturer sketched in dim light|
with a brush pen.
I did these shapewelding sketches in a dark concert setting. Light shapes go to white and are grouped with other light shapes. Dark shapes weld together.
I painted these oil sketches after the sun had just set. There was still enough ambient light to see the colors on the palette and the painting.
David Farquharson (1839-1907), The End of the Day's Fishing, 56 x 91.5 cm
This oil landscape by David Farquharson (Scottish/English, 1839-1907) has a marvelous sense of scale and depth.
A few observations:
1. Note the tiny fishermen figures on the right side of the picture.
2. Also, the tiny slivers of light reflecting off the water in the middle ground.
3. The foreground is illuminated and the middle ground is shadowed, the reverse of many grand landscape painters.
4. The corners of the composition are "dodged" or "blocked"—that is, darkened to keep the attention in the middle of the picture.
5. Well orchestrated atmospheric perspective. The dark colors in the extreme distance are lightened and cooled.
More about atmospheric perspective in Color and Light: A Guide for the Realist Painter
"First of all, then, does the subject, from the point of view at which the photograph is taken, compose well? It cannot be said that it does. The vertical lines made by the two towers are unpleasantly emphasized by the trees behind them. The tree on the left would be much better reduced in height and placed somewhat to the right, so that the top should fill out the awkward angles of the roof formed by the junction of the tower and the main building. The trees on the right might be lowered also, but otherwise permitted to retain their present relation.The growth of ivy on the tower takes an ugly outline, and might be made more interestingly irregular in form."