Community Sketchbook--post your sketches

[tall73]

Footprints

 

[d taylor]

I didn't take formal training. How do the line drawings work? It gives it a very loose, dynamic feel.

The modeling actually comes more from painting than drawing. I live near a person who studies basically all his life (untill henry died) under henry hensche. That was what henry emphasized the modeling of form in color.
I came to painting in my 30's so i missed being able to study with henry but i have studied with sammy britt the person i was talking about in the first of this writing.

Here is an example below of a person (not sammy) who studied with henry and you can see the emphasis on modeling color.

The line drawing for me needs to done from life, I seem to respond better from life with these gestural type of drawings. They are a result from just quick responses to the subject

 

[tall73]

The modeling actually comes more from painting than drawing. I live near a person who studies basically all his life (untill henry died) under henry hensche. That was what henry emphasized the modeling of form in color.
I came to painting in my 30's so i missed being able to study with henry but i have studied with sammy britt the person i was talking about in the first of this writing.

Here is an example below of a person (not sammy) who studied with henry and you can see the emphasis on modeling color.

View attachment 250343 View attachment 250344

The line drawing for me needs to done from life, I seem to respond better from life with these gestural type of drawings. They are a result from just quick responses to the subject

That is a convincing way to show form. It almost reminds me of a posterized photo the way it reduces things to planes.

 

[tall73]

Balcony

I have been working on the difference in saturation when putting things in the background. It has been a challenge so far. Until recently I haven't done a tone of full scenes, so I am catching up on the theory behind it.

 

[d taylor]

That is a convincing way to show form. It almost reminds me of a posterized photo the way it reduces things to planes.

That is the idea henry took the color approach of the impressionist (the 5 real ones) and like Cezanne. Tried to use color to state not only color but form, (have a solid feel to the objects painted), atmosphere, type of light (morning, noon or afternoon, evening ).

The impressionist were brilliant with their use of color but fell short in giving a solid fill to their paintings but their paintings were full of atmosphere and color/light.

here is a landscape painting of mine

 

[d taylor]

View attachment 250419

Balcony

I have been working on the difference in saturation when putting things in the background. It has been a challenge so far. Until recently I haven't done a tone of full scenes, so I am catching up on the theory behind it.

You have good separation from the foreground to the background. The aerial perspective is working

 

[tall73]

That is the idea henry took the color approach of the impressionist (the 5 real ones) and like Cezanne. Tried to use color to state not only color but form, (have a solid feel to the objects painted), atmosphere, type of light (morning, noon or afternoon, evening ).

The impressionist were brilliant with their use of color but fell short in giving a solid fill to their paintings but their paintings were full of atmosphere and color/light.

here is a landscape painting of mine

View attachment 250437

That is the idea henry took the color approach of the impressionist (the 5 real ones) and like Cezanne. Tried to use color to state not only color but form, (have a solid feel to the objects painted), atmosphere, type of light (morning, noon or afternoon, evening ).

The impressionist were brilliant with their use of color but fell short in giving a solid fill to their paintings but their paintings were full of atmosphere and color/light.

here is a landscape painting of mine

View attachment 250437

Sorry been busy lately.

I like the details of this one .I don't think I understand how the colors work to define form. In the still life I can see how they work. Color is a weakspot for me. What reading should I do to understand some of the impressionist or those who build on them as you referenced?

What is the theory behind your use of colors in this piece? Does it exaggerate some of the shadows to form them more into blocks? The saturation of the yellow of the water is really high. Is that intended to show form?

 

[tall73]

Took a break from digital, and color, and did some brush pen sketching.

 

[tall73]

 

[tall73]

 

[tall73]

 

[d taylor]

Sorry been busy lately.

I like the details of this one .I don't think I understand how the colors work to define form. In the still life I can see how they work. Color is a weakspot for me. What reading should I do to understand some of the impressionist or those who build on them as you referenced?

What is the theory behind your use of colors in this piece? Does it exaggerate some of the shadows to form them more into blocks? The saturation of the yellow of the water is really high. Is that intended to show form?

Sorry for the late reply for a day i could not get on the site here and kind of got busy and forgot to look back here.

Well this is kind of a debate in the painting world.
(what i am about to say is a simplified explanation because i could write 100 pages or more explaining this)
In most schools they teach the use of value example take a color and either lighten it by adding white or darkening the color by adding black.
Which is known as basically, tonal painting some people have taken that approach and used color more than just tones of black and white but most people are taught the tonal approach to color.

Now Rembrandt had to use the tonal approach because at his time in life the colors were not there to use. He had (and other painters before and after him) just about 10 maybe 12 colors to work with.

But with the industrial revolution and many new pigments being created Monet etc.. had many more colors at their disposal and that began the approach to moving away from tonal painting to full color spectrum painting and that also began to bring more people out of doors to paint in the actual light. Which is very different from painting from memory or photos (which people had started to do around Monet's time).

They had trouble getting the effect of the light they were seeing in person using the tonal approach. So people like Monet who had more color available for use, began to explore using color to state value and color instead of tone.
So for an example instead of using white added to red to capture a sunlit area, Monet may have used orange or yellow with the red or by itself to capture the effect of red in sunlight.
So he started seeing color and not just tone for his paintings and not just local color (local color the color the object is) so a green tree is green ok but when that tree is viewed in sunlight to get the effect of a sunlit tree a person can not get the effect of sunlight by using green only.

Hope i do not over load you with information

Here is a link to a very involve write up about this, also Charles webster Hawthorne was Henry Henche's teacher who actually began developing this idea and approach to color painting.

http://www.przewodek.com/Przewodek/COLORIST_files/Henry_Hensche_Colour_Study.pdf

Henry Hensche

here is a youtube talk about this

John Clayton Morning Landscape

HildaGulfport

 

[tall73]

Sorry for the late reply for a day i could not get on the site here and kind of got busy and forgot to look back here.

Well this is kind of a debate in the painting world.
(what i am about to say is a simplified explanation because i could write 100 pages or more explaining this)
In most schools they teach the use of value example take a color and either lighten it by adding white or darkening the color by adding black.
Which is known as basically, tonal painting some people have taken that approach and used color more than just tones of black and white but most people are taught the tonal approach to color.

Now Rembrandt had to use the tonal approach because at his time in life the colors were not there to use. He had (and other painters before and after him) just about 10 maybe 12 colors to work with.

But with the industrial revolution and many new pigments being created Monet etc.. had many more colors at their disposal and that began the approach to moving away from tonal painting to full color spectrum painting and that also began to bring more people out of doors to paint in the actual light. Which is very different from painting from memory or photos (which people had started to do around Monet's time).

They had trouble getting the effect of the light they were seeing in person using the tonal approach. So people like Monet who had more color available for use, began to explore using color to state value and color instead of tone.
So for an example instead of using white added to red to capture a sunlit area, Monet may have used orange or yellow with the red or by itself to capture the effect of red in sunlight.
So he started seeing color and not just tone for his paintings and not just local color (local color the color the object is) so a green tree is green ok but when that tree is viewed in sunlight to get the effect of a sunlit tree a person can not get the effect of sunlight by using green only.

Hope i do not over load you with information

Here is a link to a very involve write up about this, also Charles webster Hawthorne was Henry Henche's teacher who actually began developing this idea and approach to color painting.

http://www.przewodek.com/Przewodek/COLORIST_files/Henry_Hensche_Colour_Study.pdf

Henry Hensche

here is a youtube talk about this

John Clayton Morning Landscape

HildaGulfport

Thank you for the detailed info. I read the general summary you gave, and will follow up with the sources you linked to.

 

[Go Braves]

View attachment 250338

Footprints

This is great.

 

[Go Braves]

The modeling actually comes more from painting than drawing. I live near a person who studies basically all his life (untill henry died) under henry hensche. That was what henry emphasized the modeling of form in color.
I came to painting in my 30's so i missed being able to study with henry but i have studied with sammy britt the person i was talking about in the first of this writing.

Here is an example below of a person (not sammy) who studied with henry and you can see the emphasis on modeling color.

View attachment 250343 View attachment 250344

The line drawing for me needs to done from life, I seem to respond better from life with these gestural type of drawings. They are a result from just quick responses to the subject

You're talented at this, for sure.

 

[d taylor]

You're talented at this, for sure.

Thank you.
Is that your work with the reaper, if it is nice illustration work

 

[tall73]

http://www.przewodek.com/Przewodek/COLORIST_files/Henry_Hensche_Colour_Study.pdf

I am really enjoying reading through the pdf you provided. One thing that struck me so far is that the digital world may be well suited to this type of painting, in that you have unlimited color selection without the need for mixing, etc. You are not limited to pigments of any sort.

Also, while photographs may not be as good as life study, yet they can help train the perceptions some in that you can color sample to see what the color looks like outside of its light key, thereby testing your perception of relative hues.

 

[d taylor]

I am really enjoying reading through the pdf you provided. One thing that struck me so far is that the digital world may be well suited to this type of painting, in that you have unlimited color selection without the need for mixing, etc. You are not limited to pigments of any sort.

Also, while photographs may not be as good as life study, yet they can help train the perceptions some in that you can color sample to see what the color looks like outside of its light key, thereby testing your perception of relative hues.

Glad that the information has been something that has or may be of help in the study of color. There is a lot there it just takes time and pratice to absorb and get a feel for life like coloring that carries a feel for light and atmosphere.
Digital would be suited for this yes, and a certain amount of color can be learned from a photo, also memory work can be of us looking at objects from life and mentally try to solve color problems then try and take that memory onto a digital piece.

Here is a landscape

 

[tall73]

Glad that the information has been something that has or may be of help in the study of color. There is a lot there it just takes time and pratice to absorb and get a feel for life like coloring that carries a feel for light and atmosphere.
Digital would be suited for this yes, and a certain amount of color can be learned from a photo, also memory work can be of us looking at objects from life and mentally try to solve color problems then try and take that memory onto a digital piece.

Here is a landscape

View attachment 251155

The water looks great, and the transition from one area to the next looks natural. For some reason on these the yellow and orange tints seems almost over saturated. But it may have just been the effect of the light at the time.

 

[tall73]

Been busy lately. I have not been doing a ton of drawing, and none worth uploading. This was a quick ball point pen sketch today.