Paxton vs. cads and shadow help please!

[Leslie Bohoss]

Hi Joan,
A very interesting thread, it helps me a lot.

http://www.karinwells.com/technical2.htm

Karen gives a lot of important tips, in a nutshell. Interesting too: the memoirs of Vige

[Renee Price]

Hi Joan,

Sorry about that! You asked for one good shadow color and I handed you a bunch. There are no absolute right or wrong ways to paint; everybody has their own way. There are several phenomenal portrait artists in the world today and each one uses what works for him or her. Just because something works for one person doesn

[Joan Breckwoldt]

[QUOTE=Renee Price] A color is only warm or cool in relation to the colors around them. A color that is

[Renee Price]

Joan Breckwoldt: I've read so much about cool and warm on the forum, maybe I'm making too much of that?

Hi Joan,

Even though color temperature is a good place to start with a painting, it can be overemphasized sometimes. Warm colors beside cool colors help to model the form and turn edges. In an area where there is not an obvious turning edge like the cheek of a young child for example, the transition of a warm 'reddish' skin tone to a cool 'reddish' skin tone suggests that the cheek is turning away from the viewer. Remember that the more obvious the transition the sharper the edge will appear. Color temperature changes paired with shadows give the illusion of depth.

I understand why you're confused. You're reading and trying to learn as much as possible so you will be able to paint 'right.' Am I right? I hate to tell you this, but there is no absolute 'right' way to paint. Everyone has their own opinions and use techniques that work for her or him. The longer and more a person paints, the more they learn--but not by getting everything right--but by getting things wrong. Everytime someone makes a mistake then finds a way to correct their mistake, the person learns what works and what doesn't. William Whitaker has said on his website, "Many people would like to paint, but not enough to paint those endless failures necessary to get to the good work."

To fast forward the learning process, find workshops that are taught by phenomenal artists who can not only create some of the best paintings on the planet, but who can TEACH as well. The investment will pay off ten-fold.

Good luck,

Renee

[Janel Maples]

Ahh......We have come full circle to my original post about this subject.

: )

[Janel Maples]

After pushing the send button, I realized my comment may come across the wrong way.

I do not wish, in any way shape or form to offend people on this forum.

My point in writing what I did was to say I agree 110% with Renee. A great painter / great teacher combination is worth more than you can imagine.

Sorry if I came across snotty.

[Marvin Mattelson]

Hi Joan,

I just returned from my two week Atlanta WS. I'll be posting the step by step demo I created there on my site shortly. It may prove helpful.

In my work and teaching I try to eschew all rules and paint from observation. I identify the hue, value and chroma of each shape of paint I want to place on the canvas. I believe that all preconceptions, such as alternating warms and cools, tend to inhibit my ability to see objectively. Others may find that certain rules such may work for them, but I'm explaining what I do here because it is my approach that has been called into play here.

I don't use ultramarine in my flesh with the exception of depicting reflected lights in the shadows or indicating certain makeup applications (circus clowns, war paint, etc.?). Many of my students will take what they learned from me and personalize it. I say if it works for you, then do it!

When I'm addressing problems that my students may be encountering I have rarely seen work where color alone is the problem. Shapes (drawing) and value errors are more often the source of the problem. Color is the least important element in painting.

[Joan Breckwoldt]

Originally Posted by Renee Price

Warm colors beside cool colors help to model the form and turn edges. In an area where there is not an obvious turning edge like the cheek of a young child for example, the transition of a warm 'reddish' skin tone to a cool 'reddish' skin tone suggests that the cheek is turning away from the viewer. Remember that the more obvious the transition the sharper the edge will appear. Color temperature changes paired with shadows give the illusion of depth.

Dear Renee,

Thank you so much for this insightful response! You are amazing, you really seem to understand the cool and warm concept AND you are good at explaining it. This one paragraph will help me immensely next time I stand before my easel.

Thank you again,

Joan

[Joan Breckwoldt]

Originally Posted by Leslie Bohoss

Karen gives a lot of important tips, in a nutshell.

Hi Leslie,

Thanks for Karin's website. Believe me, I am very familiar with her homepage and have printed out everything on it. I'm not kidding. Plus, I think I've printed out most of her posts. Thank you Karin!

Joan