Fletcher: Colour Control - Page 2

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  1. #31
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    Stay tuned --- not in the Fletcher way! Myron's getting ready to work on his next set of DVDs -- the figure drawing series.

    Since he says you can not learn to draw by staring at an apple - or a cast - or a figure --- he trying to invent a way to teach the figure via video. So he's thinking he's going to focus on understanding the head -- since that's the unit of measure for the whole figure. So the head DVD will probably be next.

    I will keep you guys informed. Ciao.

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  4. #32
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    @Zazerzs if you want to share the color course website -- try to use the http://www.ColorTheoryClass.com it's easier to reminder which helps the studios more. Thanks.

    Will you guys be coming to the Barnstone Studios Open house in Oct? ( 2012 )

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  6. #33
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    Quote Originally Posted by aladinevargas View Post
    Stay tuned --- not in the Fletcher way! Myron's getting ready to work on his next set of DVDs -- the figure drawing series.

    Since he says you can not learn to draw by staring at an apple - or a cast - or a figure --- he trying to invent a way to teach the figure via video. So he's thinking he's going to focus on understanding the head -- since that's the unit of measure for the whole figure. So the head DVD will probably be next.

    I will keep you guys informed. Ciao.
    WHAT!?! That is awesome! So glad he is doing this.

    How about you just keep a camera on him anytime he is in the studio, a large collection of critiques would be fantastic

    I'm not sure ill be in the area in Oct. but if I am I wouldn't miss it.

    Last edited by Zazerzs; May 26th, 2012 at 09:44 PM.
    "Talent is a word found in the mouth of the lazy to dismiss the hard work of those who have achieved."
    Anatomy Thread
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    Interested in learning more about color? Read this!
    Fletcher:Color Control
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  7. #34
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    Hey Zazerzs, are you by any chance an LVPA graduate?

    My sketchbook:

    http://conceptart.org/forums/showthread.php?t=191977

    My page on Facebook, which I update much more often.

    https://www.facebook.com/MarkGrimArt
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  8. #35
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    Fun fact I learned the other day:

    I didn't know this before, but thought it might be of interest to anyone wishing to learn more about Fletcher. I knew he was the director of the Edinburgh College of Art because it says so in the text.

    What I didn't know was that in 1924 he moved to the U.S.A. and was director of the Santa Barbara School of the Arts. He resigned from there in 1930 but continued to teach in Los Angeles. Apparently, he taught more than a few of the artists working for Walt Disney Studios at the time.

    Just thought some people might be interested in that.

    "Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote

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  10. #36
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    plein air underpainting

    Can anyone give me some direction in underpainting a plein air work. I understand a split compliment value study is used. So, did Monet do a value study on location ,let dry and complete the following day same time? Should it be a thin value study using the Key color?
    THANK YOU

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  11. #37
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    Quote Originally Posted by henstooth View Post
    Can anyone give me some direction in underpainting a plein air work. I understand a split compliment value study is used. So, did Monet do a value study on location ,let dry and complete the following day same time? Should it be a thin value study using the Key color?
    THANK YOU
    You could try that and see what happens. You might get an interesting result result. However, from what I've seen and heard, that's not exactly what Monet did.
    The best way to understand what Monet did is to see the paintings in the flesh and also to read some contemporary accounts of his working methods. From what I've read he would work on several paintings on the same say and switch canvases every 20-30 minutes or so or when the light had changed significantly. He would then keep going back to the spot day after day and continue working on each one at the proper time of day. (Monet also spent a lot more time in the studio than some people believe). Monet's paintings are far more complex than a simple single underpainting/overpainting procedure. Most of his paintings have at least 15 distinct layers of paint, so there's a lot of different color interactions going on. I don't know if you've bought the Fletcher Color Course mentioned above, but, if you have, one of the many goals of the assignments given is to heighten awareness of the potential for complex color interaction between layers. So, they would give you a starting point for experimentation to see how it can work.

    One thing to keep in mind, though, is that when painting with broken color or open touches to reveal the underpainting beneath, you've engaging in a kind of "optical" mixture, in which the colors mix in the eye. A good book to read about this is "Suerat and the Science of Painting" by Homer. The thing to keep in mind with this is that optical mixture in a kind of additive mixing and so behaves more like the mixing of colored light. In additive mixture, the complementary colors are not always the same as in subtractive mixture. For example, in additive color, the complement of yellow is blue-violet, while in subtractive color, the complement of yellow is violet (unless you're using Munsell, but that's a whole other topic.) So, if you were to lay down touches of yellow over touches of blue-violet, from a distance they would read as a grey. Dr. David Briggs has good example of this on his site:
    http://www.huevaluechroma.com/044.php
    Suerat does this kind of thing all the time, where he juxtaposes small touches of fairly intense color, but they neutralize when seen from a distance. You can also make neutral colors look more intense depending on what's juxtaposed with them. The assignments from the class are to give you an idea of what's possible.

    To answer your last question, what you underpaint with is determind by what effect you want. If you're using a key system, you wouldn't want to underpaint with the key color, but rather it's split complement as that will make the key color stand out and subordinate everything else. In other words, if you want to strengthen a color, underpaint with a split complement. If you want to subdue something, underpaint with something more analagous (for example, underpaint a blue-green with a neutralized violet, maybe). It all depends on what it is you want to achieve.

    "Contrary to the belief of the layman, the essential of art is not to imitate nature, but under the guise of imitation to stir up excitement with pure plastic elements: measurements, directions, ornaments, lights, values, colors, substances, divided and organized according to the injunctions of natural laws. While so occupied, the artist never ceases to be subservient to nature, but instead of imitating the incidents in a paltry way, he imitates the laws."-Andre Lhote

    Web, FineArt, Sketchbook
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