tag:blogger.com,1999:blog-50211550338047464692024-03-13T23:37:34.184-06:00Lisa Larrabee ArtLisa Larrabee Art is a teaching blog that shows drawing and painting techniques used and taught by the artist. Take a look behind the scenes into the artistic process.Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comBlogger77125tag:blogger.com,1999:blog-5021155033804746469.post-64186895728531789822023-11-28T12:24:00.000-07:002023-11-28T12:24:02.194-07:00Changing Direction<p> <span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoLEvGCO_d-7VwNofy51_KGKa3M7eSLmLpRSJV8JRZCmeUFTLVBAfnVTbkVZzdBCBoksvDdQtJpFAdZegeHst0nZtagUgXMGvp60BAxxhcQADsL0Jvx4IS6BsjDxqndqYpbjueSelX7baoHuPqQccr4F4qC1dc2bYXUjuIYmKfGqkupMNuHlrwIe8BIt1l/s1435/Moonlight%20&%20Ivy%20stages.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="912" data-original-width="1435" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoLEvGCO_d-7VwNofy51_KGKa3M7eSLmLpRSJV8JRZCmeUFTLVBAfnVTbkVZzdBCBoksvDdQtJpFAdZegeHst0nZtagUgXMGvp60BAxxhcQADsL0Jvx4IS6BsjDxqndqYpbjueSelX7baoHuPqQccr4F4qC1dc2bYXUjuIYmKfGqkupMNuHlrwIe8BIt1l/w640-h406/Moonlight%20&%20Ivy%20stages.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><span style="text-align: justify;">Some of my best exploration comes from my teaching demos. Not always the demos themselves, but the paintings afterwards. If I am teaching a technique, I tend to keep the demo pretty straightforward. This serves the purpose of teaching the process, but then I have a painting that I can play around with afterwards that I have no strong attachment to. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: justify;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3w-5hiPiE3HH3aqtA5hIAwIhKsdkjDcXeHTsf_fe66c_aQ5xRV8Au3kMcT3JY39bCPHr5U4Oh4exIaDYQY_b53wRq6ERlfzbIMApapd2Wo8MWOT4UbwabpcUcq_cnBMb5qR3Ty6lwwtWvNZ9__3M1lkhZYeMixZpgZx7yHlvo6mWsOZ0ycCQE8HTy1g/s1905/bri%20stages%20-larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="1905" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3w-5hiPiE3HH3aqtA5hIAwIhKsdkjDcXeHTsf_fe66c_aQ5xRV8Au3kMcT3JY39bCPHr5U4Oh4exIaDYQY_b53wRq6ERlfzbIMApapd2Wo8MWOT4UbwabpcUcq_cnBMb5qR3Ty6lwwtWvNZ9__3M1lkhZYeMixZpgZx7yHlvo6mWsOZ0ycCQE8HTy1g/w640-h212/bri%20stages%20-larrabee.png" width="640" /></a></div><p style="text-align: justify;">I demonstrated a technique on how to use a reductive process in layers. I discussed this process in a previous post that you can view here: <a href="https://lisalarrabeeart.blogspot.com/2022/12/a-reductive-process-in-layers.html" target="_blank"><span style="font-size: medium;">A</span> Reductive Process in Layers</a>.</p><p style="text-align: justify;">I love using my technique demos as a springboard for experimentation. It has been one of the ways I have learned to let go and have some fun with the process. I was taught to experiment in art school, but also to develop a plan through studies. Sometimes these are quick sketches and other times I use Photoshop to explore variations. If you are considering a change to your painting, it can be helpful to test out how it would look. If you want to completely change the direction of your piece, print out several pictures and try whatever you feel like before committing to the changes on your artwork.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVtYo6dkb5SlqJn_iSAbgwMRVtdOI2rVaPqthcp4VrsjPkXn4mGfxICRe2TK5TW3VTIulqG2i0eE7Xs7N5NHSQxy-LMnw3mzOcLIUJ8NOHnC1lWfXxttnId9wJjoFWmgYrHaZ9fwiggM007vO1c7aiHDIGsv4ya9Oyh0noThwUsSS8SmDKK17MU6meYA/s2279/Painting%20edits.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2279" data-original-width="1620" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVtYo6dkb5SlqJn_iSAbgwMRVtdOI2rVaPqthcp4VrsjPkXn4mGfxICRe2TK5TW3VTIulqG2i0eE7Xs7N5NHSQxy-LMnw3mzOcLIUJ8NOHnC1lWfXxttnId9wJjoFWmgYrHaZ9fwiggM007vO1c7aiHDIGsv4ya9Oyh0noThwUsSS8SmDKK17MU6meYA/w454-h640/Painting%20edits.jpg" width="454" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;">In this example, I printed out a small photo of my painting on regular printer paper. I used a white pastel pencil to draw over the top. I find the process of drawing over a print can be more freeing and intuitive than manipulating the image in Photoshop. Soft pastels work great for changing colors and you can blend them to let the image show through or use them more opaquely to cover areas.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIEb49CIM31Ws62PRzI-RoeIrHsIBy9cQEtskCT5IACcw5oZ-ZiUglCWeYHFoo6sXjpyD6KIJCRNgEJ_lknbKVvhFBia_z6jEZ59WIQgH0-YrTccGfyeJaQfQswqoP4YwIdIWw7TjIrer6vLzSBJ2Tr26p_drDjmkpWM4JF8vZWp9Ia0IeksybeISa5g/s2847/Bri5vines%20moon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2847" data-original-width="2200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIEb49CIM31Ws62PRzI-RoeIrHsIBy9cQEtskCT5IACcw5oZ-ZiUglCWeYHFoo6sXjpyD6KIJCRNgEJ_lknbKVvhFBia_z6jEZ59WIQgH0-YrTccGfyeJaQfQswqoP4YwIdIWw7TjIrer6vLzSBJ2Tr26p_drDjmkpWM4JF8vZWp9Ia0IeksybeISa5g/w494-h640/Bri5vines%20moon.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;">In contrast, my Photoshop version is stiff, but it served its purpose. I was not trying to create a finished image. I only wanted to plot out my shapes in advance. I am working to be more intuitive and responsive to my painting. Still, having a rough plan gave me more confidence to make a dramatic change.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrrLbwnILKwvno6eaYFMancuwY33FZSQ0jols4LML5_DaHvUuHB665pA3Qv0poLwbvf7iZkne0KUy1QddkQniskh0McJPCnXbC0K7N6cXa0H38BaN4ln15H4wC--nX3OInV9OJ_rHUXxbexyDmqzmctuzsKKbp-2uGKLfFiy9VNEK7nJdsEdVLofnCcQ/s3953/Bri%20in%20progress.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3953" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrrLbwnILKwvno6eaYFMancuwY33FZSQ0jols4LML5_DaHvUuHB665pA3Qv0poLwbvf7iZkne0KUy1QddkQniskh0McJPCnXbC0K7N6cXa0H38BaN4ln15H4wC--nX3OInV9OJ_rHUXxbexyDmqzmctuzsKKbp-2uGKLfFiy9VNEK7nJdsEdVLofnCcQ/w490-h640/Bri%20in%20progress.jpg" width="490" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Above is a picture of my actual painting rather than a print or digital manipulation. I used titanium white paint mixed with cold wax medium applied very thinly with a brayer roller. Once I transferred the leaves, I used a brush, Q-tip and OMS to remove the paint in a similar method described in the reductive process from the demo stages. I experimented with rubbing away paint/cold wax outside of the circle using an old cloth once the paint had started to set up. I was excited to discover that I could remove the paint/cold wax so cleanly, but I didn't like how it felt stiff as though I had cut it out of vellum. I might want that effect in the future, so it's important to note the process because it could come in useful elsewhere.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVdgdyd9AKVvTCxq7i2uaAydB9awdxO0YrEEsQCreG1vGQt_HPPYzZeoSNAsBtv1gBi34AdXF97nq2VVVno0ag4ZgDYP6XgXo7BREYyMZbRHgc3E18U3XbT_8UQ6rpMbVf9xV7h4bHjJNfTWX20GFfjI65gkSp7Vf51eCI2fIrSxgjbxHnYGNRp8bV8g/s3912/Bri%20in%20progress2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3912" data-original-width="3023" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVdgdyd9AKVvTCxq7i2uaAydB9awdxO0YrEEsQCreG1vGQt_HPPYzZeoSNAsBtv1gBi34AdXF97nq2VVVno0ag4ZgDYP6XgXo7BREYyMZbRHgc3E18U3XbT_8UQ6rpMbVf9xV7h4bHjJNfTWX20GFfjI65gkSp7Vf51eCI2fIrSxgjbxHnYGNRp8bV8g/w494-h640/Bri%20in%20progress2.jpg" width="494" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">After it dried, I went back in with paint and cold wax medium. I alternated between pallet knives, scrapers, rollers and a cloth to wipe away what I didn't want. Suddenly, the circle took on a more luminous quality like the moon. That gave me another direction to follow.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9XBYs3eTfD8qZZ7YAGFIMF_-S3ha4tK9RA20g0XsatjM4R2M4lgnToKREAXVDvVg03M0sCIZAiYqfjXvXjpPtzSnx_E3-04Doj8UsVhJeezOz1EiLN_TmLMQDN9dkfQGKSzC4hCEjMAJ8NdFHA94gfa9HDvp2UrKyU1rtY56B6cPYe4obUgmJXtpMVekf/s3844/Moonlight%20&%20Ivy%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3844" data-original-width="3057" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9XBYs3eTfD8qZZ7YAGFIMF_-S3ha4tK9RA20g0XsatjM4R2M4lgnToKREAXVDvVg03M0sCIZAiYqfjXvXjpPtzSnx_E3-04Doj8UsVhJeezOz1EiLN_TmLMQDN9dkfQGKSzC4hCEjMAJ8NdFHA94gfa9HDvp2UrKyU1rtY56B6cPYe4obUgmJXtpMVekf/w508-h640/Moonlight%20&%20Ivy%20-artist%20Lisa%20Larrabee.jpg" width="508" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><span style="text-align: justify;">I decided to play up the idea of the moon by glazing transparent blues to darken the background and create more contrast. Sometimes it is great to have a clear plan to follow. Other times it is important to allow yourself to experiment, play and determine your direction from one stage to the next.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="text-align: justify;"><br /></span></div><h1 id="Challenge"><span style="color: #ed4b00; font-size: x-large; font-weight: normal;">Art Challenge</span></h1><p>When you feel like you already know the outcome and have done it before, change direction and try a whole new path.</p><ul><li>Choose a drawing or painting that you are willing to let go and transform.</li><li>Print out small photos of your artwork onto plain paper and use paint or pastels to make bold changes to your copies before committing to change the original.</li><li>Introducing a completely unrelated subject (like the ivy) can be a great way to shake yourself out of your routine process.</li><li>Respond to each change and see where it goes. You choose the path forward as you go.</li><li>Have fun! </li></ul><div><div>~ Lisa</div><p style="text-align: center;"><br /></p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-68418627561335203322023-10-24T15:14:00.001-06:002023-11-28T12:24:24.230-07:00Upcycle Your Painting<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Do you every wonder what to do with old artwork that you feel is kind of <i>meh</i>? Recycle it. Better yet, upcycle it and make it better! There are so many possibilities when it comes to upcycling your artwork. Allow yourself to respond to what you have while simultaneously letting it go. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUIiZbjezZfpafAo6HiiSPc0ZLl3p0TBwfMtdN3Pth3strheWtnzpMKUTtYPZMf5l2IsqykhKnyJId0JSBmRP8Vx4aXt0662HIfpdf2N3KgI6xiI9qQ-XCcBAMGp3_YvrYoo3_iBpb6wDfw8aLIz_wLHk52133wFBq7uKuhFzzZyJPIIFASyC1zMAOYVs/s1320/Before%20After%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="1320" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUIiZbjezZfpafAo6HiiSPc0ZLl3p0TBwfMtdN3Pth3strheWtnzpMKUTtYPZMf5l2IsqykhKnyJId0JSBmRP8Vx4aXt0662HIfpdf2N3KgI6xiI9qQ-XCcBAMGp3_YvrYoo3_iBpb6wDfw8aLIz_wLHk52133wFBq7uKuhFzzZyJPIIFASyC1zMAOYVs/w640-h408/Before%20After%20-Larrabee.png" width="640" /></a></div><p><span></span></p><a name='more'></a>I had some silicone paint shapers that I really wanted to play around with. Rather than starting on a blank surface, I looked for an existing painting that already had some nice colors and textures that I could build on. I created this Eucalyptus as a study for a larger piece. I didn't love the painting, so I decided to have fun and turn it into something completely new.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkgOWoaOqwQLQNcDVP95pz4kh9CKiaYYhrQfzTBsUaBUfFzFC1G5u3K8FCzD9cchVUO_n8AkiKSCZMikkNIcuUt-_r72O3qzoGPeCUH3pvve9P0hkzGPSI7ethrF7pNGNFwb7rZdSREh4IX8rWXBtQfZ3oMys-VYC7KeB5adMz-c0MBji83mhWh-G8EQ/s900/Eucalyptus-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="707" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkgOWoaOqwQLQNcDVP95pz4kh9CKiaYYhrQfzTBsUaBUfFzFC1G5u3K8FCzD9cchVUO_n8AkiKSCZMikkNIcuUt-_r72O3qzoGPeCUH3pvve9P0hkzGPSI7ethrF7pNGNFwb7rZdSREh4IX8rWXBtQfZ3oMys-VYC7KeB5adMz-c0MBji83mhWh-G8EQ/w502-h640/Eucalyptus-artist-Lisa-Larrabee.jpg" width="502" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><h2 style="clear: both; text-align: justify;"><span style="color: #ed4b00; font-size: x-large; font-weight: normal; text-align: left;">Explore New Tools</span></h2><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Color shapers are versatile tools that let you push paint around with a flexible silicone tip at the end of a long handle like a brush. I used color shapers with a tapered point and an angled chisel. I also used a mix of rigid and flexible painting wedges as well as a pallet knife. I began by turning my painting upside down so that I would be less tempted to see the tree as a distraction. This also placed the darker values at the top which would create more contrast as I scraped marks into it. I applied titanium white oil paint directly from the tube and began pushing it around using the various tools.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKXH25oFgnSN3VpkjZeubDLyudBDTbyyBo0QLMV2K-Vz_JlDmFHqtdD31wk2rOhZupaassFl1ze_2QO6xO2K3Fy3Qh6jeF04qJ1aGSGUU6RhJTBK5lst9Uv9E9ChxkMPlpSyRRA1QEWY7FpcaPek_IUQqtdude8U5HEAv5R9dOj_0pcnVh7jx-9ZJvo/s1357/Progress-Paint%20shapers.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="1357" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKXH25oFgnSN3VpkjZeubDLyudBDTbyyBo0QLMV2K-Vz_JlDmFHqtdD31wk2rOhZupaassFl1ze_2QO6xO2K3Fy3Qh6jeF04qJ1aGSGUU6RhJTBK5lst9Uv9E9ChxkMPlpSyRRA1QEWY7FpcaPek_IUQqtdude8U5HEAv5R9dOj_0pcnVh7jx-9ZJvo/w640-h422/Progress-Paint%20shapers.png" width="640" /></a></div><br /><div>The color shapers allowed me to sketch directly into the paint revealing the colors underneath.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisXgLm3b7As0LObAsJvfZ0Kdhe4kQW3n1LiQ83WdKoRzvw0RPMyIdcivkLhtKYB2un-LsuyexxPwUIhB60vsJc8Rb5EQ9h0Zuup-Kw-QYyU9tDzrGEf2ZZoYNRRQ1jvO_Ux9Y5oDUOf5KokF1Z9SE1FRPn7OL30HlxJIBFSEdsLWTCLa5Ow_hb0WD2UG4/s3842/Awakening%20Stage%202%20-Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3842" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisXgLm3b7As0LObAsJvfZ0Kdhe4kQW3n1LiQ83WdKoRzvw0RPMyIdcivkLhtKYB2un-LsuyexxPwUIhB60vsJc8Rb5EQ9h0Zuup-Kw-QYyU9tDzrGEf2ZZoYNRRQ1jvO_Ux9Y5oDUOf5KokF1Z9SE1FRPn7OL30HlxJIBFSEdsLWTCLa5Ow_hb0WD2UG4/w504-h640/Awakening%20Stage%202%20-Lisa%20Larrabee.jpg" width="504" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">This process is incredibly forgiving. If you make mistakes, you can blend them away with the smooth edge of a painting wedge and try again. I found more satisfaction in trying to create bold, interesting marks with the scrapers rather than controlled, accurate marks. I went back and forth, trying new marks and refining some shapes. You can see in the example below how areas can easily be reworked.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGbvyQuTvssI3dnHfI8hxhv7pIJphGodrz9v9b9c5YVGP_oWF6iwZB0ur_B4c7dhOjzICIjlKrC4CE0mq6Z1SAqDjm4_XeGTgxbz1L7Ea_7TkKyXD3B9LG7bi0fSRGwujdB55OhPHtZz-Y4iyPzhGYH2Rb3ND1nr1uZRYSgSNLjbIvbGzEQOfdRCQc8U/s1420/Awakening%203%20&%204%20Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="878" data-original-width="1420" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGbvyQuTvssI3dnHfI8hxhv7pIJphGodrz9v9b9c5YVGP_oWF6iwZB0ur_B4c7dhOjzICIjlKrC4CE0mq6Z1SAqDjm4_XeGTgxbz1L7Ea_7TkKyXD3B9LG7bi0fSRGwujdB55OhPHtZz-Y4iyPzhGYH2Rb3ND1nr1uZRYSgSNLjbIvbGzEQOfdRCQc8U/w640-h396/Awakening%203%20&%204%20Larrabee.png" width="640" /></a></div><br /><div class="separator" style="clear: both;">Using the various scraping and shaping tools was incredibly fun. The bolder the mark, the more the original painting was revealed. There was an exciting sense of freedom and of not knowing what to expect with each step. When I finished pushing the paint around, I was unsure of what to do next. While letting it dry, I considered what my responses could be. I did not want to overwork it. I wanted to maintain the loose the spontaneity that I felt during the process. I decided to let the original painting speak by bringing in some of the golds and blues of the landscape painting. I used transparent pigments mixed with a quick drying alkyd medium to glaze some colors over the top to enhance certain shapes without covering the original marks.</div><div class="separator" style="clear: both;"><br /></div><h2 style="clear: both; text-align: left;"><span style="color: #ed4b00; font-size: x-large; font-weight: normal;">Transformation Complete</span></h2><div><span style="color: #ed4b00; font-size: x-large; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWZK3iuMxsEH9e4XYLxGtbc4rm-YOJvZlxQJSBxROcevqWnPxDFNgH-R1YSaNX12Eeduv34oFrIXAwFDYgt0uE8QF6BrL_F6J5HiNhRCYq9BjOtbK_9vtBI-oK9Gs1fmHjSb4Gela8VPbkUeBtwAiTdybEzlDOXFH9tSA5wOLGJ6veoPtTHAukPsFlho/s4200/Awakening%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4200" data-original-width="3301" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbWZK3iuMxsEH9e4XYLxGtbc4rm-YOJvZlxQJSBxROcevqWnPxDFNgH-R1YSaNX12Eeduv34oFrIXAwFDYgt0uE8QF6BrL_F6J5HiNhRCYq9BjOtbK_9vtBI-oK9Gs1fmHjSb4Gela8VPbkUeBtwAiTdybEzlDOXFH9tSA5wOLGJ6veoPtTHAukPsFlho/w504-h640/Awakening%20-artist%20Lisa%20Larrabee.jpg" width="504" /></a></div><br /><div class="separator" style="clear: both;">Many paintings are special and a significant piece of your artistic journey. Cherish them and look back to see the path you have taken and the distance you have come. However, there are many practice attempts along the way. Don't be afraid to dig into your old paintings and make them new. Our failures have the potential for incredible growth and transformation if we choose to see it.</div><br /><div><h1 id="Challenge"><span style="color: #ed4b00; font-weight: normal;">Art Challenge</span></h1><p>Upcycle your artwork.</p><ul><li>Choose a drawing or painting that you are willing to let go and transform.</li><li>Consider a process that will allow you to make a bold new start or you may end up just reworking the old piece.</li><li>Old drawings, pastels or watercolor paintings can be great for collage. Cut them apart, weave them back together and combine pieces.</li><li>Use an opaque medium that allows for bold coverage, but don't loose it all. You can always sand down and paint a canvas back to white. Instead, consider how you can respond to the colors and textures of the old painting as you take the piece in a totally new direction.</li><li>Change the orientation of the artwork if you feel it will be a distraction or if you want to shift the location of colors or values.</li><li>Experiment with new tools. Might I suggest paint shapers and wedges?</li><li>Have fun! If it fails, who cares? You didn't love the old painting anyway. Take the chance.</li></ul><div><div>~ Lisa</div><p style="text-align: center;"><br /></p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-32387883682002897562023-10-08T21:52:00.001-06:002023-10-17T13:33:37.152-06:00What's Relative?<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Value is relative. Temperature is relative. Color is relative. There is that word <i>relative</i> again! To simplify, all of these qualities are affected by their <i>context</i>. They exist in relationship to their surroundings. When we change the colors or values around a subject, the relationship to the subject also changes. Being aware of the effects colors and values have on each other can help you create color and value relationships with more accuracy. Understanding the relationships can empower you to use your knowledge to enhance a color or create emphasis by using surrounding colors and values with intention.</p><div><h2 style="text-align: left;"><span style="font-weight: normal;"><span style="color: #ed4b00; font-family: inherit; font-size: x-large;">Relative Value</span></span></h2></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">In this example, the background is a gradient from light to dark. Is the circle also a gradient from dark to light? No, but it can appear that way. The top of the circle appears slightly darker against the light background. The bottom of the circle appears slightly lighter against the dark background. </span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFyl1eDiW-7Q6aRjLmzloR_UheaEQF4T_qLEtCuiCLXcDtRHIOIMYuaEgfaAU_OrEGidRrKwWMUlgQ7kDUGU2U5oWmEoXieYHVYHgigUBP0iCCG9QVzZ6ol4L1S4yI_O3lpurmH8E8vdQsjhRZTQL-Hl7ZA8utQ7BQb43dFn1af0TlF2-wY5PZlls6rcA/s631/Value%20circle%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="627" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFyl1eDiW-7Q6aRjLmzloR_UheaEQF4T_qLEtCuiCLXcDtRHIOIMYuaEgfaAU_OrEGidRrKwWMUlgQ7kDUGU2U5oWmEoXieYHVYHgigUBP0iCCG9QVzZ6ol4L1S4yI_O3lpurmH8E8vdQsjhRZTQL-Hl7ZA8utQ7BQb43dFn1af0TlF2-wY5PZlls6rcA/s320/Value%20circle%20-Larrabee.jpg" width="318" /></a></div><div class="separator" style="clear: both;"><span><a name='more'></a></span>Choosing a neutral or mid-gray palette can help you mix values more accurately. A color will appear darker on a white palette. When mixing oil or acrylic paint, you may be working on a toned surface or have covered the surface with an underpainting. Mixing paint on a mid-value helps create a value that is more accurate. That said, white is the best palette when mixing watercolor because watercolor is transparent. You would also likely be painting on white watercolor paper.</div><div class="separator" style="clear: both;"><br /></div><h2 style="clear: both; text-align: left;"><span style="color: #ed4b00; font-family: inherit; font-size: x-large; font-weight: normal;">Relative Temperature</span></h2><div>A color's temperature (warmness or coolness) is also relative to the temperature of the colors surrounding it. We often tend to think of color temperature in general terms. You can simplify a color wheel by saying that red, orange and yellow are warm colors (like fire) and green, blue and violet are cool colors (like forests, mountains and water). However, each color's temperature appears warmer or cooler based on the context. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp0q1VzCamXZnQSRZJHJg7vGf5jbUi0Zqp1jDymzNG_TcTuczEmcLIj_y1ObSPh5h1fVDABDXIeL5THuov_vke7i59oRccEAN67qoergyDfAzapYFQxgjz1osmuLex0jG92MDOm8RkFz8HOAG7mYXXN0u1A4ga-vEBd14QkJO8wXMmtd5GjwRXnLKIS2c/s1241/Temperature%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1241" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp0q1VzCamXZnQSRZJHJg7vGf5jbUi0Zqp1jDymzNG_TcTuczEmcLIj_y1ObSPh5h1fVDABDXIeL5THuov_vke7i59oRccEAN67qoergyDfAzapYFQxgjz1osmuLex0jG92MDOm8RkFz8HOAG7mYXXN0u1A4ga-vEBd14QkJO8wXMmtd5GjwRXnLKIS2c/w640-h324/Temperature%20-Larrabee.jpg" width="640" /></a></div>For example, the temperature of the red circle on the left feels warmer than the same red circle on the right. The red feels cooler when contrasted against a fiery red-orange. But, even a "cool" red that leans towards violet will still be considered warm compared to cooler colors like blues and violets. <br /><div><br /></div><h2 style="text-align: left;"><span style="color: #ed4b00; font-size: x-large; font-weight: normal;">Relative Color</span></h2><div class="separator" style="clear: both; text-align: left;">Are the circles the same color or are they different? <span style="text-align: left;">What colors do you think they are?</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bFQLRVS0zv6wNjI9pKOrbmtptFQNE16mjjRR3ypGLXNNfLF7yyLWknKDAf9vPZ23RtJtmpONG-VWQZ9FGzbi1vkkuRuTzWEPgqgFjbJkrEcwaVCJvHYgdS2bBkHU7LLPXjGeJIB8WNn9Xh_lgmtgot5pAJhv-4ZNnXUTzpxA4s2nUXmInZkfy27wux0/s1241/Green%20Orange%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1241" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bFQLRVS0zv6wNjI9pKOrbmtptFQNE16mjjRR3ypGLXNNfLF7yyLWknKDAf9vPZ23RtJtmpONG-VWQZ9FGzbi1vkkuRuTzWEPgqgFjbJkrEcwaVCJvHYgdS2bBkHU7LLPXjGeJIB8WNn9Xh_lgmtgot5pAJhv-4ZNnXUTzpxA4s2nUXmInZkfy27wux0/w640-h324/Green%20Orange%20-Larrabee.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Both circles are the same color. The circle on the green background appears to be a neutral gray. The orange background appears to give its circle a slightly green cast. What is the actual color?<div><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NYW1Yi1rpByyL6nFAk3aj_GF3wdEBGz3y2W2vsYOShqjABEbjazXUkgjDrQYXO7f6ci5P5Y-Mzh23NZyCrWXtLA_QUEGpRdNjRf2Qi-N10mjAm-OTgdH2Z65YJxznzc9zNuvVFx7l1Wyp_nRzj8FG1OOIDdwayDAta-siKshW5rnFIN4wnj0sxG_dpc/s633/Gray%20Green%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="629" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NYW1Yi1rpByyL6nFAk3aj_GF3wdEBGz3y2W2vsYOShqjABEbjazXUkgjDrQYXO7f6ci5P5Y-Mzh23NZyCrWXtLA_QUEGpRdNjRf2Qi-N10mjAm-OTgdH2Z65YJxznzc9zNuvVFx7l1Wyp_nRzj8FG1OOIDdwayDAta-siKshW5rnFIN4wnj0sxG_dpc/s320/Gray%20Green%20-Larrabee.jpg" width="318" /></a></div><br /></div>All of the circles are a gray-green color. When the background is neutral gray, the green becomes more easily visible.<div><br /><div><h2 style="text-align: left;"><span style="color: #ed4b00; font-size: x-large; font-weight: normal;">A Great Example by Accident!</span></h2><div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Many great examples are created intentionally, but I created an example by accident that shows the relativity of values, colors, and temperatures! I intended to mix a soft gray-green color to match the background below on the right. The photo below on the left shows the color I mixed on my palette (glass over neutral gray paper). When I achieved what I felt was a close enough match, I tested it by applying the paint directly onto the green background with a palette knife. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lupUmBON_nlEbUs6_tKOSK-FKE41htjBx3Mw33hB3S806-tTArkvwdJnnLnAGZv5nzt2Ox3eU2-5Ety5sY0OH3TgZNAOmtnlvwZtCXe1H6BuAY_HEv3-SL2cLpLem09zq9-uM3f6F4v2sCUTgeCeKv0mSBA4AwCPxafjHHqy47qC88WVP0Er5WXw/s980/Relative%20Color%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="704" data-original-width="980" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lupUmBON_nlEbUs6_tKOSK-FKE41htjBx3Mw33hB3S806-tTArkvwdJnnLnAGZv5nzt2Ox3eU2-5Ety5sY0OH3TgZNAOmtnlvwZtCXe1H6BuAY_HEv3-SL2cLpLem09zq9-uM3f6F4v2sCUTgeCeKv0mSBA4AwCPxafjHHqy47qC88WVP0Er5WXw/w640-h460/Relative%20Color%20-Larrabee.png" width="640" /></a></div><p>The warm tan color was so shockingly different that I immediately checked my palette to see if I had accidentally pulled paint from the wrong pile! Surprisingly, it was the first and only paint I had mixed since I was just starting out for the day. </p><p>This was the most dramatic accidental example of a relative color that I have experienced, so I took pictures to document how the color's context affected the color's appearance. If I were to digitally sample the paint colors directly from the photos, they would not be the same; however, the photos accurately captured the dramatic "color switch" that I experienced with my own eyes. </p><p>Another variable to consider (besides the background color) was the light source, which also affected the appearance of the colors. Lighting and changing from a flat or horizontally oriented palette to a vertically oriented palette can also affect how you perceive the color. </p><p>Regardless of the multiple color effects, the surprise was quite real! To correct the color mix, I had to analyze how far off the mix was and compensate by going much greener than I previously thought was necessary.</p><h2 style="text-align: left;"><span style="color: #ed4b00; font-size: x-large; font-weight: normal;">Tips for Matching Color</span></h2><div><ul><li>Mix oil/acrylic paint on a neutral surface. White is best for transparent pigments like watercolor, but it can affect the values that you perceive more than a mid-value gray.</li><li>Use your palette knife to hold paint to the surface of your painting. This helps you see the color in context and in the same light (especially if the painting is vertical on an easel).</li><li>Make adjustments before you touch the color to the surface.</li><li>Identify the general color of the error. For example, my mistake looked pinkish-tan. The error leans towards red. To neutralize the red, I needed to add more of its compliment by adding more green.</li></ul></div></div><div class="separator" style="clear: both;"><h1 id="Challenge"><span style="font-weight: normal;"><span style="color: #ed4b00;">Art Challenge</span></span></h1><div><div class="separator" style="clear: both;">This is an exercise I did as a art student that helped me begin to see how truly relative colors and values are. It was not the most exciting painting, but I never forgot the importance of color and value in context. Although it may not appear to be an exercise on relative color, it is amazing how quickly you will begin to see subtle tints of blues, greens, oranges, etc. when your goal is color accuracy.</div></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAVW4kd2LTOkzl2tX4zOuNiWbozmFWu9As104nrB0jzqaAiPBr8_DM6rPfsCEpg4D6hofmTuMg0CxblLNk0jNw0S86rXSBErbAPHrxPaOKgEZMFaa2rvHhPcQeImWS297G1aGrYB9125yasO4oilLlwWevj-hHpsTzUO8_y-scE5mggeCVRj7MmQEGN0/s3586/white%20cube%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3586" data-original-width="3046" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAVW4kd2LTOkzl2tX4zOuNiWbozmFWu9As104nrB0jzqaAiPBr8_DM6rPfsCEpg4D6hofmTuMg0CxblLNk0jNw0S86rXSBErbAPHrxPaOKgEZMFaa2rvHhPcQeImWS297G1aGrYB9125yasO4oilLlwWevj-hHpsTzUO8_y-scE5mggeCVRj7MmQEGN0/s320/white%20cube%20-Larrabee.jpg" width="272" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></div></div><div><div class="separator" style="clear: both;"><ul><li>Choose a simple white object with a white background. We used a white cube in a white corner so there were distinct changes of value rather than a curved surface.</li><li>Paint each change in color/value as a distinct shape without blending.</li><li>Mix each color/value as accurately as you can before moving on to the next color/value shape.</li><li>If a new color/value makes a previous section look wrong, scrape it off and correct the error.</li></ul><div>For the record, I scraped and repainted every section multiple times because I discovered that every new color I added affected the pervious color/value. Why? Because they are <i>relative to each other</i>!</div><div><div>~ Lisa</div><p style="text-align: center;"><br /></p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div><br /></div><div><br /></div></div></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-56364745468610206052023-08-24T11:52:00.001-06:002023-10-17T13:32:52.070-06:00Paint with Charcoal<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Charcoal is both bold and forgiving. You can blend and smudge charcoal or sharpen it to draw with precision. Charcoal is a staple in most drawing classes, but did you know that you can also <i>paint</i> with it?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIIIc8gq8_03L3pB7RisbJCSF3YMHEAP-OyReT7cs_1lEcbvTrkXDtoBB3P_xDb7ojMdXC1crIR720o-szeEYHBd0Vq9xdMAK01bpzV0zElmaFBRR-xB5I4BmYUUik8FW8GEVttoaFiOCe1B1sx_GuRuRKt6A6jOq4tCejDuk-PndrhdLXJW7nvc5kVlQ/s2859/charcoal%20painting%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2859" data-original-width="2859" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIIIc8gq8_03L3pB7RisbJCSF3YMHEAP-OyReT7cs_1lEcbvTrkXDtoBB3P_xDb7ojMdXC1crIR720o-szeEYHBd0Vq9xdMAK01bpzV0zElmaFBRR-xB5I4BmYUUik8FW8GEVttoaFiOCe1B1sx_GuRuRKt6A6jOq4tCejDuk-PndrhdLXJW7nvc5kVlQ/w640-h640/charcoal%20painting%20-Larrabee.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p>If you mix charcoal powder with water, you can paint using a process that is similar to watercolor. The charcoal powder often pools and settles creating interesting patterns as it dries. When the water evaporates, all that is left on the paper is the charcoal. This charcoal can now be manipulated using traditional dry charcoal techniques. You can blend, erase and add details using blending stumps, charcoal sticks and charcoal pencils.<span></span></p><a name='more'></a><p></p><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Wet & Dry Charcoal Techniques</span></h2><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OhIJHwFU6sBdamT9DnNPRbQdb5XB5KoiUAeS5TZ2kCj-AXA8hDqQd43d4qAgDhoXl553nVNBgW04SOqTjipBaMOtlXUsgZ7Iolmcx5NBteaMO0CKlYP10tzm_S1ukFxDLeVfssE-JN2hfPivCjoCNuRyneyMs5aIXG9jldGa8QU_OohQGf0UFtrg1uo/s1895/experiment1%20detail.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1895" data-original-width="1895" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OhIJHwFU6sBdamT9DnNPRbQdb5XB5KoiUAeS5TZ2kCj-AXA8hDqQd43d4qAgDhoXl553nVNBgW04SOqTjipBaMOtlXUsgZ7Iolmcx5NBteaMO0CKlYP10tzm_S1ukFxDLeVfssE-JN2hfPivCjoCNuRyneyMs5aIXG9jldGa8QU_OohQGf0UFtrg1uo/w400-h400/experiment1%20detail.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Before attempting to control wet charcoal, experiment by creating a range of marks. Paint dark, inky strokes and diluted watery washes. Spatter, drip and build up layers. You can smudge, lift or erase the charcoal once it is dry. When you have a better idea of what is possible, it will be easier to move forward with an intended subject.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzhf9yYFGAZZbJGyQKyU7zz2GUAAE9ejAcYepqMq5ebiW5C7n1QqCuni4uAZDUvPzNB31LjoboUtql_AluHKYHShUZQ7vj3ucfpm7FH85Ap6cCepb-C7_Crdq6Qc58-uQmGhS3B3NSUPUsiDbQYy879o0ofoQZFRKK3crvqPSecTf78qSP-b1FjQUlciE/s1507/Charcoal%20wash%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="1507" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzhf9yYFGAZZbJGyQKyU7zz2GUAAE9ejAcYepqMq5ebiW5C7n1QqCuni4uAZDUvPzNB31LjoboUtql_AluHKYHShUZQ7vj3ucfpm7FH85Ap6cCepb-C7_Crdq6Qc58-uQmGhS3B3NSUPUsiDbQYy879o0ofoQZFRKK3crvqPSecTf78qSP-b1FjQUlciE/w640-h322/Charcoal%20wash%20-Larrabee.png" width="640" /></a></div></div><p></p><p>In this demo, I started with a light pencil drawing to indicate the main value shapes. The initial wash of charcoal powder and water was very diluted. A little charcoal goes a long way. It can be easier to add value than it can be to take it away. While the wash was wet, I dropped in darker puddles on the shadow side and spattered some spontaneous drops.</p><p>The second layer was added after the first layer was dry. In a method similar to watercolor, painting wet over dry allows more control over the new layer because the shapes will not bleed the way that they would if applied over wet areas. In this layer, I specifically painted darker values and shadow shapes. The charcoal mixture was again heavily diluted with water. Keep in mind that additional painted layers can easily disrupt the charcoal painted underneath because there isn't any binder added. Although the application can be similar to painting with watercolor or ink, it has it's own unique challenges. </p><p>I have found it easier to add details and darker values using dry charcoal drawing techniques. Once the paper was completely dry, I could use a blending stump to blur and soften transitions. I used a kneaded eraser to lift out a few highlights. Because I intentionally kept the values in the face a bit light, I did not need to erase much. Sometimes the darker values can be stubborn to lift, so it is easier to build up darker details gradually with a sharp charcoal pencil.</p><p>The loose application of charcoal washes can feel a bit out of control. Try to let go during this stage knowing that you can regain control with more precise drawing tools (charcoal pencils, blending stumps and erasers). The wet stage is an opportunity for happy accidents. Let the charcoal puddle or bloom in ways that only it can. When you switch to more precise drawing tools, remember to respond to the charcoal washes rather than try to control them after the fact. Embrace the expressive qualities that are possible when you let go.</p><br /><h1 id="Challenge"><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Art Challenge</span></h1><p>Here's a challenge to help you practice.</p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4RvhCjJzhdePPtel79LuVeTzJXwi4N3nUjwM5w-amKp9vkteVjwJQZ1pPEDl29s5nw4BgPW9sgGOMbf1fI4GhY4tv29sZV1LJwvB_yjjtpCX3RFxrlYAINcqWIbFz3wFO8fOsBQg6BY3hEjPDS0nfBDP7OJ0ppUtvdGI_idficCDHls9Yl0OPcDxi2E/s1073/Screen%20Shot%208-18-2023%20at%206.29%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="915" data-original-width="1073" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4RvhCjJzhdePPtel79LuVeTzJXwi4N3nUjwM5w-amKp9vkteVjwJQZ1pPEDl29s5nw4BgPW9sgGOMbf1fI4GhY4tv29sZV1LJwvB_yjjtpCX3RFxrlYAINcqWIbFz3wFO8fOsBQg6BY3hEjPDS0nfBDP7OJ0ppUtvdGI_idficCDHls9Yl0OPcDxi2E/w640-h546/Screen%20Shot%208-18-2023%20at%206.29%20PM.png" width="640" /></a></div><br /></div><ul><li>Choose a subject to draw with clear light and dark value shapes. A subject like a tree or flower is more forgiving to experiment with than the more structured form of a portrait.</li><li> Mix a little charcoal powder and water in a small container. It can take some time to fully stir in the charcoal. You can purchase charcoal powder to use wet or dry or make your own with sandpaper and a stick of charcoal. A little can go a long way.</li><li>A watercolor pallet can be useful for creating various mixtures ranging from inky black to lighter values that are diluted with water.</li><li>Allow yourself to play, experiment, spatter, spray water, etc. The looseness of the charcoal washes provide great contrast to more controlled layers.</li><li>Paint additional layers or switch directly to dry charcoal techniques. Painting layers with charcoal has it's own unique challenges. Give yourself time to experiment and find solutions that work for you.</li><li>Use dry charcoal techniques to add details in response to the washes. The goal is not to make an accurate copy of the subject, but to allow for spontaneity and expressive, fluid marks.</li></ul><div>~ Lisa</div><p style="text-align: center;"><br /></p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div style="text-align: center;"><b style="color: #4b618e; font-size: large;"><br /></b></div><p></p><p style="text-align: center;"><span style="background-color: #cfe2f3;"></span></p><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-76232404024975699212023-08-03T15:37:00.003-06:002023-08-19T23:00:53.568-06:00Quick & Bold Graphite Studies<p> <span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlX7sRYnC5Ttb1cvrKtleUSDeA6GzDV1bbAo2x1Z-NfjHNH1ESQHBqu7AOUUqO3DOE0254k60-yGHxO5imZ9a8i6RBkWTxawl2GXlclNRvaXLQJ_MwWYVrZGUajgE_2cDwU5_z4idoQ1yNPGMsoPuuEJqAV1QSAlGrzuT5e44zyeEUeK_S6pLc4i4p4-A/s1591/Graphite%20study%20-Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1591" data-original-width="1590" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlX7sRYnC5Ttb1cvrKtleUSDeA6GzDV1bbAo2x1Z-NfjHNH1ESQHBqu7AOUUqO3DOE0254k60-yGHxO5imZ9a8i6RBkWTxawl2GXlclNRvaXLQJ_MwWYVrZGUajgE_2cDwU5_z4idoQ1yNPGMsoPuuEJqAV1QSAlGrzuT5e44zyeEUeK_S6pLc4i4p4-A/w200-h200/Graphite%20study%20-Larrabee.jpg" width="200" /></a></div><br />Graphite is a staple for any artist. It can be used for a variety of purposes from doodles to stunning finished works of art. It is stable, easy to transport and very forgiving. It is also inexpensive and convenient. There's a good chance you are near a graphite pencil as you read this, so you can join in with the Art Challenge! </div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Graphite can be used in a variety of ways. For the purpose of creating quick studies, I will stick with a medium hardness HB pencil. You can also use a classic #2 yellow pencil with the pink eraser. Nothing fancy is needed.<span><a name='more'></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAVeLKCtxl7BjKi1Kf2bssZJTVF07aoAAWtrEiyYKFZAArsL7GhhmhB1hWs7Ou1ZXV3ataadJOnh-ywXUU5T8kpW6AdfiYp0HoPu3xuplvPtMNH9ln1Hw1gJoqxIDcwCA3IKSHXJjfuZsDKD6fo9w4n5PIE6dfALEkV0rjVzq15OPUH7vcahUwstiHIpI/s3401/Graphite%20Supplies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3401" data-original-width="2831" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAVeLKCtxl7BjKi1Kf2bssZJTVF07aoAAWtrEiyYKFZAArsL7GhhmhB1hWs7Ou1ZXV3ataadJOnh-ywXUU5T8kpW6AdfiYp0HoPu3xuplvPtMNH9ln1Hw1gJoqxIDcwCA3IKSHXJjfuZsDKD6fo9w4n5PIE6dfALEkV0rjVzq15OPUH7vcahUwstiHIpI/s320/Graphite%20Supplies.jpg" width="266" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div>Read <a href="http://www.artverveacademy.info/2019/11/become-pencil-connoisseur.html" target="_blank">Become a Pencil Connoisseur</a> by Christy Olsen to learn more about graphite pencils. </div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Graphite Techniques</span></h2><p>Graphite is an excellent medium for practicing essential drawing skills. You can use a pencil to create lines, marks and values that range from delicate to bold. Graphite also blends well and can be easily erased. </p><p>People commonly follow a linear drawing process when using pencils. They gradually build up values one mark at a time from light to dark. This process can create beautiful results, but it takes time to build up enough marks to begin working with a full range of values. With this method, drawing errors can be missed until the drawing is pretty far along and the darker values make mistakes more easily visible.</p><div><p>It can be helpful to establish some general value relationships early to provide context before adding detail. I recommend developing your artwork from general to specific to build shapes and values in relationship to each other. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNAz07YjiswdEzyIwK4Je9urhmjv8TR8edqYr4MnmOCsP_Z5sRWA7CTLJ5_wGATICRdG3E20l3XT6U1K7hHY2BC33GTimCTJbCllmm0zDrit1gLRqqLt64QzjHmic3ZxPph08hrNfpzsRBgspJfJE-Qm13nRdYIDhk_PRFf2l-8RbWUw2v0AqxkiyfxM/s1593/Graphite%20Stages%20-Larrabee.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="779" data-original-width="1593" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyNAz07YjiswdEzyIwK4Je9urhmjv8TR8edqYr4MnmOCsP_Z5sRWA7CTLJ5_wGATICRdG3E20l3XT6U1K7hHY2BC33GTimCTJbCllmm0zDrit1gLRqqLt64QzjHmic3ZxPph08hrNfpzsRBgspJfJE-Qm13nRdYIDhk_PRFf2l-8RbWUw2v0AqxkiyfxM/w640-h312/Graphite%20Stages%20-Larrabee.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Graphite demo by Lisa Larrabee</td></tr></tbody></table><p></p><p>I used a graphite pencil on white paper for this small study. Rather than building up values gradually through a time-intensive process, I quickly blocked in the major shadow shapes with little attention to detail. I smudged the graphite from the shadows across the surface of the face and neck using a paper blending stump with haste and no attention to the form or details. Once there were some general value relationships established, I erased out highlights, refined the shadows and added detail.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIvA-YDINyMEdJvK_NiqRkkq7sMHnfH4EU0CbUrgz92jigXnKnVBt1KY19J9cB1chwFolve_JUXGl4MbU6VZ5m5g2wSzJo891Di3dV7on1hXfuoKg7hMtjiusIf26tj-rGDShf_ZVjSEKWIVwbLgCboX7LUwpJszfjlN0ij3PDZa9tOz16ui0Kbbk1Ak/s2757/Graphite%20study-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2757" data-original-width="2757" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIvA-YDINyMEdJvK_NiqRkkq7sMHnfH4EU0CbUrgz92jigXnKnVBt1KY19J9cB1chwFolve_JUXGl4MbU6VZ5m5g2wSzJo891Di3dV7on1hXfuoKg7hMtjiusIf26tj-rGDShf_ZVjSEKWIVwbLgCboX7LUwpJszfjlN0ij3PDZa9tOz16ui0Kbbk1Ak/s320/Graphite%20study-Larrabee.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">This technique is useful in a variety of ways. </div><div class="separator" style="clear: both;"><ul><li>It allows you to practice dividing the form into light and dark shapes for a quick block-in. </li><li>You can establish value relationships right from the start in order to develop the drawing as a whole. </li><li>Starting with bold marks is less intimidating when you realize that you can still blend and refine subtle elements of your subject. </li><li>For those interested in portraits, it is excellent practice to draw small faces as simple planes and values rather than as a collection of tiny features.</li><li>It's fast and the results are immediate.</li></ul><span></span><span></span><div><br /></div></div><h1 id="Challenge"><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Art Challenge</span></h1><h1 id="Challenge"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMaIoryVLqq4ATwz75XLqM99poHIrpKkC15lwGu1dmiJ-8ronnW80lOA1G7KUJYGICBqRnnkGLMqfVrWno_J2W6GK7II5eRhVs3fEhIcrG-w4cjrtYpegDV2fTq_mrg5duhGPXpomXXHfEDV6yjCvdjwxVBsrgxeH4N7--1MfqA7jBc5jRBycKU3Nvao/s1594/Apples%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="504" data-original-width="1594" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMaIoryVLqq4ATwz75XLqM99poHIrpKkC15lwGu1dmiJ-8ronnW80lOA1G7KUJYGICBqRnnkGLMqfVrWno_J2W6GK7II5eRhVs3fEhIcrG-w4cjrtYpegDV2fTq_mrg5duhGPXpomXXHfEDV6yjCvdjwxVBsrgxeH4N7--1MfqA7jBc5jRBycKU3Nvao/w640-h202/Apples%20-Larrabee.png" width="640" /></a></h1><ul><li>Choose a simple subject to draw that has a clear light source and shadows.</li><li>Keep the sketch small. 3" to 5" is a nice size for practice studies.</li><li>Draw or transfer simple light and dark values/shadow shapes.</li><li>Boldly sketch in the dark shadow shapes without detail.</li><li>Use a blending stump (or Q-tip) to smudge the graphite to create a mid-value.</li><li>Erase lighter values and highlights.</li><li>Add values and details. </li></ul><div class="separator" style="clear: both; text-align: left;">~ Lisa</div></div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div><div><br /></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-38561731535064591922023-04-19T15:16:00.004-06:002023-08-19T23:10:51.139-06:00Take Risks with Color!<p> <span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p><i>Value does all the work, but color gets all the credit</i>. That phrase gets thrown around a lot, but what does that even mean? </p><p>We love color! Colors can be subtle or dazzling. Colors are powerful and can be used to get our attention or to communicate feelings. However, value relationships are often the foundation of a drawing or painting. Values can be essential to providing structure and to creating the illusion of light, form and depth.</p><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Organize Colors by Value</span></h2><div>If you want to experiment and take some risks with color, it can help to begin by first considering your values. In the example below, I began with a black and white photo reference that had a nice range of light, medium and dark values. I selected colors fairly randomly based on what I thought looked interesting while making sure I had different values. I then sampled the colors on my gray toned paper in order of dark to light. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiylSWT2_IAlpROKHq4fA47ljA8pESZ7zDIT0kdFtQERMFEMMA4gMQnltfrs93773h0EKUMzp38MBXF0Uw3aIhkrwQO_Mei7UvlYF8LPR6dcnX2IFk879p_ASKwelbNDu8TbM2ajWt7jGxNhq1unmd6b1-q9BuYqxhQTTwV-nubbXs54lbtzIf5CgqJ/s2563/Portrait%20color%20study%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2563" data-original-width="1788" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiylSWT2_IAlpROKHq4fA47ljA8pESZ7zDIT0kdFtQERMFEMMA4gMQnltfrs93773h0EKUMzp38MBXF0Uw3aIhkrwQO_Mei7UvlYF8LPR6dcnX2IFk879p_ASKwelbNDu8TbM2ajWt7jGxNhq1unmd6b1-q9BuYqxhQTTwV-nubbXs54lbtzIf5CgqJ/w446-h640/Portrait%20color%20study%20-Larrabee.jpg" width="446" /></a><span></span></div><br /><div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">I have been inspired recently by the drawings </span><span style="text-align: left;">of Viktoria Maliar and her bold mark-making and color choices. It reminded me of exercises I did when studying the mark-making of Vincent Van Gogh's portraits back in college. I approached this study similar to others I have done when experimenting with my color choices. I focused on placing </span><i style="text-align: left;">values</i><span style="text-align: left;"> where they belonged regardless of whether it made sense for the local color of the subject and with zero regard for lighting color or temperature.<span><a name='more'></a></span></span></div></div><div><br /></div><div>I began by putting my lightest color (yellow) where I saw the lightest value. The second lightest color (blue) was used to block in the second lightest value. The teal and mauve are very close in value, so I made artistic choices that helped me clarify different parts within the value range. I used the burgundy more for drawing accents than to create dark value shapes. I never added my darkest value (brown) because I felt the drawing was finished.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn1AwNHQe-MuYwMt-bSe84VihfFHVvIYvgLYQPr7wBI208F5omxfEkCZRwth7XO7lEMTzf-KxptWS47o07tX7Q3aZUefyBmPbvmklxq1qrPCQyxRaMKpF3oJGtl5_U0iN9Vxu29YQ5CJPgpSg10eFPHmMu4vNLnsHxXF3Z4fm_A9TPO7RuOCjgNoj/s1114/Color%20v%20Grayscale%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="769" data-original-width="1114" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn1AwNHQe-MuYwMt-bSe84VihfFHVvIYvgLYQPr7wBI208F5omxfEkCZRwth7XO7lEMTzf-KxptWS47o07tX7Q3aZUefyBmPbvmklxq1qrPCQyxRaMKpF3oJGtl5_U0iN9Vxu29YQ5CJPgpSg10eFPHmMu4vNLnsHxXF3Z4fm_A9TPO7RuOCjgNoj/w640-h442/Color%20v%20Grayscale%20-Larrabee.png" width="640" /></a></div><p>If you look at this drawing in grayscale you will see that there is order to the values. That does not mean that the values are accurate to the reference. The original photo reference had much bolder, darker shadow shapes. I chose to stay in the mid to light value range with the dark color as an accent. Still, you can see that there is a sense of light and form of the subject as a result of the values having a sense of order and observation. The values are doing the work while the color gets to have all of the fun!</p><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Artist Tip</span></h2>You can often discover weaknesses is your artwork by taking a digital photo and switching to grayscale. Looking at your work without color will help you identify how well you are grouping shapes by value. This can be used abstractly to analyze your overall composition and design. It can also help to see where colors may be deceiving you by creating light or dark values out of context when trying to depict representational light, form or depth. It is important to note that your artwork does not have to "work" in grayscale to be successful in color. There are many exceptional paintings that rely on color and temperature shifts that stay within a reduced value range. This can sometimes make a piece appear flat in grayscale, yet be mesmerizing in color. Viewing your work in grayscale is simply a tool you can use to help you see it differently.<div><br /><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Play with Color</span></h2><div>There is no wrong way to play with color. Try a variety of combinations to see what you are drawn to and how the color choices affect the overall mood of the piece. Choose colors you think look pretty together. Choose colors you think are hideous. Which colors feel happy, peaceful or melancholy? Use any colors that you want, but place them based on their <i>values</i>. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCTrnu_VYFaMPxy2FZ71yf48ppBxuzzD5Jx-_-IQ8Y3ivxwiJCFZRchrVgthYxcIiVkJY9aT72g-uXFNg46Bl4tl0HIWJe0TEFIH4GR_APhVQWeb50CLUi5B0ZCBP9FVJclWgqkcWoHe7KwpNuPvK8MJnVjS8Z7hdZyhQM3ZTqNCE9ntRtXZott8I/s1114/Original%20v%20Digital%20Color%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="769" data-original-width="1114" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCTrnu_VYFaMPxy2FZ71yf48ppBxuzzD5Jx-_-IQ8Y3ivxwiJCFZRchrVgthYxcIiVkJY9aT72g-uXFNg46Bl4tl0HIWJe0TEFIH4GR_APhVQWeb50CLUi5B0ZCBP9FVJclWgqkcWoHe7KwpNuPvK8MJnVjS8Z7hdZyhQM3ZTqNCE9ntRtXZott8I/w640-h442/Original%20v%20Digital%20Color%20-Larrabee.png" width="640" /></a></div><br /><div>I digitally replaced colors from my drawing in Photoshop to show an example of how much the artwork can change with different color choices. The subject, mark-making and value placement is the same, but the drawing feels completely new. Creating similar multiples provides an opportunity to analyze the differences. For example, there is more unity in the digital variation because I used <b><span style="color: #4b618e;">analogous</span> <span style="color: #4b618e;">colors</span></b> (colors next to each other on the color wheel). The light blue accent has more color contrast than the pinks and purples, but it is less saturated, so it feels less jarring. In the original, the yellow highlight against blue has significantly more color contrast because yellow and blue are further apart on the color wheel. The digital version may also feel more comfortable because the pink tones feel more true to realistic skin tones than light blue and teal. (My family thought I had drawn a character from Avatar!). This doesn't make one version more right or wrong than the other. It is simply an opportunity to examine how different color choices can affect our experiences. Experiment and have fun!</div><div><br /></div><div><h2 style="text-align: left;"><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Art Challenge</span></h2><ul><li>Choose a simple subject. I recommend a black-and-white reference, so you aren't influenced by color.</li><li>Ensure you have a good range of value shapes from light to dark.</li><li>Draw or transfer your subject onto your white or toned drawing paper.</li><li>If it is helpful to you, lightly map outlines around values shapes.</li><li>Select colors that include light, medium and dark values.</li><li>Order your color choices by their value from dark to light.</li><li>Use the color that corresponds with the value from your reference.</li><li>Create the same subject multiple times to contrast the differences. </li></ul><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">You can mix and match whatever color combination you want. Start with simple combinations and add bolder choices as you feel comfortable.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">~ Lisa </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-3303171733136547512023-04-06T21:14:00.004-06:002023-08-19T23:10:09.181-06:00Give It Time<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p>If you follow my progress, you will know that I love to experiment. My exploration influences the classes I offer. In the last six months, I have taught classes on expressive drawing, experimental color and portrait essentials. During that time I focused on a variety of mediums outside of my traditional oil paint. I did not consciously consider how my exploration would effect my painting; I just absorbed the information. The painting below had been set aside for several months. I wasn't sure how to finish what I had started. When I recently returned to this painting, I had new solutions to try.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Vgw3IVnQ3sSK6GlbaL7e-6efXDzs_rxx_lNYCPH6CO2jf4Uc2lp9PJVICIB7zDz37rulX9ZC7E4q5Y4ltmjsGK22LCE8ICl9I3Jc6vgLZoZ90ofH9Qm2kuFeSubQXCqB8TssznUPuxngUK1XNIuQrMF0b1Rc_cexosNs-jDlnOpOgN_vc6jNIJ_FiA/s3798/In%20the%20Moment%20-WIP%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3798" data-original-width="3072" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Vgw3IVnQ3sSK6GlbaL7e-6efXDzs_rxx_lNYCPH6CO2jf4Uc2lp9PJVICIB7zDz37rulX9ZC7E4q5Y4ltmjsGK22LCE8ICl9I3Jc6vgLZoZ90ofH9Qm2kuFeSubQXCqB8TssznUPuxngUK1XNIuQrMF0b1Rc_cexosNs-jDlnOpOgN_vc6jNIJ_FiA/w518-h640/In%20the%20Moment%20-WIP%20-Larrabee.jpg" width="518" /></a><span></span></div><br />I loved the vibrancy and heat of the red-orange against the gray, but I was afraid I would lose the energy if I followed my traditional process because the color palette was out of my comfort zone. Setting this painting aside was essential. <span><a name='more'></a></span>During my break from the painting, I was able to further explore atypical color combinations in colored pencils and pastels. I also dug deeper into the anatomy and structure of portraits and facial features for my classes. Applying this knowledge allowed me to finish my painting in the way that I envisioned. I would never have thought to paint her highlights using Veridian green, but here we are!<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs04g26KwY49ML2dZcLWZcpSYSXoOzNCD3U9PziwY_whvmWNBEPo_Q8GUkBFDpotiZV_zGu077FeuyD9pxxGZPwpiWiaLiKyyNXAXL0_31zSuBMi6v1CEKuW1F0nUbSbpm1E8U5YDAyHUxt7wLrizDSYG2ptKCYP9-g-ll4MCjIrJbu8xH6GPMxpcqyA/s1500/In-the-Moment--artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1199" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs04g26KwY49ML2dZcLWZcpSYSXoOzNCD3U9PziwY_whvmWNBEPo_Q8GUkBFDpotiZV_zGu077FeuyD9pxxGZPwpiWiaLiKyyNXAXL0_31zSuBMi6v1CEKuW1F0nUbSbpm1E8U5YDAyHUxt7wLrizDSYG2ptKCYP9-g-ll4MCjIrJbu8xH6GPMxpcqyA/w512-h640/In-the-Moment--artist-Lisa-Larrabee.jpg" width="512" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Too often we feel that we must stick with a problem and see it through to the end without ceasing. Putting the problem aside can feel like failure. That is perception not reality. I cannot tell you how often I have discovered a solution to one problem when I have given it space and focused on something else. Not all solutions require conscious analysis. Our brains are complex and capable of considering more than we realize. Working on multiple pieces (studies and exploration included) provide opportunities to be creative and productive without forcing a solution. With deadlines, it is not always an option. That said, I think it's important to remove any judgement we place on ourselves by giving a problem time and space to be resolved. Often <i>time</i> is the missing part needed for the solution.</div><div><br /></div>~ Lisa<div><br /></div><div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-30920562348751974252023-03-16T14:51:00.005-06:002023-08-19T23:09:39.066-06:00Start with Color<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Why start your drawing or painting on a color? A background color can set the mood for your artwork and unify the elements right from the start. It has the power to neutralize or enhance the colors layered over it. Certain background colors can add or reduce energy, effecting the entire piece. When a single decision has so much influence, it is important to take the time to explore the possibilities!</p><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Effects of a Background Color</span></h2><p>There is much to consider when choosing a color to build upon. Think about how much you want to allow the background color to show through. You can draw or paint in a way that lets large areas of the background color be visible, or you can let little bits of color show through between the marks or brushstrokes. You can choose to layer or blend the medium so that the color shows through subtly. Depending on the medium, you can also cover areas opaquely to hide the color underneath. How much you choose to reveal the background color will effect the overall style and mood of your piece.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj43Y9I23i3zyLBolndbmo1O-Xfxs7CAQLEQx7D-7d7NhpvHNDMhOz0RKNPA2QVMOZ3JzRf0txgG_9kPZIAj9x1_8y-V-S3sT_OcU5O3uoEQfb7Yct4ndRWQODPYzI8glG4vhjVfPX5vYoNpyk9e_Gqw8__O5dZ1cmf5yrUoYA1KBG3eF4RhY2asaA1/s1296/Cool%20&%20Warm%20Profiles%20-Larrabee.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="622" data-original-width="1296" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj43Y9I23i3zyLBolndbmo1O-Xfxs7CAQLEQx7D-7d7NhpvHNDMhOz0RKNPA2QVMOZ3JzRf0txgG_9kPZIAj9x1_8y-V-S3sT_OcU5O3uoEQfb7Yct4ndRWQODPYzI8glG4vhjVfPX5vYoNpyk9e_Gqw8__O5dZ1cmf5yrUoYA1KBG3eF4RhY2asaA1/w640-h308/Cool%20&%20Warm%20Profiles%20-Larrabee.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Profile on Cool (<i>Whisper</i>) & Profile on Warm (<i>Promise</i>) - by Lisa Larrabee</td></tr></tbody></table><br />In these two examples there is a lot in common, but each painting captures a different mood. Both portraits have soft edges, reduced detail, high-key values and are of the same model. The portrait on the left was painted over a cool lavender background. The portrait on the right was painted on a warm orange-pink. It can be very helpful analyze the effect of a change when other elements stay the same. You can think of it like a scientific experiment where you keep most variables the same in order to best identify the effect of the change.<span><a name='more'></a></span><p></p><div class="separator" style="clear: both;"><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Color Considerations</span></h2></div><p></p><ul><li><b><span style="color: #4b618e;">Temperature</span> </b>refers to the relative warmth or coolness of a color. We can simplify the color wheel by dividing it in half by temperature. Red, orange and yellow are on the warm half. Green, blue and violet are on the cool half. (Temperature is relative, but that is another discussion.) Choosing to begin on a warm background verses a cool background can set the mood before you even begin. Warm colors can feel comforting like a sunny day or cozy fire. They can also be passionate or aggressive depending on the hue and intensity. Cool colors can feel refreshing, tranquil or even melancholy. The color itself won't create the mood, but it will effect it. </li></ul><ul><li><b><span style="color: #4b618e;">Contrast</span></b>: We often think of contrast in terms of value (light and dark). However, contrast is simply a noticeable difference. The further two colors are from each other on the color wheel, the more different and contrasting they are. Complimentary colors are opposites and create the most color contrast. Color contrast is effective for drawing attention and for creating energy between colors. Choosing a background with low contrast (a color that is similar to the color of your subject) allows you to smoothly block in your subject without resistance. Imagine painting a portrait over a warm neutral base color. The background color helps fill in the gaps and you can add both dark and light values without the starkness of starting on white. Now, imagine choosing a background color that has high color contrast to your subject. For example, a soft warm background can create stunning color contrast underneath a cool, snowy winter scene. </li></ul><ul><li><b><span style="color: #4b618e;">Chroma</span> </b>is the strength or intensity of a color. You can reduce the chroma of a color by adding white to create a tint, gray to create a tone, black to create a shade, or the compliment to neutralize the color. Choosing a background color that has less intensity will make it easier to add colors because it is less demanding of your attention and it will have less influence over the added colors. Working over light blue-gray is very different than working over a soft orange tint or a tan base. However, it is an entirely new challenge to work over a high-chroma red or brilliant turquoise. The more intense the background color is, the more control you must have to make it work for you. The colors will do unexpected things!</li></ul><div><br /></div><div><h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Color Agency</span></h2></div><div>Color is an incredibly powerful element of design. It can create feeling, add energy and pull the viewer's attention. It is important that you don't give up your agency to your colors. To use color with agency means to have a feeling of control over your color choices and their consequences. Making bold color choices can sometimes make you feel like you lost control and the color took over. Colors can play tricks on us. High chroma colors can fool our eyes into thinking that a color is lighter in value than it is because our brain perceives it as <i>bright</i>. We can also get distracted and let colors pull the focus away from what we intended. </div><div><br /></div><div>Here are some tips for getting control of your color choices:</div><div><ul><li>Limit your palette. Get really familiar with fewer colors or color combinations before you add more.</li><li>Photograph your work and check it in grayscale to see if you kept control of your value relationships.</li><li>Create simple studies that let you experiment with color choices without self-imposed pressure to make a great piece.</li><li>If working over a bold background color, spend time immediately blocking in large color/value areas to subdue the background and create context for the other colors.</li></ul><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhry14QNxc0Rqy1AxxFq9uv5Z2A4HdEOUO5qgC7EvlSrjPtquVoVbVPYmB6gTl_ebtvaVvpLFbqNf0yx0AYEsN1_OjxQFxyVPkg8FOvjeTGWD8vR4pntGLHUV2ZMIg7QOEFPmEbgZrWpA8SYvf2ShHFv56FDEzACbiuuSLSK1c_jgHWhUnUlgz6_cNR/s2400/Landscape%20on%20Yellow%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="2400" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhry14QNxc0Rqy1AxxFq9uv5Z2A4HdEOUO5qgC7EvlSrjPtquVoVbVPYmB6gTl_ebtvaVvpLFbqNf0yx0AYEsN1_OjxQFxyVPkg8FOvjeTGWD8vR4pntGLHUV2ZMIg7QOEFPmEbgZrWpA8SYvf2ShHFv56FDEzACbiuuSLSK1c_jgHWhUnUlgz6_cNR/w640-h170/Landscape%20on%20Yellow%20-artist%20Lisa%20Larrabee.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Painting stages - <i>Chasing Light</i>, oil on panel, artist Lisa Larrabee</td></tr></tbody></table><br /><div>In my painting, <i>Chasing Light</i>, the glow of the sun and the light on the landscape needed to be dominant. I began with a yellow background to allow warm, luminous color to show through the brushstrokes. After blocking in the sun and sky, I wanted to make sure to bring down the values and adjust the temperature of the landscape so that the sun would feel like the brightest object without competing with the yellow in the field. I had never chosen yellow as a background color before, and I was mindful of how easily such a bold, bright color could dominate if left unchecked.</div></div><div><br /></div><div>Choosing a background color can be a game changer, so don't be afraid to try out a wide range of possibilities and see how much it can impact your art!</div><div><br /></div><div><h1 id="Challenge"><span style="color: #ed4b00; font-family: verdana; font-size: x-large; font-weight: normal;">Art Challenge</span></h1><ul><li>Choose a simple subject. I recommend a black and white reference so you aren't influenced by color.</li><li>Ensure you have a good range of value shapes from light to dark.</li><li>Draw or transfer your subject onto different colored backgrounds.</li><li>Use limited color choices over a variety of colors and create small, quick studies.</li><li>Draw or paint the same subject multiple times to contrast the differences. </li></ul><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7E_hSECed7HjBp_GYtqNjvTaXZZDm2SMjM2W4VnvLPAPZVTti57MESLmkzY9H0TrvA_nw1FsIP2QCbsZhp4_CQCNSqlltSUd39tNbaiLVmwoUtW1zpDZNaV-glKPUYCLmKC_Xk5-VcRjcXEFN_MCkKt8xInyVFNJct7TBRk0IhVuASi30PnVbQolb/s1054/Background%20Color%20-Larrabee.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="1054" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7E_hSECed7HjBp_GYtqNjvTaXZZDm2SMjM2W4VnvLPAPZVTti57MESLmkzY9H0TrvA_nw1FsIP2QCbsZhp4_CQCNSqlltSUd39tNbaiLVmwoUtW1zpDZNaV-glKPUYCLmKC_Xk5-VcRjcXEFN_MCkKt8xInyVFNJct7TBRk0IhVuASi30PnVbQolb/w640-h232/Background%20Color%20-Larrabee.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;"><ul><li>On the left, I used black, white and yellow-orange on gray-green paper.</li><li>On the right, I used black, white and light blue on warm tan paper.</li></ul></div><div class="separator" style="clear: both;">In these examples, I chose a warm color on a cooler background and a cool color on a warm background. You can mix and match whatever combination you want. Start with simple combinations and add bolder choices as you feel comfortable. Keep values in mind as you explore color. </div></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Have fun!</div><div class="separator" style="clear: both;">~ Lisa</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><br /><p></p><span><!--more--></span><span><!--more--></span><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-10852073317515612652023-02-28T08:10:00.008-07:002023-08-19T23:09:15.903-06:00Setting the Tone<span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span><br /><p>What do you consider before starting a drawing? An obvious choice would be to start with your subject. Then, maybe you consider the composition and how you want to place your subject. What you want to include verses what you might choose to leave out. Which medium you intend to use, etc. How much thought do you put into choosing a background tone? If you aren't thinking about these options, you are missing an opportunity. </p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPeoIGtTdlWynn34jnfU_XAuWlKxrF9yYNe_g_INjr8Iy5PBdoYCZqmBkauyfcxR2WSkKzQobbc8PFt4BZ-nGKkr_ZsgWlSO4Z7bQs_XK5WGcZunDT-Tv2xDFdKciaMylvxtEKsjpWRhl-y7A8o6gqxkjY0yipP3QpnQX0TMNWg9ydtewgsBFVJSow/s3473/Drawing%20demo%20-artist%20Lisa%20Larrabee.jpg"><img border="0" data-original-height="2254" data-original-width="3473" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPeoIGtTdlWynn34jnfU_XAuWlKxrF9yYNe_g_INjr8Iy5PBdoYCZqmBkauyfcxR2WSkKzQobbc8PFt4BZ-nGKkr_ZsgWlSO4Z7bQs_XK5WGcZunDT-Tv2xDFdKciaMylvxtEKsjpWRhl-y7A8o6gqxkjY0yipP3QpnQX0TMNWg9ydtewgsBFVJSow/w640-h416/Drawing%20demo%20-artist%20Lisa%20Larrabee.jpg" width="640" /></a></div><span></span><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Choosing a Tone</span><p>A <b><span style="color: #4b618e;">tone</span></b> is the relative lightness or darkness of a color. <span></span></p><a name='more'></a><p></p><p></p><ul><li><b><span style="color: #4b618e;">White</span></b>: When you choose to work on white paper, you begin by adding values in one direction. Your lightest value is already established and you can only add darker values. Working on white can give your artwork a light and airy quality if you let much of the white remain. It can also allow you to build luminous colors or a full value range from white to black.</li></ul><ul><li><b><span style="color: #4b618e;">Mid-tone</span></b>: Working on a mid-tone allows you to develop your artwork in two directions (from the middle out). It can help you establish a sense of light and shadow very quickly by blocking in darker shadow values and adding brighter, lighter values. Working on a mid-tone can also act as a unifier by showing the tone through different areas of the artwork. Drawing on a mid-tone gray paper feels very different than creating the same drawing on a mid-tone tan paper.</li></ul><ul><li><b><span style="color: #4b618e;">Black</span></b>: When you begin on a black surface, you can only add values in one direction (like with white). However, the black absorbs the light rather than reflecting it. This can desaturate your colors and darken the values of your medium. Create test samples to see how opaque your medium is and how light a value you can create over the black. This will help you establish the full value range you are working in over the black surface.</li></ul><div><br /></div><div><span style="color: #ed4b00; font-family: verdana;"><span style="font-size: x-large;">Value Traps</span></span></div><div><div><br /></div><div>Be on the lookout for value traps. Working on each background value can have its own trap (or typical mistake) because <b><span style="color: #4b618e;">value is relative</span></b>. It is important to establish some general value relationships to provide context before adding detail. Your brain will <i>subconsciously</i> adapt to the values you are working within (even when you know <i>consciously</i> that you haven't added your darkest shapes or your brightest highlights).</div><div><br /></div><div>When starting on white, block in dark and mid-tone areas. If you focus on the details in the subject too soon, <i>before</i> adding a dark background, you may find all of the values in the subject are too light because you developed them against white. The reverse can be true when working on black. </div><div><br /></div><div>When starting on a mid-tone, it is also important to establish the value range you want to have in your finished piece. For example, if you wait to add all the highlights at the end, you may have to go back and adjust subtle value relationships because your brain was interpreting the mid-tone as a lighter value against the darks because it didn't have the light values for context. </div><div><br /></div><div>Consider your medium. If you are working in graphite, you won't have the full range of dark values that you would have if working in charcoal. Explore what your value range is from light to dark using your chosen media on your selected background. If you want your drawing to be high-key (limited to lighter values) or low-key (limited to darker values), establish how dark and how light you want to go and then build value relationships within your chosen boundaries.</div><div><br /></div><div><br /></div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">General to Specific</span><div><br /></div><div>I recommend developing your artwork from general to specific so that you are building shapes and values in relationship to everything else. </div><p></p><p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEJLb2wt871bZHlsj10YuNkcaRJ21oaohAJ4Mw00E2WibwNkMAyxvvIUkq2muyJUpr4rAIWZhQPtQiRThl-pnhL6q9Tx4pAVKHYqQbJSBT5iD9sg77GoiTjAZWndggSbEttzzkijv2iLpL16ZsyZEdTTJJZzPJUMyCz0eqhijFq0rl8t2uVMdZAl9/s9600/boots%20-Larrabee.jpg"><img border="0" data-original-height="3300" data-original-width="9600" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEJLb2wt871bZHlsj10YuNkcaRJ21oaohAJ4Mw00E2WibwNkMAyxvvIUkq2muyJUpr4rAIWZhQPtQiRThl-pnhL6q9Tx4pAVKHYqQbJSBT5iD9sg77GoiTjAZWndggSbEttzzkijv2iLpL16ZsyZEdTTJJZzPJUMyCz0eqhijFq0rl8t2uVMdZAl9/w640-h220/boots%20-Larrabee.jpg" width="640" /></a></div><br /><div>In this example, I have used graphite pencils on white paper. After blocking in my initial sketch, I immediately began establishing values over everything that was not my brightest light. This is very similar to toning the paper before you begin, but it allows you to preserve the white of the paper where you know it is the lightest. If you tone the entire paper with graphite or charcoal, you will often not be able to fully erase back to white.</div><div><br /></div><div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Art Challenge</span><ul><li>Choose a simple subject to draw.</li><li>Make sure that you have a good range of value shapes from light to dark.</li><li>Draw or transfer your subject onto different values of paper.</li><li>I recommend drawing the same subject multiple times to contrast the differences.</li><li>Draw from general to specific. </li><li>Establish your darkest and lightest values and keep the value relationships in mind as you develop your drawing.</li><li>I recommend drawing the same subject multiple times to contrast the differences.</li></ul><div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSdVhNgVsgIus4h1PlOKROiWllOdes4P5V9XNa2JmycxpR-tBq5GpL5cd8uDn1hAxWeKGeTzwNtS5nGlbTFECFGfTCCG6WYkweFXwN9TB6-JDtfLzrswxTQQ2IPbGK5bDQpZHjcyHYSuJO5aVcn6Uiop2ICpQwXaFnNs_t9W2-4JbrIdYvByNa-ohH/s9780/Mouth%20examples%20-Larrabee.jpg"><img border="0" data-original-height="3300" data-original-width="9780" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSdVhNgVsgIus4h1PlOKROiWllOdes4P5V9XNa2JmycxpR-tBq5GpL5cd8uDn1hAxWeKGeTzwNtS5nGlbTFECFGfTCCG6WYkweFXwN9TB6-JDtfLzrswxTQQ2IPbGK5bDQpZHjcyHYSuJO5aVcn6Uiop2ICpQwXaFnNs_t9W2-4JbrIdYvByNa-ohH/w640-h216/Mouth%20examples%20-Larrabee.jpg" width="640" /></a></div><span style="text-align: center;"><div><span style="text-align: center;"><br /></span></div>Demos of a mouth cast using different drawing media and paper choices</span><br />From left to right:<div><ul><li>Black and white charcoal pencils on Strathmore Toned Gray paper.</li><li>Vine charcoal and charcoal pencils on drawing paper (white).</li><li>Graphite HB pencil and white pastel pencil on Toned Tan paper.</li></ul><div><br /></div><div><div>Experiment with different toned papers or tone your own with graphite or vine charcoal.</div><div>Check out my previous post for more examples of working general to specific from a toned background: <a href="https://lisalarrabeeart.blogspot.com/2017/01/drawing-general-to-specific-pencil-vs.html" target="_blank"><b>Drawing General to Specific: Graphite vs Charcoal</b></a></div></div></div></div><div><br /></div><div>~ Lisa</div></div><div><br /></div><div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div><br /></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-80614988801349587002023-01-27T09:25:00.003-07:002023-08-19T23:04:11.950-06:00Negative Space (Why It's Such a Big Deal)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaD5HsmaVD_Wd-ogTqHIZZP0eTzZSJiwEBCio8BoJf2KfjmPe4bhg3lzAiFRcYrTNkKj_zlhmDyXETqFgTUXEXyIiTAFMUFnUuYmp0-jsSUa945H5LRQlZwInGDEAxgDoMqCoV3FK4vgiFWSCGsWF9xNmzlM3_LwaW3-l1vWAGNyRXBZYy0EVrcF4Ug/s837/Negative%20Space%20-Larrabee.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="837" data-original-width="837" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilaD5HsmaVD_Wd-ogTqHIZZP0eTzZSJiwEBCio8BoJf2KfjmPe4bhg3lzAiFRcYrTNkKj_zlhmDyXETqFgTUXEXyIiTAFMUFnUuYmp0-jsSUa945H5LRQlZwInGDEAxgDoMqCoV3FK4vgiFWSCGsWF9xNmzlM3_LwaW3-l1vWAGNyRXBZYy0EVrcF4Ug/s320/Negative%20Space%20-Larrabee.jpg" width="320" /></a></div><div><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></div><div><b><span style="color: #4b618e;"><br /></span></b></div>If you do an online image search for "negative space drawings" you will find a tremendous number of examples that range from traditional academic exercises to very creative design solutions. Variations of negative space exercises exist at all levels of drawing classes (whether or not it is explicitly labeled as such). So, what is "negative space" and why is it such a big deal?<span><a name='more'></a></span><div><br /></div><p style="text-align: left;"><b><span style="color: #61708e;">Negative Space</span></b> is a term used in art to describe the space around or between an object or multiple objects. You can think of the object itself as the "positive" form that you can typically touch (like a houseplant). The "negative space" is all of the space around the object that you cannot touch (like the spaces around and between the leaves).</p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpDNngfc3y2knRkNGJNcvm-W1jSW3amg3zSNs84VtP7GrytqZhbgxhdTolGBg0NUVjt5t80fVoitsz2JtOsZYX1hUFG1QiKe_N6snSko0wii3vZudcQwy_iCr2aYWdsju0tlbncZbYYtigogfsAzMV0fCD0It-aF9td4pDNbKWz2KWz5rtaufAGXG/s961/Fig%20branch%20-larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="961" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYpDNngfc3y2knRkNGJNcvm-W1jSW3amg3zSNs84VtP7GrytqZhbgxhdTolGBg0NUVjt5t80fVoitsz2JtOsZYX1hUFG1QiKe_N6snSko0wii3vZudcQwy_iCr2aYWdsju0tlbncZbYYtigogfsAzMV0fCD0It-aF9td4pDNbKWz2KWz5rtaufAGXG/w200-h197/Fig%20branch%20-larrabee.jpg" width="200" /></a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In this example the positive form is a clipping from a fig tree. There is a lot of detail that you may focus on if you were drawing, painting or simply observing this subject. There are overlapping leaves creating lighter and darker values and different shades of green. There are subtle details like the veins along the surface or the textures of the branches.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0kvmQ73_3lVyHDoPjgWTpYAiSYu42zAulXmnflpWFB-gOKkaiVZCy2ADnBr-RhkgUBlFQavKdo4MiW42BY_pq19Rp9_mgKajv_LBoetEYQDhJtIzEPiV7u-3hiu4TFkmepB8LC-YKVKqEo3nLjvVs1d90afW2aoU4C-nCM8z5SvuFBpHwxcKdFRC/s961/Fig%20branch%20positive%20shapes%20-larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="961" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0kvmQ73_3lVyHDoPjgWTpYAiSYu42zAulXmnflpWFB-gOKkaiVZCy2ADnBr-RhkgUBlFQavKdo4MiW42BY_pq19Rp9_mgKajv_LBoetEYQDhJtIzEPiV7u-3hiu4TFkmepB8LC-YKVKqEo3nLjvVs1d90afW2aoU4C-nCM8z5SvuFBpHwxcKdFRC/w200-h197/Fig%20branch%20positive%20shapes%20-larrabee.jpg" width="200" /></a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">When I blackout the positive shapes, we loose the previous detail. The focus is still on the subject, but the emphasis is now on the unified shape created. It is like a silhouette with flattened shapes. This is an example of simplifying the <b><span style="color: #61708e;">figure-ground</span></b> relationship. Our figure-ground perception allows us to group visual information as foreground and background.</div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiurkqra8xDEozBz6SjcperetB9EWd_hW0f0GIuD-qZUOHcs-mGktQQ4B1YbSKW1uP6pDunGxaHq3yzA1Flnnx4xSOV_0XTzOw0nmgtn8F9uUWkjZN3eV-YtwUTWGKWMQciu7813mwkUPulR_OJTw9hwfjIKZtD-gQCLYZq2cXYBmnokLo5aToMoUz/s961/Fig%20branch%20negative%20space%20-larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="961" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiurkqra8xDEozBz6SjcperetB9EWd_hW0f0GIuD-qZUOHcs-mGktQQ4B1YbSKW1uP6pDunGxaHq3yzA1Flnnx4xSOV_0XTzOw0nmgtn8F9uUWkjZN3eV-YtwUTWGKWMQciu7813mwkUPulR_OJTw9hwfjIKZtD-gQCLYZq2cXYBmnokLo5aToMoUz/w200-h197/Fig%20branch%20negative%20space%20-larrabee.jpg" width="200" /></a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Creating an inverse of the black and white places more emphasis on the negative space. These dark shapes visually carry more weight which make us pay more attention to them. In the previous example, the negative shapes were white which allowed our brain to dismiss these negative shapes as "nothing" in order to focus on what our brain perceived as "something".</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">The most recognizable example the figure-ground relationship was developed by the Danish psychologist Edgar Rubin. When shown the first version (left) our tendency is to notice the two profiles in silhouette because they carry the visual weight. When the image is inverted (right) what was the negative space now has the visual weight and we can more easily see the vase in between the faces. The figure-ground relationship is flipped. The vase becomes the "figure" and the profiles become the background.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYcv02xtIq_Yuv8S95qxCFkVScMqHdoPVwZJ8YbORNNhjN42p9h2w5jrXLTE30-Dr0pfq2l9GKAAj3HXYBDGYZYjHxkuSJppVTYjEvuLcMNRTQymrvTDo0Zgsk65lxVKh1RuN5L5JaSJ9loD10ofDMEuKHMGVG-4pKcmdKXEN3bOx4tikT76eddsR9/s2116/Rubin%20Vase%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1058" data-original-width="2116" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYcv02xtIq_Yuv8S95qxCFkVScMqHdoPVwZJ8YbORNNhjN42p9h2w5jrXLTE30-Dr0pfq2l9GKAAj3HXYBDGYZYjHxkuSJppVTYjEvuLcMNRTQymrvTDo0Zgsk65lxVKh1RuN5L5JaSJ9loD10ofDMEuKHMGVG-4pKcmdKXEN3bOx4tikT76eddsR9/w640-h320/Rubin%20Vase%20-Larrabee.jpg" width="640" /></a></div><h2 style="text-align: left;"><span style="color: #61708e;"><br /></span></h2><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Why Is Negative Space a Big Deal?</span><h4><br /></h4><h4><span style="color: #61708e;">Accuracy</span></h4><div style="text-align: justify;">Negative space is <i>equally</i> as important as the positive space. You cannot draw an object accurately if the negative space is inaccurate. If you develop your ability to focus on the negative space, you can use those negative shapes to more accurately draw the positive shapes. The focus becomes less about what the subject is and more about the relationship between the shapes. Viewing the negative space as simple shapes also makes them easier to draw.</div></div><div><br /></div><h4><span style="color: #61708e;">Composition</span></h4><div style="text-align: justify;">Consider how to balance the design elements between the positive and the negative shapes (or the figure-ground). How you place and/or crop your subject can create interesting negative shapes with the boundary of your artwork. You can choose to comfortably balance the relationship between the positive and negative shapes or choose to emphasize a greater amount of positive or negative space to support a mood or narrative. There are also opportunities to play with the figure-ground relationship that create surprising illusions (like Rubin's vase). There are many examples of drawings, paintings and graphic design that use the positive/negative figure-ground relationship to great effect. Search <i>figure-ground illusions</i> for some incredible examples.</div><div><br /></div><h4><span style="color: #61708e;">Editing</span></h4><div style="text-align: justify;">Do not underestimate the power of editing. Selecting what information to leave out is just as important as deciding what should be included. Our natural tendency is to focus on the positive subject and ignore the space around it because our brain filters out the space as being less important or "nothing". There are so many interesting details in a subject (light and shadows, colors, textures, etc.) that it can be difficult to focus on the negative space. However, there is an opportunity to reduce detail in your subject and emphasize the interesting shapes and variations within the negative space. Creating artwork with dynamic negative space opens up so many many incredible possibilities. If you have been ignoring or neglecting the negative space, you are missing a huge opportunity.</div><div><br /></div><div><br /></div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Emphasizing Negative Space</span><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In this example, you can see that I began my painting by blocking in colors in a range of mid-values (nothing too light or dark). I also layered pigments and built up some textures. Once the surface was dry, I sketched in some of the important shapes of the tree and the figure with paint. There is very little detail in the primary or secondary subjects.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY-tSo8W8eELjkEj_H8Z0MvV3OpKHs8uAREiqkF7x7sRJsW694-Ob-aiZVQrhip5bTHrGhHCauSuxfjJDFbxafGmh4hI-DROvMCdn_FtvG7_q-HQuwElNoiqzAaim1Kukpbw9rIusEzxUOfAbmGcZ5MRrjfrCqbhocc0XYVQEhIa-q3yO12uN4niu-/s3476/Painting%20progress-Larrabee.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2626" data-original-width="3476" height="485" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY-tSo8W8eELjkEj_H8Z0MvV3OpKHs8uAREiqkF7x7sRJsW694-Ob-aiZVQrhip5bTHrGhHCauSuxfjJDFbxafGmh4hI-DROvMCdn_FtvG7_q-HQuwElNoiqzAaim1Kukpbw9rIusEzxUOfAbmGcZ5MRrjfrCqbhocc0XYVQEhIa-q3yO12uN4niu-/w640-h485/Painting%20progress-Larrabee.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Spring Renewal </i>-early painting stage, artist Lisa Larrabee</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I created the strongest value and color contrast when I painted the negative spaces around the tree. Nothing within the subject was painted equal to the light value of the sky. I added very little information to the tree. Mostly the landscape was painted around it. I developed the figure to a degree, but I also left out much information.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCiEsUGQYEvqCZ0w2Pf5eDkhUQ4o5NyHS8b_lXDjxB3MKlST__YMdkx1xnNPjB08c87imJLl_hqUMODKe2qZ015xuUv18ONBv7uigAVqoRUNKEedPtjEgekH5emQhHkG13He6m72SBDN8ZULS4L-hTlNS66EzE6Jkl-oV8iOl7owjP-dwhQ1YaZf6/s1000/Spring-Renewal-artist-Lisa-Larrabee.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCiEsUGQYEvqCZ0w2Pf5eDkhUQ4o5NyHS8b_lXDjxB3MKlST__YMdkx1xnNPjB08c87imJLl_hqUMODKe2qZ015xuUv18ONBv7uigAVqoRUNKEedPtjEgekH5emQhHkG13He6m72SBDN8ZULS4L-hTlNS66EzE6Jkl-oV8iOl7owjP-dwhQ1YaZf6/w640-h480/Spring-Renewal-artist-Lisa-Larrabee.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Spring Renewal</i>, oil on panel, artist Lisa Larrabee</td></tr></tbody></table><br /><div>People have often commented on the "pink flowers in the hair". This is an example of the figure-ground relationship playing tricks in your mind. Without the figure, the light pink daubs of paint read as the sky showing in between the gaps in the foliage of the tree. They are negative shapes that are part of the background. However, if you focus on the figure, the paint daubs connect with the subject and become interpreted as flowers in the hair.</div><div><br /></div><div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Art Challenge</span><ul><li>Choose a subject that has interesting negative shapes. Look for examples with closed shapes (negative space surrounded by positive form). </li><li>Organic shapes (like plants) are more forgiving. Structured inorganic shapes (like a pair of scissors or a chair) will help you more easily identify mistakes.</li><li>Do NOT sketch in guidelines of your subject. Try to hold the positive form in your mind, but do not draw it.</li><li>Draw the outline of a negative shape. "Jump over" the positive form to the next negative shape. I like to begin with a closed shape (like the examples in orange).</li></ul><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tGXB1hERkCxMNIFMUHVlOQlkkeKg2hOzqc3aEabJdeZaDlCAEsa7KLAZssPPyM9C6a9u9tUbLMFRGGtGOF1MXHwXX6kDOnIfll7I_ZbGZZYFox0QiuMY-_xqzJ3UGEmZCGdsp9nYMtFb3GMl6Mu_AIO0wzdRhpNlPVAWo0sqXBvvS5n1qwUqfNG8PA/s961/Negative%20space%203%20example%20-larrabee.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="945" data-original-width="961" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tGXB1hERkCxMNIFMUHVlOQlkkeKg2hOzqc3aEabJdeZaDlCAEsa7KLAZssPPyM9C6a9u9tUbLMFRGGtGOF1MXHwXX6kDOnIfll7I_ZbGZZYFox0QiuMY-_xqzJ3UGEmZCGdsp9nYMtFb3GMl6Mu_AIO0wzdRhpNlPVAWo0sqXBvvS5n1qwUqfNG8PA/s320/Negative%20space%203%20example%20-larrabee.jpg" width="320" /></a></div><div>There are many variations to try. I have students begin by toning paper (either with vine charcoal or graphite). This is very forgiving because you can blend away mistakes into the tone and try again when needed. Once all of the negative space is drawn, you can either erase the tone from your subject (which emphasizes the negative space), or you can erase the negative space which will reveal your positive subject. </div><div><br /></div><div>You can also draw your negative shapes in pencil and then color them in when finished. Have some fun adding color or whimsical patterns. In school (at KCAI), I did numerous negative space studies using India ink and a brush. I couldn't go back to fix most mistakes, but the results were very graphic and bold.</div><div><br /></div><div>Be prepared for your drawing to get off track because you aren't sketching in any guidelines. That's expected. Make the corrections and keep going. </div><div><br /></div><div>If you find it too difficult to draw only the negative space without any of the positive, give yourself very light guidelines so you don't get lost. Don't get discouraged. The more time you spend concentrating on the negative space, the more your brain will get used to "seeing" it rather than ignoring it. With practice, you will develop better drawing accuracy and make more interesting design and composition choices that incorporate the positive and negative shapes more intentionally.</div></div><div>Best of Luck!</div><div><br /></div><div>~ Lisa</div><div><br /></div><div><br /></div><div>For more examples using negative space in painting, check out my previous posts:</div><br /><span style="font-size: large;"><a href="https://lisalarrabeeart.blogspot.com/2012/09/painting-negative-spaces-part-i.html" target="_blank">Painting Negative Space: Part I<br /></a><br /><a href="https://lisalarrabeeart.blogspot.com/2012/09/painting-negative-spaces-part-ii.html" target="_blank">Painting Negative Space: Part II</a><br /><br /><a href="https://lisalarrabeeart.blogspot.com/2012/10/painting-negative-spaces-part-iii.html">Painting Negative Space: Part III</a></span><div><span style="font-size: large;"><br /></span></div><div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-76134110366961689892023-01-24T17:46:00.006-07:002023-08-19T23:08:50.903-06:00Facial Features: Cross-Contour Mouth Sketch<p style="text-align: justify;"><span style="color: #4b618e; font-family: verdana; text-align: left;">by Lisa Larrabee</span></p><p style="text-align: justify;">If you want to improve your drawing and painting, take time to focus on your subject from an academic perspective. Although it is essential to play and experiment, it is also important to dedicate time for disciplined study to learn more about your subject. In this example, I focused on the mouth. However, this type of practice will help you better understand the form of any subject.</p><p style="text-align: justify;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG1BGMs6E-NOKxCC_qfoGc36MlmR_2-7InIRU4J-qm1cqH5jw3VxO6dvG_cxyPnwBxejnIpa9C85LeajZzbi5DpWoPnlwyHCOLE47_F3xiv5KYFVCfVYzSeHoPDJBl5eDhmxZ7q671461sN-KjEMuHD6uQoWvxlzU80QHZq7gf6RX_nWJ_ekE86okWkw/s2002/mouth%20contour%20-Larrabee.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1539" data-original-width="2002" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG1BGMs6E-NOKxCC_qfoGc36MlmR_2-7InIRU4J-qm1cqH5jw3VxO6dvG_cxyPnwBxejnIpa9C85LeajZzbi5DpWoPnlwyHCOLE47_F3xiv5KYFVCfVYzSeHoPDJBl5eDhmxZ7q671461sN-KjEMuHD6uQoWvxlzU80QHZq7gf6RX_nWJ_ekE86okWkw/w640-h492/mouth%20contour%20-Larrabee.jpeg" width="640" /></a></div><span></span><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: justify;">I worked from a photograph for this study. I added cross-contour lines to better understand the dimensional form of the mouth. <b><span style="color: #4b618e;">Cross-contour lines</span></b> are lines that follow the surface of the form. (In contrast, <span style="color: #4b618e;"><b>contour lines</b></span> follow the edge or boundary of the form like an outline). <span></span></p><a name='more'></a>Cross-contour lines often do not physically exist, although they can. For example, a striped object literally has lines on it that follow the surface of the form. Also, a shadow cast across an object can reveal the contours of the surface of that object. In order to convincingly create cross-contour lines, I had to consciously analyze the structure of the mouth and visualize the flat photograph as a 3-dimensional object.<p></p><p style="text-align: justify;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FpmTT5QiChnGNmKzv0cC5PYKqQSjb89FSbAj28FxxUekZ9vio89OdhZKxZunKokOkbhzivMiChwG--s5nFcHFcTkPwPBH_YA9MnLMNs5NXMaNyAEqKdCfPwm1yOliuwbvG_W12jictNGLfv6w8P57oPQUEF9w2VmHDK-uzI55z8JzjQTvRBoYBF9ng/s2970/Mouth%20profile%20contour%20-Larrabee.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2085" data-original-width="2970" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FpmTT5QiChnGNmKzv0cC5PYKqQSjb89FSbAj28FxxUekZ9vio89OdhZKxZunKokOkbhzivMiChwG--s5nFcHFcTkPwPBH_YA9MnLMNs5NXMaNyAEqKdCfPwm1yOliuwbvG_W12jictNGLfv6w8P57oPQUEF9w2VmHDK-uzI55z8JzjQTvRBoYBF9ng/w640-h450/Mouth%20profile%20contour%20-Larrabee.jpeg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: justify;">Typically, I prefer to block in simple value shapes and build up my drawing or painting by refining shapes and values from general to specific. (I have several posts that demonstrate that process including this <a href="https://lisalarrabeeart.blogspot.com/2022/12/facial-features-mouth-study.html" target="_blank"><span style="font-size: large;">Mouth Study</span></a>). However, sometimes we don't get the information that we need from a photo, or we have a limited time with a subject from life. Whenever I get stuck and something doesn't look right, I analyze the structure of the object to see where my shapes do not align with the structure of the form. </p><p style="text-align: justify;">Light and shadow shapes are often more forgiving. Cross-contour lines are not so kind. When the lines do not convincingly follow the surface of the form, they just do not look right. That is what makes cross-contour drawing such a great exercise. You can't fake it, so you really have to understand the form. Developing this knowledge of your subject will help you create more convincing form whether you are rendering your subject realistically or more expressively. </p><p style="text-align: justify;">I sincerely recommend you give it a try. Expect to make mistakes. Erase the lines that didn't work the way you expected and try again. It is more about learning and understanding the form than the finished drawing.</p><p>~ Lisa</p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-42929507209673392292023-01-17T17:35:00.005-07:002023-08-19T23:05:45.643-06:00Expressive Mark Making<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Not everything we make needs to become <i>something</i>. I cannot stress enough the importance of experimentation and play without an end result in mind.</p><p>This is a demo where I modeled a variety of different types of mark-making using graphite and charcoal.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXefxY8GDVjFe4ZKqrSpI6XSITJqr8FBWjBX9-Mtke67iVyuYaLnTdbfM1MWysfwIfHsFMnGzSn58gTi58asH3_-hT08yH3771_z01CMtguiH15v_C3ULyXEyrM54cueyXm8nNkUT-Ri6C16UIYwQwZn9nn0CaIfAUNYQfB8A_TjVLm-TW8JPi5F-oOw/s3166/Mark%20making%20-Larrabee%20demo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3166" data-original-width="2386" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXefxY8GDVjFe4ZKqrSpI6XSITJqr8FBWjBX9-Mtke67iVyuYaLnTdbfM1MWysfwIfHsFMnGzSn58gTi58asH3_-hT08yH3771_z01CMtguiH15v_C3ULyXEyrM54cueyXm8nNkUT-Ri6C16UIYwQwZn9nn0CaIfAUNYQfB8A_TjVLm-TW8JPi5F-oOw/w301-h400/Mark%20making%20-Larrabee%20demo.jpg" width="301" /></a></div><span style="text-align: justify;"><div>There is absolutely no wrong way to do this. Give yourself a nice large sheet of paper and explore how much variety you can create using drawing tools that you already have. Turn pieces on their side. Twist the pencil or piece of charcoal or graphite between your fingers. Vary the amount of pressure. Smear the marks with the side of your hand. Draw with a blending stump. Make marks with your fingers. Use erasers to create marks. Change directions or explore a rhythm that feels new or awkward. Create flowing marks, then make your hand shake/tremor as you draw. You get the idea.<span><a name='more'></a></span></div></span><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Consider the variety of marks that your regular ol' drawing tools are capable of that you hadn't explored before. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">It's like buying new art materials, except you didn't need to. You are just beginning to explore their potential.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Once you have created a whole bunch of different marks, think about their different qualities. How do they feel? What mood do they communicate? Choose a feeling and try to draw a neutral subject that communicates that feeling using different types of marks. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I like to have students begin with "angry" drawings and "peaceful" drawings because of their clear contrast. This is my angry drawing verses my peaceful drawing.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xfmVUy0WnCqqPX6E_xGUdVIw7FY8zYmNAbkFJ9xsmvG4uxmdJChchhrCSlpebOfXysxvXz37n5WqMF-aXxwFLovT-BHWJIE6k9FiBLs_icu6jdyxd8PUuLqNN9CD41Ii8mOG1CYAAF3Frql29xUpCjpVQ2jJ-cnMO1-2X-s4IS8PiaElqxRRbQllqQ/s3074/Angry%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2371" data-original-width="3074" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xfmVUy0WnCqqPX6E_xGUdVIw7FY8zYmNAbkFJ9xsmvG4uxmdJChchhrCSlpebOfXysxvXz37n5WqMF-aXxwFLovT-BHWJIE6k9FiBLs_icu6jdyxd8PUuLqNN9CD41Ii8mOG1CYAAF3Frql29xUpCjpVQ2jJ-cnMO1-2X-s4IS8PiaElqxRRbQllqQ/w640-h494/Angry%20-Larrabee.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaUMQu7SlkFlgAjt15nI-BEyg5yxqVF_BVqtJ_nF0CuU65cBxOCCl-r5t7OXH_FjjCiYOI9EBFiG4R7mBQd0bh79yAto88E7fyZ2UYXGbwmnz6RvAWd9q-PK8luvj75D484GRxDAL8wt14HlR-j8jWTR3XlOFuWosae6O7z3_eIa_x589OKazD2RciQ/s3953/Peaceful2%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2721" data-original-width="3953" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaUMQu7SlkFlgAjt15nI-BEyg5yxqVF_BVqtJ_nF0CuU65cBxOCCl-r5t7OXH_FjjCiYOI9EBFiG4R7mBQd0bh79yAto88E7fyZ2UYXGbwmnz6RvAWd9q-PK8luvj75D484GRxDAL8wt14HlR-j8jWTR3XlOFuWosae6O7z3_eIa_x589OKazD2RciQ/w640-h440/Peaceful2%20-Larrabee.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Both were based on a neutral subject (a still-life with leafy branches), but I had the option to alter or edit out whatever I wanted to best communicate the feeling. In the "angry" version, I included the pot, in the "peaceful" version, I edited it out on my second attempt because I liked the simplicity and I didn't want the pot to weigh it down.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">It is important to recognize that the feeling or mood is not dependent upon the subject. In fact, choosing to make artistic decisions that feel contrary to what we typically associate with the subject can create a compelling image that allows the viewer to build a story. It invites interesting questions: "Why did the painting feel happy at first when the person depicted looks miserable?" or "Why does a bouquet of flowers feel so lonely?"</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">It is equally important to recognize when your artistic choices align with or contradict your intention. Do these marks (or values, or shapes, or colors) conflict with or support my feeling? This is a much bigger discussion, but you can begin by exploring what kind of marks you can make and how those marks feel when you begin to put them together. Take a chance and see what happens.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">~ Lisa</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-15876718564939547052023-01-04T11:58:00.008-07:002023-08-19T23:06:04.715-06:00Why Make Studies?<div class="separator"><div class="separator" style="clear: both; text-align: left;"><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span><br /><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinB1QFUxor_6OAB62N6ZWoIP3Q60mMTni0Z3crSzBPjiaHhaIRVo4y9aiH19TSiynW7blH6KT-R4M6_npn124nQDQ4z9CTE5ruoPB07-GgBGERQ9gSMIfH4Y2sYofO5jlvA2YrMbG2q8ZNQTTA_-kHXPnYlYIjulG-ZY6tCJ8yHB8DQW4N6yirz7Ojsw/s2000/cabin%206.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1882" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinB1QFUxor_6OAB62N6ZWoIP3Q60mMTni0Z3crSzBPjiaHhaIRVo4y9aiH19TSiynW7blH6KT-R4M6_npn124nQDQ4z9CTE5ruoPB07-GgBGERQ9gSMIfH4Y2sYofO5jlvA2YrMbG2q8ZNQTTA_-kHXPnYlYIjulG-ZY6tCJ8yHB8DQW4N6yirz7Ojsw/w188-h200/cabin%206.jpg" width="188" /></a></div> Artists often create studies before beginning their artwork. A study can be a detailed drawing or painting that allows the artist to observe a subject thoroughly and learn more about it. Studies can also be quick, simple images that let the artist work through a variety of options before committing. </div><div class="separator" style="clear: both; text-align: left;">Each type of study could be it's own post, but the following list is a summary:<span><a name='more'></a></span></div></div><div><br /></div><div><ul><li><b><span style="color: #61708e;">Composition Studies</span></b> focus on how different elements are placed within the boundaries of the artwork. There are many guidelines that can help you make strong compositions such as using the rule of thirds, a pyramid/triangle composition, "S" composition, circular path, etc.</li><li><b><span style="color: #61708e;">Value Studies</span></b> help to plan a value map within your composition. This is an opportunity to group similar values to create larger unified shapes and create contrast in areas of interest. You can also establish a mood by exploring whether your artwork will have a high key (light value range), low key (dark value range) or whether it will will include a full range from dark to light.</li><li><b><span style="color: #61708e;">Color Studies</span></b> should be based off of your value study. Experiment with a variety of color choices to see how they impact the overall feeling of your piece. Consider whether to use a limited or full color palette. You can also use color studies to create emphasis through color.</li><li><b><span style="color: #61708e;">Detailed Studies</span></b> are often more about observation and accuracy. The purpose is to spend time with your subject and get to know the structure and form. Studies may be done from different perspectives either to consider which angle is preferred or simply to better understand the subject as a whole.</li><li><b><span style="color: #61708e;">Style/Technique Studies</span></b> can be used to explore which techniques you want to use or what options you have to stylize, exaggerate form, introduce textures or patterns, etc. </li></ul><div><br /></div><div style="text-align: justify;">If studies are so helpful, why are so many developing artists resistant to doing them? One reason I hear the most, is that they just don't want to spend the time. They are excited to get started and they don't want to loose their initial energy and momentum. There are many artists that jump right into their artwork and allow the challenges to be resolved through the process. However, this has its risks! Taking time at the start to explore your options through studies allows you to contrast what works and (just as importantly) what does not. It creates opportunities to resolve problems before they come up in your artwork. This can save you from wasting time trying to resolve a problem on a larger piece that could have been addressed in a quick study. Studies also give you the freedom to explore ideas that you hadn't considered when you first started that may be more interesting than your initial plan. </div></div><div><br /></div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Quick Study Demo</span><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQS_0fCf25ImibhnjZcgwDdJdH2sZbZ0vZOz8og_fUxHGgmwNXnanH5tpgb2mhggTLTpS2M5obt-sNsKRgqCAQ3AT09hFUAFBoBY_XTfwm5x_wGL6AiKnXOMlLMDzj6AiZk4WEy2cZurHfHGl8mOpC7qn8uwXYJdh64-cMN4uh9ghDgXiin7Wbsof/s4032/miners%20cabin%20dist.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQS_0fCf25ImibhnjZcgwDdJdH2sZbZ0vZOz8og_fUxHGgmwNXnanH5tpgb2mhggTLTpS2M5obt-sNsKRgqCAQ3AT09hFUAFBoBY_XTfwm5x_wGL6AiKnXOMlLMDzj6AiZk4WEy2cZurHfHGl8mOpC7qn8uwXYJdh64-cMN4uh9ghDgXiin7Wbsof/s320/miners%20cabin%20dist.jpg" width="240" /></a></div><div style="text-align: left;">Let's look at some simple composition/value studies and the thought process I used when making changes from one to the next. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I took this photo hiking with my family. I thought the old, abandoned miners cabin was quirky and full of interesting angles. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">It is important to identify what it is that drew you to your subject. Maybe it was the shape, the lighting, the textures or the mood. When you are clear about what you found interesting, you can consciously use that information to guide you through the many choices that will present themselves.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">These studies are small and quick (about 3-4"). I used pencil to mass in simple value shapes and a sharpie add the bold contrasting shapes.</div><div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIXpfO_ST0xS_ALL9ZfO1kyc2B2L1aY1wyzb8TcX4yKdJ5mTn-vMBbDctOvNEhdzxn20UU3u-lVOk-f6MAXL_23ZP47l5TEfLUnHoTUvWzckLRubqMotd4PPBmWuM3d99zqjrif0WGHs-Se1jeiqrBa5DA1TzlZs1Q3piS2Dr2aCjUEKShFURZk_WE/s1037/2%20cabins%20-larrabee.png"><img border="0" data-original-height="664" data-original-width="1037" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIXpfO_ST0xS_ALL9ZfO1kyc2B2L1aY1wyzb8TcX4yKdJ5mTn-vMBbDctOvNEhdzxn20UU3u-lVOk-f6MAXL_23ZP47l5TEfLUnHoTUvWzckLRubqMotd4PPBmWuM3d99zqjrif0WGHs-Se1jeiqrBa5DA1TzlZs1Q3piS2Dr2aCjUEKShFURZk_WE/w640-h410/2%20cabins%20-larrabee.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The first version on the left looks like the cabin is an isolated dark shape stuck to the side of the composition. I darkened the value of the foreground to create a more integrated larger shape. The change creates a more interesting division diagonally. The lighter top shape is mirrored by the darker bottom shape. Still, the overall design is pretty boring. Most importantly, it does not communicate what I found interesting about the subject.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNieyv82ttcZE8gvFZgHNR4ajb5H_hV2VQ47OkS35t7oQ7b6eH24T7nhVft2PoPg1TnCywb4OdE3W95bCyFJQjNwInNKqDLP1K3nIJcBiV3toknxYJCSwIaDRlkeu2fuk_INr40hoVwkI3peAojEpTGZKfqk1eACvQEse-FWRJP7tCUnr-wY5rbh2Vw/s2376/cabin%203.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2376" data-original-width="1825" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNieyv82ttcZE8gvFZgHNR4ajb5H_hV2VQ47OkS35t7oQ7b6eH24T7nhVft2PoPg1TnCywb4OdE3W95bCyFJQjNwInNKqDLP1K3nIJcBiV3toknxYJCSwIaDRlkeu2fuk_INr40hoVwkI3peAojEpTGZKfqk1eACvQEse-FWRJP7tCUnr-wY5rbh2Vw/s320/cabin%203.jpg" width="246" /></a></div><br /><div style="text-align: justify;">With the second study I chose to zoom in on the doorway. This allowed me to play up some of the funky angles of the cabin and give a glimpse into the angles inside that I found interesting. </div></div><div><div><br /></div><div>As I was sketching this study, I paid more attention to the stacked logs. I realized that there was an opportunity to play up the repeated pattern of the circles while also emphasizing how the building was falling apart. </div><div><br /></div><div>There were still problems to address, but I felt that I was getting closer to something interesting. </div><div><br /></div><div><br /></div><div>In the third study, I cropped out some of the heavy dark roof and adjusted the values so the interior was more visible. When creating your studies, it is important to include the boundary that you are designing within. It is also important to leave extra space around the border. This serves two functions. First, it creates a visual separation between each study so that the compositions don't run together. Second, it gives you room to extend the boundaries should you choose to.</div><div><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0a-YJoyMP_oGMF0iAOXhUIEDRyaCemdIMnZMWdXXa4TRMIMTDaNGgU6UcV3hnuK76ER9sinOrV5AukeZXG0KKnjlC615QSsWPDQSNfAJ6XFioeJUAbkEXi_OJNMlSwHtQ7yN0V8hVFbnkox9fg2mYCWRJu2TdBUR__ywz8iRiVwNBJfewGNdmtHc/s1549/3%20cabins%20-larrabee.png"><img border="0" data-original-height="594" data-original-width="1549" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0a-YJoyMP_oGMF0iAOXhUIEDRyaCemdIMnZMWdXXa4TRMIMTDaNGgU6UcV3hnuK76ER9sinOrV5AukeZXG0KKnjlC615QSsWPDQSNfAJ6XFioeJUAbkEXi_OJNMlSwHtQ7yN0V8hVFbnkox9fg2mYCWRJu2TdBUR__ywz8iRiVwNBJfewGNdmtHc/w640-h245/3%20cabins%20-larrabee.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;">Study #3 has three versions. I wanted to lengthen the door and exaggerate the shape, so I extended the boundary at the bottom of the image. However, I felt the door was too centered. I also really enjoyed the irregular edge of the corrugated roof that had been cropped out of the picture. By extending the boundary on the left side I enhanced the diagonal pattern of circles and created a more interesting negative shape that echoes the triangular roof shapes.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Creating studies is all about exploring your options and problem solving. Each study I did gave me new information. I analyzed the study to identify what I felt was working and what wasn't working and then created another version based on my analysis. The studies were quick and messy, but they gave me all the information that I needed to create an image that captured what I found most interesting about the subject -the quirky, irregular angles both inside and outside the cabin. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both;"><div style="text-align: justify;">If I had skipped this process and jumped right into a finished piece, it would have been mediocre at best. All the techniques in the world cannot save a weak composition. Most importantly, it would not have communicated what I found so exciting about this old cabin. Take a little time to explore your options with some quick studies. You may be surprised where they lead you. </div><div style="text-align: justify;"><br /></div><div><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Art Challenge</span><ul style="text-align: left;"><li>Choose your subject. Ask yourself what it is that drew you to it. Be specific. It will help in your decision-making.</li><li>Select from the list of studies (composition, value, color, detailed observation, or style/technique).</li><li>Explore your options. See how each decision you make affects the outcome.</li><li>Choose the option that best communicates what you found most interesting about your subject.</li></ul><p style="text-align: left;">Exploring your options through quick studies allows you to try things you wouldn't usually try. Some will work, and some won't. Learn from your successes and failures to determine what you want the piece to become. You can't fully know the potential for a piece without spending some time considering the many choices available to you.</p></div></div></div></div></div><div class="separator" style="clear: both;">~ Lisa</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-15964345707827275902022-12-29T16:41:00.008-07:002023-08-25T12:05:25.286-06:00A Reductive Process In Layers<p style="text-align: justify;"><span style="color: #4b618e; font-family: verdana; text-align: left;">by Lisa Larrabee</span></p><p style="text-align: justify;">One technique that I love to use while drawing or painting is a reductive process. You begin by using your chosen medium to tone the surface. You can use graphite, charcoal, soft pastel or oil paint. This establishes a unifying value to work from. The reductive aspect is that you remove the medium to reveal the lighter values underneath. You can erase any of the dry mediums and wipe away the oil paint. In this demo, I used both Q-tips and clean brushes to remove the pigment. A little OMS (odorless mineral spirits) can remove the paint back to the surface.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixKYaxHRugE4cHDFf2Aehkwn0Trv0PTgcy7wreZv9tqJFk9vza9QoXYg5HMcazYi8o3NrVYJKgpQxGpE6Rs-eZDCLvb9HxRewb4V1WzRrU7aqv4AAayRAhDd0-tTUti1pm6VquDsxUQLqFHBptOMiMtZuW9qka_-c3fworl7KcMZoFcbq38gcM1Fu-ig/s3850/Bri1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3850" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixKYaxHRugE4cHDFf2Aehkwn0Trv0PTgcy7wreZv9tqJFk9vza9QoXYg5HMcazYi8o3NrVYJKgpQxGpE6Rs-eZDCLvb9HxRewb4V1WzRrU7aqv4AAayRAhDd0-tTUti1pm6VquDsxUQLqFHBptOMiMtZuW9qka_-c3fworl7KcMZoFcbq38gcM1Fu-ig/w502-h640/Bri1.jpg" width="502" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I began toning with transparent earth red oil paint over a panel that already had a light pink layer that was dry. This is why the lifted values only lift out to a light pink and not the original white panel. Any added details were painted with the transparent earth red. One thing that is freeing about this process is that you can wipe away any mistakes and try again.<span><a name='more'></a></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmQG-pqIfeCizFjJ8WeajhFXNs_6FZOarVsfLvWZcOVT46eYEiMqYv04oLwO4oe3YL6KCcKZSr7h69TheWI_VW7ewIoo0cWK9pcWSLHRmP2PYkjPj26gdSo8r5aFu3uYscEydsWSUAcom-4nYjdpAgqHOGO5EeakmHGwE2g_DYbfbPbbQBguEztNwZg/s3866/Bri2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3866" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmQG-pqIfeCizFjJ8WeajhFXNs_6FZOarVsfLvWZcOVT46eYEiMqYv04oLwO4oe3YL6KCcKZSr7h69TheWI_VW7ewIoo0cWK9pcWSLHRmP2PYkjPj26gdSo8r5aFu3uYscEydsWSUAcom-4nYjdpAgqHOGO5EeakmHGwE2g_DYbfbPbbQBguEztNwZg/w500-h640/Bri2.jpg" width="500" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Once the panel was completely dry, I added darker transparent color while experimenting with textures. Mixing the paint with an alkyd thinned with OMS allowed me to make very fluid expressive brushstrokes. I also used crumpled paper towels to lift textures. Some OMS spatter added a bit more interest.</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKcyxsv2QaMyzgQNjJQnaQs8BMSSQBSIi8Q-kwkBLbyaLGeWxuLeAVbxCLJ-tvFW72TSAZHn1NtETXiGmEOF3hYqNqUtNP6Jcdf_rZ9bFxgqwZB6yKpQJ3iVPDbAnUlepH9BEO_hAWIgyL3V8by4Tpkb8C6inMX9dXCnkT7TLdbpAm0sb0coomjUUzQ/s3856/Bri3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3856" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKcyxsv2QaMyzgQNjJQnaQs8BMSSQBSIi8Q-kwkBLbyaLGeWxuLeAVbxCLJ-tvFW72TSAZHn1NtETXiGmEOF3hYqNqUtNP6Jcdf_rZ9bFxgqwZB6yKpQJ3iVPDbAnUlepH9BEO_hAWIgyL3V8by4Tpkb8C6inMX9dXCnkT7TLdbpAm0sb0coomjUUzQ/w502-h640/Bri3.jpg" width="502" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">At this stage I repeat the lift out process. Since the portrait is dry, I can remove paint from the face without disturbing it. I reveal what I choose and leave the textures that I like.</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3vsuP9-gd_e0DwueyQKwFDg_0gREHpKy_WwCa0EF7YjGR5oxsnn2ZddSkOiVO_8xJQOVYbFnINwUGJ_ywZhJLdfHYa5E-1Fz8o5pR4hMiUijVKNy4LB65KHTbgH1q-gT5TdJ4KxpT5GuM2oAa02WOQMHCT4TsHWFfP4NRDVDmNeagTO3r93zvz61lZw/s3861/Bri4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3861" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3vsuP9-gd_e0DwueyQKwFDg_0gREHpKy_WwCa0EF7YjGR5oxsnn2ZddSkOiVO_8xJQOVYbFnINwUGJ_ywZhJLdfHYa5E-1Fz8o5pR4hMiUijVKNy4LB65KHTbgH1q-gT5TdJ4KxpT5GuM2oAa02WOQMHCT4TsHWFfP4NRDVDmNeagTO3r93zvz61lZw/w502-h640/Bri4.jpg" width="502" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I wanted to push the contrast so I repeated the process yet again. This time adding cooler colors into the mix. It is important to make sure that the pigments chosen are transparent or you will create a hazy opaque layer. A soft semi-opaque layer can create a great effect, but it was not what I wanted here.</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirtq2SZ8mDMYc9eMS7MNUeDbib5cRj1evdZvrKb2QuVsZF0KLrKfouSt3l80NgwD7EGCBOkjEeckkapicn25itaUsD05lJ_GR0Dnkj9cz-yW67pKn_v5qUF4x9AhUUDtcOVcJk6j9FrTRR_JNzDi6UWxzldkcA5nO4Ig3OyK42LNcNvRcCGzjVtqBJA/s3913/Bri5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3913" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirtq2SZ8mDMYc9eMS7MNUeDbib5cRj1evdZvrKb2QuVsZF0KLrKfouSt3l80NgwD7EGCBOkjEeckkapicn25itaUsD05lJ_GR0Dnkj9cz-yW67pKn_v5qUF4x9AhUUDtcOVcJk6j9FrTRR_JNzDi6UWxzldkcA5nO4Ig3OyK42LNcNvRcCGzjVtqBJA/w494-h640/Bri5.jpg" width="494" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Again, I removed pigment from the face and shoulder while the new layer was still wet. The values on the face appear lighter, but they are not. It is their relationship to the other values that changed. As I added darker layers it created the illusion of lightening the values due to the increase in contrast.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">This is a fun and flexible process to try. It also gave me another demo to experiment on (which is where I play!). In a future post, I will share how this demo transformed into <i>Moonlight & Ivy</i>.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">~ Lisa</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-685793267176643972022-12-14T11:41:00.006-07:002023-08-19T23:06:32.494-06:00Facial Features: Mouth Study<p> <span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67jP_tU0Q8GTWotIGQ_rveRShGCLGuX20uuBSB00SqgD6nn_CPLDWaqCSRlLPVGDId_jMwCiKzB2CwaYKSy1xBaqnQ471JhaWE6xQckr9OL-Sp1teFgGMCTyrsQrp-ET_CU5bX11yJ3xxbZ8tD1JfbHjskOqadi10JbbA8E01wXFBNg9v2Cvo9WM7sA/s2569/Mouth%204%20-Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2569" data-original-width="2569" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi67jP_tU0Q8GTWotIGQ_rveRShGCLGuX20uuBSB00SqgD6nn_CPLDWaqCSRlLPVGDId_jMwCiKzB2CwaYKSy1xBaqnQ471JhaWE6xQckr9OL-Sp1teFgGMCTyrsQrp-ET_CU5bX11yJ3xxbZ8tD1JfbHjskOqadi10JbbA8E01wXFBNg9v2Cvo9WM7sA/w200-h200/Mouth%204%20-Larrabee.jpg" width="200" /></a></div><div><br /></div><span style="text-align: justify;"><div style="text-align: justify;">When developing portrait drawing skills, it is important to learn to see the facial features as objectively as possible. It can be difficult to set aside the symbols we have learned, and the associations we make with certain features, in order to observe them accurately. Drawing from a plaster cast can help you to see the form more objectively, but the symbols can still creep in. </div></span><span><a name='more'></a></span><p><br /></p><div class="separator" style="clear: both; text-align: justify;">A piece of advice that I often give students who are struggling to separate the symbols (or prior drawing habits) from what they see, is to pretend the cast is an abstract sculpture. Imagine that you decided to observe and draw this form while having no idea what it was. If it were a purely abstract form, you would have no choice but to rely on shapes and value relationships to depict it. If you can put yourself into that mindset, you may be quite surprised by how much the drawing ends up looking like a mouth. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">~ Lisa</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg51dUWRhvfWerstirz6c--RPjEm4s7JVvMLTGxeaXCUHxLjpm3auMSKJWgxo6Pv5w06gPXxLa8cPONcZvqhAfTAS0WO6LJ0TZ0SDT6mW0eutTJCtGXJSc3jrjZ-Kdet7OrSKB2kjnvb1nVntdjPjYlkCcuiQYXl7dE-zrJ0PDKAmg4dKCBlb1x4rwoCw/s2070/Mouth%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2070" data-original-width="2070" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg51dUWRhvfWerstirz6c--RPjEm4s7JVvMLTGxeaXCUHxLjpm3auMSKJWgxo6Pv5w06gPXxLa8cPONcZvqhAfTAS0WO6LJ0TZ0SDT6mW0eutTJCtGXJSc3jrjZ-Kdet7OrSKB2kjnvb1nVntdjPjYlkCcuiQYXl7dE-zrJ0PDKAmg4dKCBlb1x4rwoCw/w400-h400/Mouth%201.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55Uri66s-ysN4GYb7Rj8VsjSs1nJQsC1EHu_F4GNph_Tpru9m76yKNZXgC7oEgbOOZuFPqECaRcI1LUsCKWjuAXFPBp_hl5ZJVCVyXyzgpUyjW6Uf5VGW9XNHorX_A_8V3DIJseZoFsHKUK7XljnKzfZjnC0svvf449FlwBQvLyUDTqMk3PqnCPU_mw/s2412/Mouth%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2412" data-original-width="2412" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55Uri66s-ysN4GYb7Rj8VsjSs1nJQsC1EHu_F4GNph_Tpru9m76yKNZXgC7oEgbOOZuFPqECaRcI1LUsCKWjuAXFPBp_hl5ZJVCVyXyzgpUyjW6Uf5VGW9XNHorX_A_8V3DIJseZoFsHKUK7XljnKzfZjnC0svvf449FlwBQvLyUDTqMk3PqnCPU_mw/w400-h400/Mouth%202.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0FUA9F3lyO3BkE1zJFnfjVm0jtuHxg5fyMJq-ptFfGiYqfK-xDobI9C1Nik6Q2jT90M1yc1CZNfPfCoZ-B_xNO61FmmZ-44b11XykpOhTdH-h8gMwMVQ8KX1g0B6qCaHhD0gqECYgIQkt29LNjGudAyO6fH5-ky_--X8QdtH5Z1pnVNn8NSnD2XJq8w/s2404/Mouth%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2404" data-original-width="2404" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0FUA9F3lyO3BkE1zJFnfjVm0jtuHxg5fyMJq-ptFfGiYqfK-xDobI9C1Nik6Q2jT90M1yc1CZNfPfCoZ-B_xNO61FmmZ-44b11XykpOhTdH-h8gMwMVQ8KX1g0B6qCaHhD0gqECYgIQkt29LNjGudAyO6fH5-ky_--X8QdtH5Z1pnVNn8NSnD2XJq8w/w400-h400/Mouth%203.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41LV-bkhEc915-2D_RA9D5dZNoVxtTeuXtBflKdyJrygqkNacNf0Wv536OAqEGlpv1w_YmrNjHfDlMK1rMX20obvlSDLD6SyXDLHb5c2M416l6JG_RyHDe4nJHBsfvFnB5QYKUH3oseSYl_bDU77rp6-o5QGIS3m2WLy0WPseWYIvojMBNxWoqGOoqQ/s2569/Mouth%204%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2569" data-original-width="2569" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41LV-bkhEc915-2D_RA9D5dZNoVxtTeuXtBflKdyJrygqkNacNf0Wv536OAqEGlpv1w_YmrNjHfDlMK1rMX20obvlSDLD6SyXDLHb5c2M416l6JG_RyHDe4nJHBsfvFnB5QYKUH3oseSYl_bDU77rp6-o5QGIS3m2WLy0WPseWYIvojMBNxWoqGOoqQ/w400-h400/Mouth%204%20-Larrabee.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">View my post on drawing the structure of a mouth using cross-contour lines.</div><div style="text-align: center;"><a href="https://lisalarrabeeart.blogspot.com/2023/01/facial-features-cross-contour-mouth.html" target="_blank"><span style="font-size: large;">Facial Features: Cross-Contour Mouth Sketch</span></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><div><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-7626795754437168432022-12-13T16:15:00.013-07:002023-08-22T17:51:35.818-06:00Experimental Color<p></p><div class="separator" style="clear: both; text-align: center;"></div><i><span style="font-size: large;"><div><span style="color: #4b618e; font-family: verdana; font-size: medium; font-style: normal;">by Lisa Larrabee</span></div><div><span style="color: #4b618e; font-family: verdana; font-size: medium; font-style: normal;"><br /></span></div></span></i><p></p><div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1022" data-original-width="1034" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Oy5DD1CdG5541_7PrAK7L25AFGO27QGYJsyBs5S59gfJwFTAjkXw3uGIEuOvSctTgH4eW2BZe28IpjZ6GifPBlpnl1PVF3LBWNieXDZYmJL4ZvI0zrf1foolv2Z51Wp9ihn90PjWHvq-eD7k46RWbZ_exykrS3Nm0wevMg797rCDjvhpDHZWvIpY6A/w200-h198/Larrabee-%20portrait%20pink%20on%20green%20detail.jpg" width="200" /></div><div style="text-align: left;"><i><span style="font-size: large;"><br /></span></i></div><div style="text-align: left;"><i><span style="font-size: large;">Pink & Green<br /></span></i>color study (detail)<br />Pastel on toned paper<br />artist Lisa Larrabee</div><p style="text-align: left;"></p><p><br /></p><p><br /></p><p><br /></p><p style="text-align: justify;">I recently taught a class for the <a href="https://www.artverveacademy.com/" target="_blank">Art Verve Academy</a> about adding a touch of color to your drawings. The idea was to make simple controlled changes to see how dramatic the affect was on the image as a whole. It was a lot of fun and and a huge learning experience.<span></span></p><a name='more'></a><p></p><p style="text-align: justify;">As we delved into more experimental color combinations, I felt compelled to join in the fun and play with colors that I would not usually use together. I highly encourage anyone to give it a try. Choose 2-3 colors (plus the background) and build a drawing without any expectations for how it will turn out. You may surprise yourself!</p><p style="text-align: justify;"><span style="text-align: center;">I began by sketching the value shapes with a bright pink pastel pencil. It is impossible for me to fully capture the experience with this photo, but the use of approximate complimentary colors in a similar value played with my eyes like crazy. The pink felt like it was quite literally luminous and vibrated against the gray-green. The process felt a bit surreal as a result.</span></p><p></p><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrnXLi-uemn3r88tQvir5AZ8A0ouJpn7ikpYvxqzkvXnDA4i1vUP77sZ0MT0gE8W_ixeqddKG_DS2hQalfdQgGq6A5yMqT7A6K4TVzxHdO-SlJRC-D6D9bZ25yzXqpNwAuJA5zqCFc-KJDA_zI2DcjAsJn1mOH_JkRzq7xybpJ1lzLuZfmRUoSy9_sA/s1939/Larrabee-%20portrait%20pink%20on%20green1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1939" data-original-width="1610" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrnXLi-uemn3r88tQvir5AZ8A0ouJpn7ikpYvxqzkvXnDA4i1vUP77sZ0MT0gE8W_ixeqddKG_DS2hQalfdQgGq6A5yMqT7A6K4TVzxHdO-SlJRC-D6D9bZ25yzXqpNwAuJA5zqCFc-KJDA_zI2DcjAsJn1mOH_JkRzq7xybpJ1lzLuZfmRUoSy9_sA/w532-h640/Larrabee-%20portrait%20pink%20on%20green1.jpg" width="532" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Although the purpose was to choose whimsical colors, it was important to focus on building values (regardless of the color). I added a bold red-violet that was a darker value than the pink. I placed the red-violet anywhere that I wanted to accentuate the form with more contrast.</div><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCyVtBfMvqHZ0Kb0nSmXFNpkj7AK0pT4rNOl8zb_gt8a7EptWctxta85WBYoGxLGWyfE5shPf9u2ug_ybyHi3G7WeGhfnu_wPHxIc1SsPOqvbBoAmovKyLUdwWb0QAmJcm1fl9s5KifojNdpdFFEF8CpBaWqkz98RdhWl2AXEHEbzzs7Q4JTv6pZMqg/s1929/Larrabee-%20portrait%20pink%20on%20green2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1929" data-original-width="1650" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTCyVtBfMvqHZ0Kb0nSmXFNpkj7AK0pT4rNOl8zb_gt8a7EptWctxta85WBYoGxLGWyfE5shPf9u2ug_ybyHi3G7WeGhfnu_wPHxIc1SsPOqvbBoAmovKyLUdwWb0QAmJcm1fl9s5KifojNdpdFFEF8CpBaWqkz98RdhWl2AXEHEbzzs7Q4JTv6pZMqg/w548-h640/Larrabee-%20portrait%20pink%20on%20green2.jpg" width="548" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">My final step was to add white highlights. I initially began with stronger highlights because it was more accurate to my reference. However, the more white I added the less energy I captured of the red/violet tones against the green. I lifted out the bolder highlights and placed the light sparingly. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_Fs4byOuuEaPWOPIpOyaiwedqWyoUWV_sd80vXVjCl0QpUmpu_tpBVTnAd9XGpxhqA3p2JVbSkP-XJ679n6hKV95OfaasR-xeN6C_q8TFcfcp__3EdyO0ZbxSsO-MsGwURVTBll3mq_mKiTqrrMZqY2zfgO_1P7Vy6HJ41l-GuxomW0r9ZCGng0OQw/s2211/Larrabee-%20portrait%20pink%20on%20green.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2211" data-original-width="1756" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb_Fs4byOuuEaPWOPIpOyaiwedqWyoUWV_sd80vXVjCl0QpUmpu_tpBVTnAd9XGpxhqA3p2JVbSkP-XJ679n6hKV95OfaasR-xeN6C_q8TFcfcp__3EdyO0ZbxSsO-MsGwURVTBll3mq_mKiTqrrMZqY2zfgO_1P7Vy6HJ41l-GuxomW0r9ZCGng0OQw/w508-h640/Larrabee-%20portrait%20pink%20on%20green.jpg" width="508" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I had a tremendous amount of fun exploring how the colors interacted. There were elements I expected, but there were also results that I was surprised by. It is amazing how relative color is and how dramatically one color can influence another. If you give it a try, be prepared for a few unexpected results of your own.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">~ Lisa</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-79815394856873220142022-12-09T22:00:00.007-07:002023-08-22T17:52:07.041-06:00The Freedom of Using an Opaque Medium<p><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></p><p>Why are we so afraid of change? Wow, that’s a big question. Let’s reign it in a bit. Why are we so scared to make changes in our paintings?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyIM9_fwB2121RPRCGYsn6oCVc0XB13mAmWoO9ilwzk4ff_VoNLJUx0d7rO2qAcCk5cnrTOIGsaNLGag3E603nGnk1hY1twghZI8I2RZkVxyNHSOyz7NoAy9NEwZdqI7OIiXUaMQYh7LG912GtOa_exYtA5694xUcjyT2F0mc1RGiIJ3zYCOzOPIVxg/s2215/Changing%20Portrait%20-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2215" data-original-width="1740" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyIM9_fwB2121RPRCGYsn6oCVc0XB13mAmWoO9ilwzk4ff_VoNLJUx0d7rO2qAcCk5cnrTOIGsaNLGag3E603nGnk1hY1twghZI8I2RZkVxyNHSOyz7NoAy9NEwZdqI7OIiXUaMQYh7LG912GtOa_exYtA5694xUcjyT2F0mc1RGiIJ3zYCOzOPIVxg/w502-h640/Changing%20Portrait%20-Larrabee.jpg" width="502" /></a></div><p style="text-align: justify;">Often, the biggest fear is that we won’t like the result. Maybe we are feeling pretty good about a painting and are afraid it won’t be as successful with the change. Sometimes the fear is that we won’t be able to disguise the change and that it will be visible in the final result. Whatever the reason, the fear is more of a mental obstacle than a physical one if you use an opaque medium.<span></span></p><a name='more'></a><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXpw5m3i6vqLnFmVKeSagGEnWUTFJmjLyiHtiN16Jq6szcx_0TCPn7Sxet9efuy6f_intAi8vfZlQgA6HsFMTUdYO9wzZ4lY4Gs8qIW7-4N_vHTrMoPHvFQT134lkq2xY_tLD_IDu3aAMyjWH8VVNCBsNy9W3qLny2llDreXCdORCRqsWrEJ50WbYwGg/s2172/Transparent-Opaque.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1814" data-original-width="2172" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXpw5m3i6vqLnFmVKeSagGEnWUTFJmjLyiHtiN16Jq6szcx_0TCPn7Sxet9efuy6f_intAi8vfZlQgA6HsFMTUdYO9wzZ4lY4Gs8qIW7-4N_vHTrMoPHvFQT134lkq2xY_tLD_IDu3aAMyjWH8VVNCBsNy9W3qLny2llDreXCdORCRqsWrEJ50WbYwGg/w400-h334/Transparent-Opaque.jpg" width="400" /></a></div><p style="text-align: justify;">Using opaque pigments means that you cannot see through them. This allows us to cover existing areas and make changes directly over the previous layers. Even if you are creating luminous, transparent glazes, you can make opaque changes to your painting and then glaze transparent layers over the top to unify the correction. The most important step is being willing to make the change in the first place.</p><p style="text-align: justify;">One way to tackle any uneasiness you have over making changes to your painting is to practice making changes. It sounds too simple, but it is essential to gain the confidence to make the change when it counts. Often, we are willing to take bold steps with our work when we are completely unhappy with the piece. It places us in a what-have-I-got-to-lose mindset. This can be an absolutely frustrating place, but it is also a golden opportunity! Once in this mindset, there is no more fear! The trick is to allow yourself these opportunities without going through the pain of a failing painting. How? Create a designated time for studies and experiments. Give yourself a safe place to fail, rebuild, test, and explore without negative consequences.</p><p style="text-align: justify;">Let me use my portrait demo as an example. This demonstration was done over three sessions. With each session, there was a variation I chose to incorporate. It was fun changing her hairstyle and altering her gaze. I enjoy looking back at the stages and seeing how each change affects the overall image. (It’s important to note that objects like the flower and strand of hair could have been covered completely, but I enjoyed the looseness and seeing a bit of the history in this paint sketch).</p><span style="color: #ed4b00; font-family: verdana; font-size: x-large;">Art Challenge</span><ul><li>Choose a simple subject that changes over time.</li><li>Paint a small, simple study of it from life.</li><li>Make changes to your painting as your subject changes.</li></ul><p>Some things change faster than others. Paint a flower as it blooms and/or wilts, ice cream that melts, or the mountains at different times of the day.</p><p>You can choose to document your painting stages to keep a history of the evolution, but don’t allow it to become too precious to paint over. Remember, this exercise is designed to give you the confidence to change your paintings.</p><p>~ Lisa</p><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-44244981621870009452018-06-14T12:46:00.008-06:002023-08-22T18:07:21.884-06:00Emerging -Painting Stages
<span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span><div><span style="color: #4b618e; font-family: verdana;"><br /></span><div><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4YJiZ6tWPx9U_gXOEhl_Cr7VU1R4kJCaHFVQxhaaRMbdpoJw76mGqWKqoJnTFd-EzLfiqeg4XnzpfSJ7O2XauHumBwimFMkHW1tE9mgCN_C8aQCeuKRTLI7rG6FC0_WaQn7n8_2tKzhZ/s1600/Emerging-detail-artist-Lisa-Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="727" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4YJiZ6tWPx9U_gXOEhl_Cr7VU1R4kJCaHFVQxhaaRMbdpoJw76mGqWKqoJnTFd-EzLfiqeg4XnzpfSJ7O2XauHumBwimFMkHW1tE9mgCN_C8aQCeuKRTLI7rG6FC0_WaQn7n8_2tKzhZ/s400/Emerging-detail-artist-Lisa-Larrabee.jpg" width="241" /></a></div><span style="color: #4b618e; font-family: verdana;"><br /></span><i><span style="font-size: large;">Emerging</span></i><br />
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Oil & Wax on Panel<br />
24" x 36"</div><div>artist Lisa Larrabee<br />
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My Figurative Landscape paintings are intended to visually convey that people and nature are inextricably connected. Although we often lose ourselves in our fast-paced lives, my hope is that we are reminded to slow down and contemplate how we are interconnected with others and the world around us.<span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxOtsKGYhJ_xURjsM2ItKJyaFlChrsXfVHngmKu7F59flTtxKBn_2zG8OGcwi2zHxybNICbD-eWtiKduDc5A_Kz9e7rkG-lKjz1d8t9EBN7QZkU7gYEbGq_xX4CRbiXiJEraPrgF1IM2EO/s1600/Emerging-stage-1-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxOtsKGYhJ_xURjsM2ItKJyaFlChrsXfVHngmKu7F59flTtxKBn_2zG8OGcwi2zHxybNICbD-eWtiKduDc5A_Kz9e7rkG-lKjz1d8t9EBN7QZkU7gYEbGq_xX4CRbiXiJEraPrgF1IM2EO/s640/Emerging-stage-1-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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What began as an idea, slowly developed through a combination of sketches, photo reference and experimentation by layering images in Photoshop. I often blur or filter my digital image so that I feel less restricted by detail and free to allow colors and textures to develop in the painting.<span><a name='more'></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eA9ZI9xVR41ZY9vA0pRIZWFelX8LIHbMWrZsBykPJm4kjg4xvhpJThy4s_Np5XuG6qcrnapIaipXR2X8521ZlkPfCG3J-W36dN-gF0BfkHJnUv7PTPYlYIRtf6RmCDipUcdvAQG_U8hF/s1600/Emerging-stage-2-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-eA9ZI9xVR41ZY9vA0pRIZWFelX8LIHbMWrZsBykPJm4kjg4xvhpJThy4s_Np5XuG6qcrnapIaipXR2X8521ZlkPfCG3J-W36dN-gF0BfkHJnUv7PTPYlYIRtf6RmCDipUcdvAQG_U8hF/s640/Emerging-stage-2-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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I began with an abstracted color field. This is where I first explore different textures and methods. In this piece I added a little cold wax medium to my oil paint because I like the drag it adds to the paint application. I typically only use cold wax medium in this initial stage. I used a brayer roller to overlap and layer colors made slightly more translucent due to the wax medium. I decided to scratch "scribbles" across the panel in order to depict some of the tree textures in the next stage. </div>
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I transferred my drawing of the trees by sparsely scumbling blue oil paint across the back side of the newsprint before tracing the drawing onto the painting. Typically I would freehand trees, but I wanted to be more precise due to the relationship of the tree branches to the face (not yet added).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA9E2qZqwblbW1bQqtAEM70427uBfEDjNCM1YyC9-BIZRuC3aFKHa4iBwwmrG0NaYFyBmoPt-N1YLP3Go351pQpw1v3bpgM_3Ur7txAHEYuBLERuGk-m4terS-YzHQNZ23BmJC2nGuerC5/s1600/Emerging-stage-3-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA9E2qZqwblbW1bQqtAEM70427uBfEDjNCM1YyC9-BIZRuC3aFKHa4iBwwmrG0NaYFyBmoPt-N1YLP3Go351pQpw1v3bpgM_3Ur7txAHEYuBLERuGk-m4terS-YzHQNZ23BmJC2nGuerC5/s640/Emerging-stage-3-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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I roughly blocked in the cool blues and purples with a pallet knife and large brush. I realized early on that the color and value relationships between the tree and the face needed to develop simultaneously, so I transferred the figure.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVO8wCLKaVGg8gsPLVwI2j-0V27GREoEZSMUYio7MogBVGtHq1Tv0Jj5WDoGZFcrFtSpcbnvcWWUBYqhem3UElO_e7XYgw3R4qdEwUWvkQo2lftbcyMJrtEkjXyx_X09o99YodZZq-1-zH/s1600/Emerging-stage-4-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVO8wCLKaVGg8gsPLVwI2j-0V27GREoEZSMUYio7MogBVGtHq1Tv0Jj5WDoGZFcrFtSpcbnvcWWUBYqhem3UElO_e7XYgw3R4qdEwUWvkQo2lftbcyMJrtEkjXyx_X09o99YodZZq-1-zH/s640/Emerging-stage-4-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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Although blue and orange are contrasting (complimentary) colors, it was important to keep the values similar so that they read as a consistent shadow for my figure. By adding some simplified highlights, she emerged from the trees.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZQtzkOXZKFeZamJRrKEYJKVtLKaqvdgn21OFNeyFCDm_GonL96TtCSmGSJ0czxfcF94h7aD5zIGcI7bCtSsYqnK7M7qDUEqFwWWb6alnqwO1xvdN_KnmcWOOCw9jjNZO96s25uDC01QP/s1600/Emerging-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZQtzkOXZKFeZamJRrKEYJKVtLKaqvdgn21OFNeyFCDm_GonL96TtCSmGSJ0czxfcF94h7aD5zIGcI7bCtSsYqnK7M7qDUEqFwWWb6alnqwO1xvdN_KnmcWOOCw9jjNZO96s25uDC01QP/s640/Emerging-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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As I developed this painting, I was conscious of leaving much of the textures and energy of its early stages. It was also important to keep the values in careful relationship so that the forms were not lost.</div>
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This was as fun as it was challenging for me. I hope you enjoy it.</div>
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~ Lisa </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div>
</div></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-89349815825910478552017-12-05T14:24:00.010-07:002023-08-22T17:52:28.403-06:00Baby Aubrey -Portrait in Oil
<div><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span></div><div><span style="color: #4b618e; font-family: verdana;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjreROEDt75SZ22zZeIeThuijl-boX1pbA8ZYb6K3JIrl99jlk3aET7xt1W8DfHGNZ9i28ZmV7ZOQWISefL8vnEbQYQDnORmwS2zB1mYTeiIaL2wKPf1IqFBDkWZu06luzVu4dtZRSE0TkG/s1600/Aubrey-artist-Lisa-Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjreROEDt75SZ22zZeIeThuijl-boX1pbA8ZYb6K3JIrl99jlk3aET7xt1W8DfHGNZ9i28ZmV7ZOQWISefL8vnEbQYQDnORmwS2zB1mYTeiIaL2wKPf1IqFBDkWZu06luzVu4dtZRSE0TkG/s320/Aubrey-artist-Lisa-Larrabee.jpg" title="Aubrey oil painting artist Lisa Larrabee" width="320" /></a></div><i><span style="font-size: large;"><div><i><span style="font-size: large;"><br /></span></i></div>
Aubrey</span></i><br />
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Oil 6"x6"</div><div>artist Lisa Larrabee</div>
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My first baby portraits were of my twin boys (<a href="http://lisalarrabeeart.blogspot.com/2012/08/new-day.html" target="_blank"><span style="font-size: medium;">New Day</span></a>). The painting was small because I wanted to portray them life-size. I have since painted other tiny baby portraits and they give me such pleasure to try and capture their precious little faces. These moments pass by so quickly, it is important to take the opportunity to hold onto them.<span><a name='more'></a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMKdKo1OJL-QaiaKjU9-kqG3WvKoC0ZkEw_rQhtz9dJO-d_ly_YZmWYQihJZAwLd12u1kt6ayiKz0dJYpSXuffsOcYN932Sgq8LWnOulCtlSrhYQZZp5D3_JiBb_GAOS725-P9-mKENc0Y/s1600/Aubrey-stage-1--artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="603" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMKdKo1OJL-QaiaKjU9-kqG3WvKoC0ZkEw_rQhtz9dJO-d_ly_YZmWYQihJZAwLd12u1kt6ayiKz0dJYpSXuffsOcYN932Sgq8LWnOulCtlSrhYQZZp5D3_JiBb_GAOS725-P9-mKENc0Y/s640/Aubrey-stage-1--artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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This painting of Aubrey was a commissioned baby portrait intended to pair with a previous piece created of her big brother, Wyatt. I began by following the same process that I used for his painting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNWuKObt3Lz16pDPtCmSatzUaF8zjunxjpKCZcYOVpw2wreCvS1kmcTTw2QH4W1CFmgVT1Vh3JcKyRJS2w4lEiKVrB2Y-PSQPeo3nMZDx4QS1UrrysxL9jo5IztqxNoFPDyjV7TJDAkXv/s1600/Aubrey-stage-2-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="600" height="635" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJNWuKObt3Lz16pDPtCmSatzUaF8zjunxjpKCZcYOVpw2wreCvS1kmcTTw2QH4W1CFmgVT1Vh3JcKyRJS2w4lEiKVrB2Y-PSQPeo3nMZDx4QS1UrrysxL9jo5IztqxNoFPDyjV7TJDAkXv/s640/Aubrey-stage-2-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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After painting the light values in white on a warm background, I used transparent glazes to adjust the colors.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbU0qzVhIHjZ7kbI0HC9I3GWV8kzfhqIFK6EbRe8uBgDCRvPy6tIxZYWTPqtawZYnpAwtF32e0ojAam4xuMFWvo2Z3oq3y8NHG7VAE4rvulkwNA_BsTld3KuYq0TBXoWyDDUHsJTzWJwVk/s1600/Aubrey-stage-3-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="601" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbU0qzVhIHjZ7kbI0HC9I3GWV8kzfhqIFK6EbRe8uBgDCRvPy6tIxZYWTPqtawZYnpAwtF32e0ojAam4xuMFWvo2Z3oq3y8NHG7VAE4rvulkwNA_BsTld3KuYq0TBXoWyDDUHsJTzWJwVk/s640/Aubrey-stage-3-artist-Lisa-Larrabee.jpg" width="638" /></a></div>
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I went back and forth adding white, glazing colors and building shadows. At this point, I followed the same process as I had with my painting of Wyatt, but I felt the features looked too harsh.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ndtcMvvYdp6TKv18wzfedkZIvdrqSTmekluMjoprpVoA9oRnMF4WANYTJ5HZk4HgAPGJmyIcvMoN7T19JTMGgR1-y6nK2DmDFsoHUqpZyRnqDDdiNT8_ZN_yXpcwiOPAd7K0gzoXDR1A/s1600/Aubrey-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ndtcMvvYdp6TKv18wzfedkZIvdrqSTmekluMjoprpVoA9oRnMF4WANYTJ5HZk4HgAPGJmyIcvMoN7T19JTMGgR1-y6nK2DmDFsoHUqpZyRnqDDdiNT8_ZN_yXpcwiOPAd7K0gzoXDR1A/s640/Aubrey-artist-Lisa-Larrabee.jpg" width="640" /></a></div>
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I chose a different technique to finish her painting. Using opaque colors, I scumbled lightly over areas (shadows in particular) to soften transitions and adjust color. Stylistically the painting works with her brother's even though I shifted course. Having a wide range of techniques is helpful when you need to find a solution to a problem. </div>
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In the end, I achieve what I intended ...a happy mama.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrvLD04wVgksh9tlk11NExz5IwW2_rcdnhFWNDyqubmkDKXm4YnADXQK1qtq50TywZ0d0iGUbAjliQ0opFB947KxKh7v7LxF78qiRGDl3KnPendvi5c1m8OpVv3F0senYkyDbUaUHDu22/s1600/Wyatt+painting+stages+-artist+Lisa+Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="1177" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrvLD04wVgksh9tlk11NExz5IwW2_rcdnhFWNDyqubmkDKXm4YnADXQK1qtq50TywZ0d0iGUbAjliQ0opFB947KxKh7v7LxF78qiRGDl3KnPendvi5c1m8OpVv3F0senYkyDbUaUHDu22/s640/Wyatt+painting+stages+-artist+Lisa+Larrabee.jpg" width="640" /></a></div>
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You can view a more in depth description of my painting process with <i>Wyatt</i> <a href="http://lisalarrabeeart.blogspot.com/2012/11/baby-portrait-in-oil.html" target="_blank"><span style="font-size: large;">HERE</span></a></div>
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<div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-10354826740961478432017-12-01T22:46:00.003-07:002023-08-22T17:52:53.228-06:00Changing Perspective<p style="text-align: left;"><span style="color: #4b618e; font-family: verdana; font-size: medium;">by Lisa Larrabee</span></p><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh01Xogghtfi7YVEw-LxZLXAod7bG5kW_-j46dQK9r0g7ig2YbNM3TUUig24EuXOfDLZYtbVQDyT0w2qH5qqHjiHJbCRlSvXPKZCYqvmmHIXLJCuhKd9PJQfAEyfs7ogoZoL1t1fWu0MxIr/s1600/20171012_202543.jpg"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh01Xogghtfi7YVEw-LxZLXAod7bG5kW_-j46dQK9r0g7ig2YbNM3TUUig24EuXOfDLZYtbVQDyT0w2qH5qqHjiHJbCRlSvXPKZCYqvmmHIXLJCuhKd9PJQfAEyfs7ogoZoL1t1fWu0MxIr/s640/20171012_202543.jpg" width="424" /></a></div>
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Bull Skull study I</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fWTU2aC34xSW8oBtWsNh4bsM9qFmczDWziCt93EqGCV2NaXbYtrPIanOaxctoha2k90D1-RHs88XCwT8N2yRe6STw9TyDFuH5PlOm_onqjY2bsj0I4RVkmwrv_MKfXeeeSZJqI1RP1Ms/s1600/20171012_202428.jpg"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fWTU2aC34xSW8oBtWsNh4bsM9qFmczDWziCt93EqGCV2NaXbYtrPIanOaxctoha2k90D1-RHs88XCwT8N2yRe6STw9TyDFuH5PlOm_onqjY2bsj0I4RVkmwrv_MKfXeeeSZJqI1RP1Ms/s640/20171012_202428.jpg" width="450" /></a></div>
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Bull Skull study II</div>
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I frequently take the opportunity to draw alongside my students. It helps me practice my drawing skills as well as provide an "extended demo" that students can refer to as their drawings progress.<span><a name='more'></a></span> I first allow students to set up around the still-life and then I find a place for myself. This usually provides me with a contrasting view of the subject. In this case, I ended up with a very similar perspective. Because I work on the drawings in each class, they develop simultaneously. I found that it was very helpful to slightly shift positions. As I worked on one drawing, I would recognize measurements and relationships that we inaccurate on the other drawing, which I could then fix the following day. Considering a different perspective (even if only a little different) will give you a better understanding of the subject as a whole. This is true of both drawing and of life.</div>
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~ Lisa</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div><br /></div></div>
<div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-56028585650650588912017-10-07T23:48:00.007-06:002023-08-22T17:53:02.343-06:00When It All Comes Together
<span style="color: #4b618e; font-family: verdana;"></span><span style="color: #4b618e; font-family: verdana;">by Lisa Larrabee</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5l-aP3L5soCvVcSTyOlG27lkpoSCzKwtdn1hrQ84MfoiGMJvo7i7mmyi_8qZ9C70uxlMbJt1YDu34orYFgA8Am7dmWX-qAzsLVhabbyUegD9nfTEDpYdlvN-0Pw0fmhU3_iaQAEH3djns/s1600/to-Love-artist-Lisa-Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5l-aP3L5soCvVcSTyOlG27lkpoSCzKwtdn1hrQ84MfoiGMJvo7i7mmyi_8qZ9C70uxlMbJt1YDu34orYFgA8Am7dmWX-qAzsLVhabbyUegD9nfTEDpYdlvN-0Pw0fmhU3_iaQAEH3djns/s320/to-Love-artist-Lisa-Larrabee.jpg" width="240" /></a></div><div><i><span style="font-size: large;"><br /></span></i></div>to Love</span></i><br />
9" x 12"<br />
Oil & Cold Wax on Panel<br />
artist Lisa Larrabee<br />
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Over the years I have picked up a variety of techniques that I felt would help me visually manifest the ideas within my Figurative Landscape paintings. This summer I created paintings where multiple techniques came together in a way that felt fluid and natural. It has been a very energizing experience.<span><a name='more'></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJm6DQPUIuM54asOSvyVzX24-CouLOGJUEHC4x7OkLclmkVWpxUZ5npc8uVheyShMNNJz7C-l7-2kNjmgUXm6MqtsC8BumI8REGDGRJ2s6gY7-WFMJ6GS8Pwxr_6Ef15oDzj8rfHRajtH/s1600/toLove+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJm6DQPUIuM54asOSvyVzX24-CouLOGJUEHC4x7OkLclmkVWpxUZ5npc8uVheyShMNNJz7C-l7-2kNjmgUXm6MqtsC8BumI8REGDGRJ2s6gY7-WFMJ6GS8Pwxr_6Ef15oDzj8rfHRajtH/s640/toLove+1.jpg" width="480" /></a></div>
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<i>To Love</i> was my first painting of this series. I began with a thin cool wash in order to create vibrancy against the warmer layers of color that were to follow.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZvJJIHRgCPndUt64eVPyOBeS1pBG08_OOB9VYaQcQ1Kau4vcd9UD2MBWi1MTg-KJU7JTGe2v1LSPGOZZFPj3cX5aOKjFp9TWdMAmeo94o1nOaMOsmwfmIuyvAfh7nq1QCcqyQDlbNPi7/s1600/toLove+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXZvJJIHRgCPndUt64eVPyOBeS1pBG08_OOB9VYaQcQ1Kau4vcd9UD2MBWi1MTg-KJU7JTGe2v1LSPGOZZFPj3cX5aOKjFp9TWdMAmeo94o1nOaMOsmwfmIuyvAfh7nq1QCcqyQDlbNPi7/s640/toLove+2.jpg" width="480" /></a></div>
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I mixed oil paint with Gamblin's cold wax medium. I applied the color with a pallet knife and used a brayer roller to move the paint around and create layers and color harmony. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTaDQjZ59N7LH6Am5nOxSUg3H6VCFP-vN_2OqcvEQ0Thc28zx4zbfWETkP2eGFjs_RWJY8rxpiWihIPn1pRT2o2QN8R66r8PaxQmuUokN-CU-73GpL-w8nSewEQ2_Wa4CgtN0rm_-K4-3/s1600/toLove+3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTaDQjZ59N7LH6Am5nOxSUg3H6VCFP-vN_2OqcvEQ0Thc28zx4zbfWETkP2eGFjs_RWJY8rxpiWihIPn1pRT2o2QN8R66r8PaxQmuUokN-CU-73GpL-w8nSewEQ2_Wa4CgtN0rm_-K4-3/s640/toLove+3.jpg" width="480" /></a></div>
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Building additional texture with a pallet knife, I also scraped marks down to the original blue base.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhai5rFo3q2o_f57l1d1t3tVnFhTkq5kOZBFtqoejgKU-QVIvGKe8djf2a9DipA9ofKZs8VqYXKZYh7mrSHnEPrvh7fTDPBnhE-ucgmhA6jYgvvLae8lzNC9KpInBXtsywoYU0eRc36r8TY/s1600/toLove+4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhai5rFo3q2o_f57l1d1t3tVnFhTkq5kOZBFtqoejgKU-QVIvGKe8djf2a9DipA9ofKZs8VqYXKZYh7mrSHnEPrvh7fTDPBnhE-ucgmhA6jYgvvLae8lzNC9KpInBXtsywoYU0eRc36r8TY/s640/toLove+4.jpg" width="480" /></a></div>
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I used an oil transfer technique and experimented with applying color deliberately to certain areas of the drawing (instead of one color overall).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Hp1R9zeD4i0YuYPzyXkK-SlVG5kow00vIt_-JrHL_pF_8-kYz43C0nEr31HeA0BneOebhiMdQDM_Ud9SFESdwKkLPivpF25GDa1yPIxBwMOk-zTg6GIFDEOiiqOXBhTfg9J2cyVpTpad/s1600/toLove+5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Hp1R9zeD4i0YuYPzyXkK-SlVG5kow00vIt_-JrHL_pF_8-kYz43C0nEr31HeA0BneOebhiMdQDM_Ud9SFESdwKkLPivpF25GDa1yPIxBwMOk-zTg6GIFDEOiiqOXBhTfg9J2cyVpTpad/s640/toLove+5.jpg" width="480" /></a></div>
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Thinning transparent paint with Gamblin's Galkyd, I blocked in the major shadow shapes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZC0kU2YwmYApTs8MAMk2dFiFX8JGk0ymwRtK51QdVSU-yregoIvcmqepFixj-vsFz4yipjhsIUiWpSQKBS7vOb3LjSlNQGAKCc_-pKdR2KliJLIqAmCmjFEuHbAgwV5IUnSI7Dmgb_jw-/s1600/to-Love-artist-Lisa-Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZC0kU2YwmYApTs8MAMk2dFiFX8JGk0ymwRtK51QdVSU-yregoIvcmqepFixj-vsFz4yipjhsIUiWpSQKBS7vOb3LjSlNQGAKCc_-pKdR2KliJLIqAmCmjFEuHbAgwV5IUnSI7Dmgb_jw-/s640/to-Love-artist-Lisa-Larrabee.jpg" width="480" /></a></div>
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I softened again with my brayer and then painted the highlighted areas directly.</div>
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This was the first of several paintings in this series. Each piece created a different challenge and required a different solution. I found that my previous experiences with a variety of techniques provided me with the solutions that I needed. It is an important reminder to always keep learning new skills because you never know when they may all come together.</div>
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~ Lisa</div>
<div class="separator" style="clear: both; text-align: center;"><br /></div><div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-92061954198995197262017-01-17T20:06:00.006-07:002023-08-22T17:53:11.891-06:00Drawing General to Specific: Graphite vs Charcoal
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<span style="color: #4b618e; font-family: verdana; font-size: large;">by Lisa Larrabee</span></div><div><span style="color: #4b618e; font-family: verdana; font-size: large;"><br /></span></div>
<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtFXHM3i69SAXEXHmn-gAykWby7Y709QqP6j7oQJwemSUe6JQezXFSGoyFhHT1dUFPVxjamOjUcqB9nlNs8oX3KP8oHJzDb78H9Viyl2E4sGdHoEUluerNHeIGHArrWVcjzeEp95JSbqD9O2k7lqtNoN3NGKU8vWAs8FLi8lvt4d_gC6fBZYkBF33SA/s640/Shoes%20IV%20-artist%20Lisa%20Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="473" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtFXHM3i69SAXEXHmn-gAykWby7Y709QqP6j7oQJwemSUe6JQezXFSGoyFhHT1dUFPVxjamOjUcqB9nlNs8oX3KP8oHJzDb78H9Viyl2E4sGdHoEUluerNHeIGHArrWVcjzeEp95JSbqD9O2k7lqtNoN3NGKU8vWAs8FLi8lvt4d_gC6fBZYkBF33SA/s320/Shoes%20IV%20-artist%20Lisa%20Larrabee.jpg" width="237" /></a></div><div><br /></div>These are stages of a still life drawing that I did in graphite (pencil). To begin, I lightly toned the entire drawing surface (white paper) with graphite. Once basic shape relationships were in place I erased out the light shapes. I built values using subtle hatch marks without blending.<span><a name='more'></a></span><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuY-RBNkyqXyMGDLaGbDedl_Yjv5MOBgIzq38xzcy_RTQYMJFF5YuhdbHxbVxxQlwqqsBDbhik_fnQqn1b1x-zSDaeEbQghu0Tu6A3H6AAcE4hPsDTIwhxBjDUP_J5fXeiul7gmaf9PKiyxwTHC9kN1LoeBP17vRNuV-hmrhyMio7weQv-4CLkV3zJQ/s640/Shoes%20I%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="473" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuY-RBNkyqXyMGDLaGbDedl_Yjv5MOBgIzq38xzcy_RTQYMJFF5YuhdbHxbVxxQlwqqsBDbhik_fnQqn1b1x-zSDaeEbQghu0Tu6A3H6AAcE4hPsDTIwhxBjDUP_J5fXeiul7gmaf9PKiyxwTHC9kN1LoeBP17vRNuV-hmrhyMio7weQv-4CLkV3zJQ/w474-h640/Shoes%20I%20-artist%20Lisa%20Larrabee.jpg" width="474" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2K7RtJBWLm6PD9FuMdhuJKEnWEXlnHBXDIhe9PF3lUlQatLYBc-Ljq8iY4ZukbBdT1iiXft_pV1ZdjGIiLI9BiOmGoGjNamxzhUVFMMdwya8Rb6UokJWEJgwQu6BWaXltQaK7mgk1RbDyDrMr9hXirPxKb1zZGlv9t1NSMkklLADbS24Izor27amL9g/s640/Shoes%20II%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="473" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2K7RtJBWLm6PD9FuMdhuJKEnWEXlnHBXDIhe9PF3lUlQatLYBc-Ljq8iY4ZukbBdT1iiXft_pV1ZdjGIiLI9BiOmGoGjNamxzhUVFMMdwya8Rb6UokJWEJgwQu6BWaXltQaK7mgk1RbDyDrMr9hXirPxKb1zZGlv9t1NSMkklLADbS24Izor27amL9g/w474-h640/Shoes%20II%20-artist%20Lisa%20Larrabee.jpg" width="474" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWJoEcTqOh1gpXk7Ww5cgtjblwf54mM8i3zTckbDW02byXAvKh8OSqSPd4JdVWI3Ltyy-1JZzfg9IIALijCLCcjBJw-UobINeoQ-Sqe-XC5o-K-ln4lrEW0LdP6O13R7AtUypEBcRQuZaKWBIys1N2y2ncgjJnrshFDja_iuUnfOrbKpACUzXms4hJ_g/s640/Shoes%20III%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="473" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWJoEcTqOh1gpXk7Ww5cgtjblwf54mM8i3zTckbDW02byXAvKh8OSqSPd4JdVWI3Ltyy-1JZzfg9IIALijCLCcjBJw-UobINeoQ-Sqe-XC5o-K-ln4lrEW0LdP6O13R7AtUypEBcRQuZaKWBIys1N2y2ncgjJnrshFDja_iuUnfOrbKpACUzXms4hJ_g/w474-h640/Shoes%20III%20-artist%20Lisa%20Larrabee.jpg" width="474" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZNFq2CYrhE5TmYQqvjarnXTFsmvePaa93lvqKfb8K50JDAZtDq61G1K44I76SbMoMmX2bdjT54Ux6xysDKMFoLVfNavek_icplVN0HC9R_T9NoXqwHVqTNOXibJ0YzXJGKfNl93Nqm0hRdIZIL5v200wmFneL-3wSGxO8CqBxbZtlj0lAZTPL86XEQ/s640/Shoes%20IV%20-artist%20Lisa%20Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="473" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZNFq2CYrhE5TmYQqvjarnXTFsmvePaa93lvqKfb8K50JDAZtDq61G1K44I76SbMoMmX2bdjT54Ux6xysDKMFoLVfNavek_icplVN0HC9R_T9NoXqwHVqTNOXibJ0YzXJGKfNl93Nqm0hRdIZIL5v200wmFneL-3wSGxO8CqBxbZtlj0lAZTPL86XEQ/w474-h640/Shoes%20IV%20-artist%20Lisa%20Larrabee.jpg" width="474" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div>
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This next drawing is of a similar still life using the other halves of each pair. </div>
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The drawing was developed in charcoal and white chalk pencil on gray paper.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzevHlfNBwKbIcoy-971rvDtOjmPPPKka4eEpD2Kb_mxZD8kPZCQoYnPZ0CPS6RHLkazncrngqQQzCGZsVUdoyE91Y1UVx6himdb81LVou4j8V_jzdjSRAurVNTWjKDh-Ktm0M-Rqow57U/s1600/Shoes+2+I+-artist+Lisa+Larrabee.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzevHlfNBwKbIcoy-971rvDtOjmPPPKka4eEpD2Kb_mxZD8kPZCQoYnPZ0CPS6RHLkazncrngqQQzCGZsVUdoyE91Y1UVx6himdb81LVou4j8V_jzdjSRAurVNTWjKDh-Ktm0M-Rqow57U/s640/Shoes+2+I+-artist+Lisa+Larrabee.jpg" width="438" /></a></div>
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It is often less about what you draw than what you observe and share through the process of drawing.<br />
~ Lisa</div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />
<div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div></div><div style="text-align: center;"><br /></div><div><br /></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-73342914939128134102017-01-11T22:20:00.005-07:002023-08-22T17:53:22.451-06:00Draw What You See General to Specific<div style="text-align: left;"><span style="color: #4b618e; font-family: verdana;"><span style="font-size: medium;">by Lisa Larrabee</span></span></div><div><span style="color: #4b618e; font-family: verdana; font-size: x-large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiil7NaP6Ar8s-EPQr_5lcEZKUhO8ePoFIJTYZHFmberYglSiJFP80TDdmKzEcEdSty6nnVn1AGTH18dhzHAby7UKZDY0FBaRJ1Nt8WowjjOv28VeKOtogq-ZwPTo3jxr8I27a2KiLUym0w/s1600/Still+life+-artist+Lisa+Larrabee.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiil7NaP6Ar8s-EPQr_5lcEZKUhO8ePoFIJTYZHFmberYglSiJFP80TDdmKzEcEdSty6nnVn1AGTH18dhzHAby7UKZDY0FBaRJ1Nt8WowjjOv28VeKOtogq-ZwPTo3jxr8I27a2KiLUym0w/w426-h640/Still+life+-artist+Lisa+Larrabee.jpg" width="426" /></a></div></div>It is easy to say that you should draw what you see when your goal is to draw with accuracy. However, it takes practice to truly observe the shapes, values and relationships as they are and not how we perceive them to be.<span><a name='more'></a></span> <br />
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During classes, I like to set up my easel and draw alongside my students. This allows me to demonstrate how to build a drawing from start to finish beginning with general shapes, values and relationships. Also, it's much more fun (and effective) than hovering.<br />
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This drawing is one from two semesters ago. The following stages will show two drawings of a similar still life arrangement from two different perspectives.<br />
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The medium is charcoal and a white chalk pencil on mid-toned gray paper. <br />
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Draw from life and use a strong light source to create clear shapes. Keep checking your shapes, values, angles and relationships as you go. Drawing is a process. Take your time and enjoy it!<br />
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~ Lisa<br />
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<br /><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-83556316425185725952016-02-19T20:59:00.007-07:002023-08-22T18:08:46.500-06:00Paint Fearlessly! Exploring Cold Wax Medium<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #4b618e; font-family: verdana; font-size: large;">by Lisa Larrabee</span><div><span style="color: #4b618e; font-family: verdana; font-size: medium;"><br /></span>
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<i><span style="font-size: large;">Longing</span></i><br />
Oil & Cold Wax <div>12" x 16"<br />
artist Lisa Larrabee<br />
<br /><div style="text-align: left;">I always try to challenge myself with each new painting. Still, there is always the thought at the back of my mind that reminds me that I don't want to screw it up. I decided that I needed to create a painting where I could play and try out ideas with without the fear of failing. I picked up an old painting demo that I wasn't attached to and jumped in.<span></span></div><br />
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<br /><div style="text-align: justify;">The purpose of this demo was to block in the values in simple basic shapes. I loved the light on the portrait, but I had no plan to develop the painting. It was the perfect piece to play with.<span><a name='more'></a></span></div>
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<br /><div style="text-align: justify;">I borrowed some color inspiration from Monet and began massing in colors -some with a brush and some with a pallet knife. Because the previous layer was dry, I had no fear of losing the form. When I covered too much, I wiped or scraped paint off to reveal the basic shapes underneath.</div>
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<br /><div style="text-align: justify;">At this stage, I was really happy with how loose and bold it felt. I stopped because I was afraid that I would get tighter and fussier if I kept working on it. I set it aside so that I could consider what, if anything, I wanted to do to it.</div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">I have found a lot of inspiration lately in abstracted paintings. I am drawn to pieces with textures and rich layered colors that begin to feel like atmospheric landscapes. I noticed that many of the paintings are encaustic paintings or use a cold wax medium. I don't like the fumes from the encaustic process, so I decided to experiment with Gamblin cold wax medium. At first, I was worried that I would ruin the painting I had started, but I then I reminded myself that I created this piece to be fearless and take some risks.</div>
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<br /><div style="text-align: justify;">The cold wax is an interesting medium. The texture is a thick paste, but it was easy to mix into the paint on my pallet. I was careful not to mix more than 50/50 wax to paint. I applied the mixture with both a pallet knife and brush. I was able to skim across the surface and create textures unlike any I have created with paint alone or mixed with a gel-like medium. The paint had a matte, cloudy translucency that I was able to scrape, push and blend. I was able to create the soft hazy color transitions that I love while also building up an interesting surface. I really enjoyed working with the cold wax medium and I have continued to experiment with it.</div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">I had a wonderful experience and I would like to offer some advice. Try something new and don't be afraid to fail spectacularly. Take risks and be fearless with your art. It's fun. It's freeing. You can learn more with one risky failure than a dozen or more safe pieces. In the end, it's just paint. You can paint over it, but what you learn will stay with you. Good luck!</div>
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~ Lisa</div></div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.comtag:blogger.com,1999:blog-5021155033804746469.post-34067537706843066862015-10-10T23:10:00.006-06:002023-08-22T17:56:23.487-06:00Paint with Realism and Expression
<i><span style="font-size: large;"><div><span style="color: #4b618e; font-family: verdana; font-size: large; font-style: normal;">by Lisa Larrabee</span></div><div><span style="color: #4b618e; font-family: verdana; font-size: large; font-style: normal;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;">
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Oil 18"x 24"<br />
artist Lisa Larrabee<br />
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It has been a constant challenge for me to paint with... <i>paint</i>. I would load up my brush with paint, lay it down on the surface with bold intention and then eventually smear it around until it was smooth and blended. <div><br /></div><div><br /></div><div>This past summer, I took a workshop with an incredible artist, Henry Yan. He told me my palette was <i>starving</i>. I added more paint. Would you believe that more paint on your pallet can translate to more paint on your painting? It sounds too simple.<span><a name='more'></a></span><div>
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I started this painting very loose. The paint is thin, but the application is expressive. I realized immediately that I had to slow down and concentrate to make the shapes of the tree accurate. I began building the branches in relationship to each other, paying careful attention to the spaces and shapes between the branches. I pre-mixed a range of colors within the tree so that I could easily adjust the color as I moved from branch to branch.<br />
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With the tree blocked in, I began painting with thicker paint in the background. Each brushstroke required loading more paint onto the brush. Loading each brushstroke is really important if you don't want to blend it smooth. I have discovered that I love using Rosemary & Co long handle chunking egbert brushes. They are stiff long-haired brushes that allow me to lay down thick impasto paint.<br />
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I am not a master of wielding thick paint, but I have made progress using more expressive brushwork while maintaining a sense of realism. There is so much still to learn! It makes each painting an adventure.<br />
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~ Lisa</div></div><div style="text-align: center;"><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!pf198537" target="_blank">Available Artwork</a><br /></b><span style="color: #4b618e;"><b><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86404" target="_blank">Portrait Commissions</a><br /></b></span><b style="color: #4b618e;"><a href="https://larrabeeart.com/Artist.asp?ArtistID=50224&Akey=F7BDN7T5&ajx=1#!asset86405" target="_blank">Art Classes & Private Lessons</a></b></div><div class="blogger-post-footer">(c) Larrabee Art</div>Lisa Larrabeehttp://www.blogger.com/profile/09063402899456659194noreply@blogger.com