This link has been bookmarked by 4 people . It was first bookmarked on 30 Mar 2008, by Jonathan Milburn.
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19 Dec 15
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30 Mar 08
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traditional paintings cannot escape implying a light source and showing how objects appear under that source
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Most traditional paintings display a greater tonal range, and the common advice (certainly in direct painting, to which most the suggestions below apply) is to quickly set the range by laying in the lightest and darkest of tones at the very outset of painting.
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Add touches of color to where shadow meets light.
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Put highlights in as light a tone as you can from the very first.
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Darks get lighter as they go further back.
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Darkest shadow is closest to light.
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Highlights on cold areas are warm, and vice-versa.
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Use white or Naples yellow to lighten yellows, oranges and reds.
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Reserve most intense colors to areas in light
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Decide on one or two dominant colors: de-intensify others.
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Transitional colors should be murky and not noticeable.
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Make blacks darker by adding warm colors Make them lighter with cobalt blue or raw umber. Make them opaque with earth colors and translucent with cadmiums.
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Good shadows for whites are prepared by mixing black, cadmium yellow and white.
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1. The Artists's Handbook of Materials and Techniques by Ralph Mayer. 5th Edition. Viking Press. 1991.
2. The Materials of the Artist and their Use in Painting by Max Doerner. Harvest Books. 1984
3. The Artist's Methods and Materials. M. Bazzi. John Murray. 1960.
4. Methods and Materials of the Painting of the Great Schools and their Masters: Two Volumes Bound as One by Sir Charles Lock Eastlake. Dover Publications 2002. Reprint of classic 1847 text.
5. The Practice of Oil Painting and Drawing by S.J. Solomon. Seeley. 1910.
6. The Technique of Oil Painting by L. Richmond. Pitman. 1952.
7. Oil Painting Secrets from a Master by Linda Cateura: Watson Guptill. 1984.
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