Integration, Part 2: Color

Integration, Part 2: Color by Michael Newberry

Newberry, Counterpose demo

Newberry, Counterpose, 1990, oil on linen, 36×42″
In the tutorial, Integration of Light, I mentioned that the theme of Counterpose is about a harmony of contrast. I showed how I painted extreme contrasts in light and dark. In this tutorial, I am showing how, keeping to the theme of contrast, I painted extremes of color contrasts.

The main color theme is about the contrast of her hot red hair and warm colors of her body with the cool blues of the futon cover.

Newberry, Counterpose demo

Perhaps more important than that, and perhaps much more subtle is the color contrast between the objects in the light and the objects in shadow.

The set up started with a yellowish-orange incandescent light bulb, which gave the objects yellowish highlights.
Here, in the areas circled with blue, I am showing the violet and blue-violet shadows on her body. Her foot is shaped with light and dark violets, yet her foot is essentially bathed in shadow; it is not touched by the direct yellow light.

Newberry, Counterpose demo

The contrast between violet shadows and yellow highlights is one of the most radical color contrasts possible. And yet, I believe, I have given them a natural-looking, harmonious glow.

To understand how color contrast works, a color wheel is indispensable. It is out of the scope of this tutorial to discuss how a color wheel is based upon natural visual phenomena; for the moment trust me on that.

Newberry, Counterpose demo colorwheel

The classic contrasts are red and green, blue and orange, and yellow and violet. One reason they are considered opposites is that when you mix them you get a non-color; something neither gray nor brown.

When you juxtapose contrasting colors they serve a bit like contrasting black and white, you get an intense burst of color vibration. If you put violet next to yellow, it pops and excites the eye.

Here I outlined a few of the highlights on the blue fabric. These highlights have a slight greenish tint to them because of the yellow light. If you add yellow light to blue cloth you get green.

Newberry, Counterpose
As we get further away from the direct yellow light that is smacking green at the front the futon, the blue of the futon merges progressively with the violet color.

Newberry, Counterpose demo
Whether it is a high contrast of color in the light, or the color contrast of flesh, cloth, background, and hair in this painting, you will find an endless kaleidoscope of pure color contrasts: blue vs. orange, yellow vs. violet, and red vs. green.

Newberry, Counterpose demo

As simple as Counterpose may look, it’s a very complex painting with many variations on the theme of a harmony of contrasts.

Next in the series on integration I will be discussing how her pose embellishes the theme.

Michael Newberry
New York, September 17th, 2006

Seek the Big Form: Study Sculpture

Seek the Big Form: Study Sculpture by Michael Newberry

Figurative sculptors spend most of their time focused on the best way to present the figure. For painters, there is a lot to learn from how sculptors often bring out the big abstract form of the figure.

Seeing one perspective offered by the photo of the sculpture will serve our purpose. Our goal is to look for the abstract shape of the body.

When working with a model, it is always good for painters to shift your position so that you can find the best view that accents the big form.

Madonna

This is Peter Schipperheyn’s Madonna. In this view, we can see three abstract mountain peaks. There is much going on in this sculpture, her expression and facial details, the detailed hands, and the folds of the material.

Because Peter kept to this rhythm of the three peaks, we do not feel overwhelmed by too much information. The abstract shapes work like major landmarks in a landscape; as long as they are in view you know where you are.

I don’t know if Schipperheyn as done this on purpose, but there are the symbolic connotations of the peaks representing earth and they pointing towards the heavens. Great touch.

Madonna1

This is Schipperheyn’s monumental Zarathustra. The green overlay shows the accent on the arched back and the forearms echoing the back’s arch.

Monumental sculpture Zarathustra by Peter Schipperheyn

Figurative sculpture by Martine Vaugel

This is Martine Vaugel’s Portrait of the Artist as a Young Goat.

From this angle, the abstract view is an uneven triangle.

For painter’s we run into the problem of foreshortening. For example if we were facing this female model straight on, it would be harder to find the abstract shape.

I think it is wise for a painter to look for the view that expresses the pose the best. Often the silhouetted view does this.

Martine is also making a visual metaphor by abstracting the shape of a goat standing on a rock.

Look what happens when I shrink this image down almost to nothing, we can still clearly (well I can), the shape of the image.

If you can imbue your painted figure with a good abstract shape your image will register well from any distance.

Woman Holding Desire by Martine Vaugel

Another Vaugel sculpture, Women Holding Desire (this is the bottom section of the entire sculpture.)

Here we can see that the shape of the upper torso parallels her left thigh, and the pelvis connects them with a perpendicular thrust. From this view, we have a slashing “S” shape.

Desire in the Absence of Reason by Martine Vaugel

Desire in the Absence of Reason by Vaugel.

I think this is a wild piece. We have a straight on frontal view, but because the woman’s arms and legs are thrown outwards we get a big “X” shape.

I wonder if that “X” also is symbolic that desire without reason is something to delete off your list.

Icarus Landing by Michael Newberry

The cross shape in Icarus Landing is one of the most simple that exist. In the preliminary stages, I had thought to change the perspective, and look at him from the side, but I rejected that because I wanted this image to be iconic–which is driven home by the explicit cross shape.

Icarus registers quite well small.

icarussm

Venus is a companion piece to the Icarus above. And I had a similar idea of the cross, but her’s is more curvaceous.

So before you sit down to draw a model seek the biggest and simplest abstract form of their body. I think you will be pleased by the results.

Venus by Michael Newberry

I hope you enjoyed seeing sculpted shapes in a fresh way.

Michael Newberry
New York, April 29, 2008