Friday, 7 January 2011

Drawing shadow areas from reference photographs


As I explained in an earlier article (see Working from photographs), details in photograph get lost in shadow areas. I have this issue when I print my reference photographs with my home printer on a sheet of A4 photo paper.



One way I found that helps with seeing details in the shadow areas consists in manipulating the photograph in Photoshop Element. I am using Adobe Photoshop Element 6.
If you want to invest in a good photo manipulation program, which remains easy to use and still has many features, go for the last version of this software which is currently Adobe Photoshop Elements 8 (PC DVD). There is also a version for Mac: Adobe Photoshop Elements 8 (Mac).


After I opened the photograph in Photoshop Element, I selected from the menu Filter/Sketch/Photocopy. The result was a negative black and white photograph.




I then had to invert the photograph to get the positive view: Filter/Adjustments/Invert. The result looked a little bit pale, so I decided to give it more contrast.

I applied Filter/Adjustment lighting/Brightness-Contrast. Using the cursor, I lowered the brightness to minus 88 (- 88) and boosted the contrast to 35 (+ 35).








Related articles

10 ways a painter can use digital photography 



Wednesday, 5 January 2011

The influence of language on paintings

Lera Boroditsky, assistant professor department of psychology at Stanford University, has conducted a number of studies on the influence of language on how we perceive the world. She noted in particular how linguistic differences between different languages influences the way we see and the way artists paint.


For instance, “Russian speakers, who make an extra distinction between light and dark blues in their language, are better able to visually discriminate shades of blue.” (Wall Street Journal article: Lost in Translation)


Language is of particular influence with non concrete words and concepts and how we visualize them.



Knight, Death and the Devil by Albrecht Dürer 1513. Engraving. 24,6 × 18,9 cm. Rotterdam, Museum Boijmans van Beuningen [Public domain], via Wikimedia Commons

“In fact, you don't even need to go into the lab to see these effects of language; you can see them with your own eyes in an art gallery. Look at some famous examples of personification in art — the ways in which abstract entities such as death, sin, victory, or time are given human form. How does an artist decide whether death, say, or time should be painted as a man or a woman? It turns out that in 85 percent of such personifications, whether a male or female figure is chosen is predicted by the grammatical gender of the word in the artist's native language. So, for example, German painters are more likely to paint death as a man, whereas Russian painters are more likely to paint death as a woman.” (How does our language shape the way we think? [6.12.09] By Lera Boroditsky)


Further readings

Lera Boroditsky’s website with a selection of her papers and articles. She has a refreshing sense of humour (scroll over her picture and you will understand what I mean)



Monday, 3 January 2011

Free art books for your Kindle

At Christmas, I was the lucky recipient of a Kindle, the electronic book reader from Amazon. I am still playing around with it and I will tell you later what I think about it. I am going to share with you some great art writings I found on the web. Even if you don’t own a Kindle (or another eBook reader), keep reading as you can read these titles on your computer.



The first impression of the Kindle is that it does one thing very well: letting you read books without the distraction of multiple other applications. The obvious limitation is that the screen is black & white, which is not so good for reproductions of paintings.

In an earlier post, Art writings online for free, I already gave some links to writings by John Ruskin, Leonardo da Vinci, James McNeill Whistler and Sir Joshua Reynolds.

Below are more free books to consider:


Paul Gauguin

Noa Noa (English Translation)




Wassily Kandinsky

Concerning the Spiritual in Art


John Ruskin

The Elements of Drawing - In Three Letters to Beginners


Giorgio Vasari (1511-1574)

Lives of the Most Eminent Painters Sculptors and Architects (several volumes)


Related resources



  • For US readers, 3G Kindle on Amazon.com (affiliate link)


Kindle 3G Wireless Reading Device, Free 3G + Wi-Fi, 3G Works Globally, Graphite, 6" Display with New E Ink Pearl Technology


  • For UK readers,  3G Kindle on Amazon.co.uk (Affiliate link)


Kindle 3G Wireless Reading Device, Free 3G + Wi-Fi, 3G Works Globally, Graphite, 6" Display with New E Ink Pearl Technology




Thursday, 30 December 2010

6 ways your image manipulation software can help you judge your work

By the time we have finished a painting, we spent so much time looking at it that it becomes difficult to judge it.

You need to put some distance between you and your work. One way to do this consists in taking a photograph of the work. Picasso once told Brassaï: "It’s strange indeed, but it is through your photographs that I can judge my sculptures… Through them I can see my sculptures with a new eye..."

Image manipulation software like Photoshop Element Adobe Photoshop Elements 9 (PC/Mac) or GIMP (a free open source alternative) let you do much more.

1. Watch the photograph of your painting as a thumbnail. This is the equivalent to stepping back from your painting. The minute details disappear and you can check the overall composition.



2. Flip the image horizontally. This is like looking at your painting into a mirror. If the vertical elements have a slant, you will see it immediately.



  
3. Make a black and white copy of the photograph of your work. This way you can check values. If you took a reference photograph of your subject, you can also turn it into a black and white photograph in order to compare the value range on both photographs.



4. Convert your picture to pure black and white. Turn the black and white photograph of your painting into a notan by pushing the contrast. In Photoshop, use the “Threshold” filter in the Image/Adjustments menu. Mid-tones disappear and you are left with pure light (in white) and pure dark (in black). This way you can judge the balance between large planes of light and dark areas. This contrast dictates how well the painting will stand when looked at from a distance.



  
5. Frame your work. Adding a frame to your work changes the way it looks. It is easy to add a “virtual frame” to your painting. The first way to do this in Photoshop is just to create a rectangle slightly larger than your work and to put the cropped photograph of your work on top of it. Then try different colour (black, brown, gold, etc.) for the rectangle so that it complements or contrasts with the painting. You could also photograph one of the real frames in your stock, extract the frame from the picture and copy it onto a transparent background, so that you can put it on top of the photographs of your paintings.

  
6. Hang your work amongst masterpieces. A painting may look good on its own and look different when surrounded by other paintings in an exhibition. You can create a virtual gallery of paintings you like with an empty space left to hang your own painting. Wikimedia Commons will give you a choice of images of works by past masters to copy into your virtual gallery.


Related articles





Monday, 27 December 2010

Moebius Transe Forme exhibition (Paris – France)



The Fondation Cartier in Paris (France) exhibits Moebius work until March 13, 2011. The theme of the exhibition is transformation or metamorphosis. The artist’s science fiction work, in particular, shows morphing worlds where characters dissolve into their universe.




There is a long tradition of “bande dessinée” (comic strips) in France with a multitude of authors. Jean Giraud is a prolific author and uses various styles. Under the name or Gir (Short for “Giraud”), he created with Jean-Michel Charlier the series Blueberry, the story of a cowboy in the Wild West.



He also developed some science fiction stories under the alias Mœbius. He took this alias after the famous Moebius strip and explained: “Going from Giraud to Moebius, I warped the strip, changed dimension. I was the same and I was different. Moebius is the result of my duality.” this strange one sided volume. These science fiction comic strips have a surrealist touch. The artist uses his exuberant imagination to create poetic and strange parallel universes. He published Arzach in1976 and Le Garage hermétique in 1979. In 1980, he collaborated with Alexandro Jodorowsky on a new series titled L’Incal.

Giraud also collaborated on a number of movies, like Alien, Tron or Besson’s “The Fifth Element”, for which he created the Diva character.

The exhibition features many original ink drawings from Blueberry as well as science fiction works, in black and white and colour. A master of the line drawing, Giraud’s technique is reminiscent of Albrecht Dürer. Some of the paintings in ink or acrylic have a luminescent quality, with a great attention to details.

Visitors will also watch “La planète Encore”, an eight minutes animation 3D movie co-created by Geoffrey Niquet and Moebius, and travel even further inside the artist’s unique world.


Discovering Moebius
Practical information



Moebius Transe Forme
12 October 2010 to 13 March 2011
Fondation Cartier
261 Boulevard Raspail
75014 Paris, France