Direct warm light and incandescent light are not so helpful as northern daylight, which is counterproductive in blending colors. Under warm light, colors appear warmer when they get brighter and colder when they get darker. So the challenge of downtuning in warm light is: how to lighten the color without cooling it. Cold colors like white can't be used. Of course, it can also be brightened by other ways, but the color must be discounted here. A common approach is not to paint according to the color, but to paint the effect of the color relationship on the object. A common way to achieve these effects is to exaggerate the coolness of the dark or adjacent colors, so that the light appears warmer. There are a few other tips, but this book focuses on painting in the daylight of the north, so I won't cover them.
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Diffuse light
The diffuse light coming in through a skylight is completely different from direct daylight. It doesn't create a strong shadow. It makes colors appear warmer and softer as they lighten and darken. Because diffuse light makes dark colors appear warmer when they become darker, it tends to narrow the contrast between light and dark (color). On a sunny day, the bright diffuse light coming through the skylight can form color relationships that are not present in direct daylight.
Artificial light
As a student, artificial light was my only source of paint. Artificial light, like direct sunlight, is also warm, making it difficult to mix colors. To make matters worse, the painting room used fluorescent lights, while the models were completely immersed in the incandescent light of the spotlights. Fortunately, my teacher, the late William H. Mossby, knew this well and guided me through the maze of color theory until I learned that I could paint under a flash if I had to (as I once did while camping in New Mexico!). But when I first experienced northern daylight, I gave up artificial light altogether, except for monochrome paintings, which do not involve color.
easel
Indoor easels should have strong, will not warp, can be moved at will and other conditions. But good easels are expensive. A combination easel can cost $0- $350. My easel is made out of a few 24-foot ankle moulds worth a dollar that can hold a canvas 9 feet high, tilt 40 degrees back and forth, and have wheels that can be moved or held in one position.
Optical assist
Somehow there is still a popular saying that the use of mechanical or optical AIDS in painting is a kind of fraud, as if art is also like wrestling, which requires obeying the rules of the court and having an honest style of play. The use of photography in painting is particularly criticized by some die-hards and laymen. I believe, however, that since the completion of linear remote viewing in the fifteenth century, there has been no technological innovation sufficient to have a profound effect on art, except the development of photography as an instrument of use.
Painters are born eager to find new ways of looking. The Dutch masters generally experimented and applied any new methods that might help to improve technology, and the value of optics has been recognized since ancient times. Many optical devices were used at the beginning of the Renaissance. Leonardo Da Vinci understood the laws of optics; One of his valuable legacies is the pioneering darkroom (mirror) that developed modern photography (Note 1). Authorities on Vermeer, such as Hans Koeningspauger, author of The World of Vermeer, believe that he and several contemporary painters used the bewildering image of such a camera obscura to remarkable effect in light and tinting, thus characterizing their work.
What worked for Da Vinci and the Dutch masters, will certainly work for me at least until I find something better. I use photography when I draw the human body, mainly as a substitute for sketching. Photography is more accurate. Modern photographic technology has inspired a new realm to be reached by the naked eye. Very moving objects, short lighting effects, good angles of capture, difficult poses are all easily solved by the camera. Every time I start to paint the human body, I also take some pictures for reference and to help the model recover the original pose after a break. Before the use of photography, the model must have a high degree of endurance, the artist also had to resort to a lot of suspenders, pillars, etc., to help the model maintain difficult poses, so as not to be too tired. Think of the endurance of the models who pose as martyrs, Greek gods, flying angels and stormtroopers!
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