tag:blogger.com,1999:blog-75804305270716981032024-03-13T15:52:39.665-07:00Douglas Flynt Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-7580430527071698103.post-50466842996252832422014-10-19T12:39:00.000-07:002014-10-19T12:39:19.999-07:003 New Workshops in 2015<div class="MsoNormal">
I wanted to let everyone know I’ve got 3 new workshops added
for 2015 that I’ll be teaching. <o:p></o:p></div>
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Two are back-to-back still life painting and portrait
painting workshops in my hometown of Fort Myers, Florida during the month of
March, both 10 days each so we can really get in lots of practice and cover lots
of material. It's some of the best
weather here in Southwest Florida-sunny and warm, but not too hot! <o:p></o:p></div>
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If you can join me for one, great! If you can get away long enough to come to
both, spending the whole month, even better!
It's a relaxed environment but we still get serious about drawing,
painting and oh yes...color!<o:p></o:p></div>
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Later in the summer, during August, I will be teaching a 5
day still life painting workshop in Austin, Texas. Even though it is only half
the length of my other workshops, rest assured that I'm going to pack in as
much information as I can! The perfect
opportunity for those who can't get away for my longer workshops.<o:p></o:p></div>
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If you want to learn more about any of these workshops
please visit the teaching section of my website by clicking on the image below: <o:p></o:p></div>
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<a href="http://www.douglasflynt.com/teaching.html" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS9l2PuviQwVit-PaNFvmINyGAHwi_GayelXw4msaTiP1XbAOPojHLr2saVpwN0SrR4VAkt8UR_7bX33Ta_8zRD6ewdBXnF97aF1bxLaLqjPphnZD3U-sv6vhniVpmwWsbjZThqp3Er8me/s1600/workshop_ad_2015.png" height="236" width="320" /></a></div>
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If you can participate in one (or more) of the workshops I
look forward to working with you! If you're not able to make one of these this
time around hopefully there will be one in the future that will work better for
you. <o:p></o:p></div>
Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-78055383430990258402014-06-27T14:01:00.000-07:002014-06-29T17:16:56.393-07:00Get More Confident With Color: Upcoming Evening “Light and Color” Session<div style="text-align: center;">
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<b>Evening “Light and Color” Session</b></div>
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<b>Grand Central Academy
of Art, Monday, July 14, 2014.</b></div>
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<b><a href="http://grandcentralatelier.org/workshops.php?sid=3" target="_blank">(To register or to learn more information please "click here.")</a></b></div>
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<span style="font-size: 12pt;">Very often color is a mysterious area
for many artists, leaving them questioning not only the colors they observe but
also how to consistently mix up those colors! I know early on I had these
same concerns and it took me many years to gain a color framework that took
these mysteries away.</span><br />
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<span style="font-size: 12pt;">During each of my workshops I offer a
lecture/discussion centered on color – establishing a common framework for all
the participants to make use of during the remainder of the workshop.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">For my upcoming 6 day still life workshop
at the Grand Central Academy of Art I will be giving this lecture/discussion on the first evening of the
workshop. </span><span style="font-size: 16px;"> </span><b style="font-size: 16px;"><i>And, for the first time ever, this session will be open to individuals beyond the workshop’s participants! </i></b><span style="font-size: 12pt;">Through a combination of
images, props and often enthusiastic hand gestures I will be sharing
information on:</span></div>
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<span style="font-size: 12pt;"><b>-Color terminology.<o:p></o:p></b></span></div>
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<span style="font-size: 12pt;"><b>-Organizing colors in a color-space
model.<o:p></o:p></b></span></div>
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<span style="font-size: 12pt;"><b>-Understanding fundamentals of how
light works and affects our perceptions of an object’s local color and its
shading.<o:p></o:p></b></span></div>
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<span style="font-size: 12pt;"><b> -Principles behind color mixing.<o:p></o:p></b></span></div>
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<span style="font-size: 12pt;"><b>-How I go about designing a palette
for a painting or a particular subject.</b><o:p></o:p></span></div>
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<span style="font-size: 12pt;">This approximately three-hour session
will be packed with as much information as I can squeeze in — with time
available for questions from the group.<o:p></o:p></span></div>
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<span style="font-size: 12pt;">If you can attend, I can’t wait to share with you the
most critical ideas related to color that help me in each of my own paintings
so that hopefully you can feel more confident in your own color decisions!<o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span><a href="http://grandcentralatelier.org/workshops.php?sid=3" style="text-align: center;" target="_blank">(For more information (including how to register) for either the workshop or the evening lecture please click "HERE."</a></b></h3>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-22102724379744004932014-05-19T02:00:00.000-07:002015-10-04T11:36:56.518-07:00Cheating On My Cadmiums: Why I Replaced My Cadmium Paints<div class="MsoNormal">
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When I was an art student studying in New York City I dreaded
having to purchase cadmium colors — as the proverbial starving artist I cringed
at the price tag for them. At that time
any money was too much money. But at
some point I decided they were necessary and justified buying a cadmium red and
a cadmium yellow light. I made do with just those two pigments for a number of
years and they gave me that extra punch of chroma or intensity whenever I
needed it. After awhile I found them a necessity for many projects. At some point I ended up also adding cadmium
orange to the mix. But still every time I went to repurchase them I found myself
cringing at the price tag. However, by this point we had become old friends and
despite the price I was so accustomed to their hue, value and chroma attributes
that I automatically added them to my cart without much reservation whenever I
needed a new tube.<o:p></o:p></div>
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A couple of months ago I started doing some tinkering with the
colors on my palette and decided that I might look into some alternatives for
my cadmium paints. And after trying a handful of different colors I finally
settled on replacements for cadmium red and cadmium yellow light. I thought I’d share those results in case
there are others out there who also wanted to begin phasing out their cadmiums.<o:p></o:p></div>
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For cadmium red (PR108) I’ve replaced it with Scarlet Lake
(PR255), also known as coral red or sometimes Pyrrole Scarlet. From the reading I’ve encountered it appears
to be quite lightfast receiving an “ASTM I rating.” I like that although its hue is very similar
to cadmium red light (which makes it feel familiar to me) its chroma is actually
a bit higher and continues to hold up well with the addition of white paint —
at least as well as the cadmium red I’ve been using.<span style="color: #1f497d;"><o:p></o:p></span></div>
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For cadmium yellow pale/light (PY35) I have replaced it with
Winsor yellow (PY74), also known as Hansa yellow, Arylide Yellow or Azo yellow.
This one also receives an “ASTM I” rating which I’m pleased about. And although
its hue appears to display slightly less of an orange trace, when compared to
cadmium yellow light, it is still close enough in hue that it, again, feels
familiar to me. It also has a slightly
higher chroma than cadmium yellow light, giving me just a touch more color-space
range.<span style="color: #1f497d;"><o:p></o:p></span></div>
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<span style="text-align: justify;">Now if the characteristics above were not enough to get me to
make the switch, the price for them added that extra incentive I needed. </span><span style="text-align: justify;">Both of these generally run under half the
cost of their cadmium counterparts, and for the remnants of that starving
artist I once knew so well, this makes me very happy!</span></div>
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Despite trying a few alternatives I’ve still yet to find a good
replacement for cadmium orange — so I suppose it will still linger on my
palette until I do so. If anybody has found a good replacement for it I would
love to hear your suggestions.<span style="color: #1f497d;"><o:p></o:p></span></div>
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<span style="color: cyan;">Did you enjoy this post?</span></h4>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com48tag:blogger.com,1999:blog-7580430527071698103.post-12495574007980922852014-01-08T13:35:00.003-08:002014-01-08T13:35:29.928-08:00A Quick Brushwork Tip for Artists and Two Great Books to Read<div class="MsoNormal">
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<span style="font-family: Times, Times New Roman, serif;">The images in the post are works by the artist Harold Speed (1872 -1957). I've referenced him before in my post titled <i>The Optical and Conceptual: Components of Perception. </i> You can read that post by clicking <a href="http://douglasflynt.blogspot.com/2010/05/optical-and-conceptual-components-of.html" target="_blank">"here."</a></span></div>
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<tr><td style="text-align: center;"><a href="http://www.douglasflynt.com/blog_images/study_for_figure_of_boreas_by_harold_speed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.douglasflynt.com/blog_images/study_for_figure_of_boreas_by_harold_speed.jpg" height="320" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Study for figure of Boreas by Harold Speed</td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Much of the time while I am painting, brushstrokes are
constantly cutting across one another. Yesterday while I was painting I
recalled a statement by Harold Speed from his book <i>Oil Painting Techniques and Materials</i>. In the passage I was recalling he was
describing “painting such details as the under eyelid…” And made the point that
“Generally speaking, remember that you can only attend to one edge of the touch
that you are making. If you try and
paint a touch that needs variety on both its edges, and you try and get the
variety on both sides at the same time, you will fail to get either right. ” In
essence when we place a stroke of paint we can only focus on the exactness
(drawing and placement) of one of its edges at a time. To get the other edge to
be exactly as we wish we can then recut into it with the next stroke of paint. This is such a simple and obvious thought and
yet it can be tremendously helpful at times.<o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="http://www.douglasflynt.com/blog_images/frank_pomeroy_by_harold_speed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.douglasflynt.com/blog_images/frank_pomeroy_by_harold_speed.jpg" height="320" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Frank Pomeroy, 1898 by Harold Speed</td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Within the classically-based art circles I’ve been most
associated with, Harold Speed’s two books, <i>The Practice and Science of Drawing</i> and <i>Oil Painting Techniques and Materials</i>, are well-known and widely read. If
you are a representational artist and you’re not familiar with his books I
would highly recommend them. <i>The Practice and Science of Drawing</i> can be
read online for free here:</span><o:p></o:p></div>
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<a href="http://www.gutenberg.org/ebooks/14264" target="_blank">www.gutenberg.org - Practice and Science of Drawing</a></div>
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or here:<o:p></o:p></div>
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<a href="http://books.google.com/books?id=SItpAAAAMAAJ&printsec=frontcover&dq=harold+speed&hl=en&sa=X&ei=8rDNUsK-OcWc2QXxg4GwCQ&ved=0CC8Q6AEwAA#v=onepage&q=harold%20speed&f=false" target="_blank">books.google.com – Practice and Science of Drawing</a><o:p></o:p></div>
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Even though I don’t necessarily paint in the exact manner
prescribed by Harold Speed, I find his books are full of insightful material—every time
I go back to them I seem to pick out some new bit of information. If you’ve got
any useful insights or tips you’ve gained from reading either one of his books
I’d love to hear about them in the comments below!<o:p></o:p></div>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com3tag:blogger.com,1999:blog-7580430527071698103.post-21193697795664285172013-12-11T14:14:00.000-08:002013-12-11T14:14:02.962-08:00A Paint Sketch and its Role During a CommissionRecently I shared an image on Facebook. I had originally intended to only post it there, but I was surprised by the amount of interest it received. For this post I wanted to share that image which I believe may be interesting to both collectors and fellow artists alike.<br />
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The image below is small 5” x 7” paint sketch. Very often for commissioned work before I start the actual painting I will complete a sketch like this and present it to the client. Ideally, I prefer to present the actual sketch, rather than a photo of it, since a photo can appear quite different from monitor to monitor. Of course the commissioned painting will be considerably more detailed and carefully executed. However, a sketch like this gives a feel for the composition and colors I intend to use and I want to make sure the client is happy with the direction of the project before investing any significant time into the actual painting. With respect to <i>this</i> study, the client has already shared their approval and so I am moving forward!<br />
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I hope you enjoyed seeing the image and thanks for taking a look!<br />
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com1tag:blogger.com,1999:blog-7580430527071698103.post-69765190972798928302013-11-01T12:23:00.000-07:002013-11-01T12:25:08.758-07:00Painting a Still Life Video now Available & New 2014 Workshops <div style="text-align: justify;">
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I have two items to share in this quick post. My "Painting a Still Life" video is now available on my website for purchase as a download and I have added two workshops to my 2014 calendar!</div>
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For the video I worked hard to pack as much content as I could into its roughly 74 minute time frame. It documents the creation of one of my still life paintings—taking the viewer through each of the stages involved in the creation of the artwork. Along the way I share a number of insights about my thought process and the concepts I utilized while working.</div>
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If you would like to see more details about it please visit my website by using the following link:<br />
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<a href="http://www.douglasflynt.com/video_information_page.html" target="_blank">Painting a Still Life Video</a></div>
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You can also watch the preview below if you would like:</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Hnpsd75-X-8?feature=player_embedded' frameborder='0'></iframe></div>
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As for the workshops, they will be held back to back—so that you might attend both if you would like. </div>
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For more information please click <a href="http://www.douglasflynt.com/teaching.html" target="_blank">"Here" </a></div>
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<a href="http://www.douglasflynt.com/blog_images/2014_douglas_flynt_workshop_dates_for_blog.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="http://www.douglasflynt.com/blog_images/2014_douglas_flynt_workshop_dates_for_blog.png" width="320" /></a></div>
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Thanks for taking a look!</div>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com3tag:blogger.com,1999:blog-7580430527071698103.post-12868487289719237112013-10-15T11:31:00.002-07:002013-10-15T11:37:43.356-07:00"Painting a Still Life" Video Preview<div class="MsoNormal">
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I am pleased to share a preview for my upcoming
instructional video first announced a few weeks ago. <o:p></o:p></div>
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With the final edits being made, I can now share that it
will be available for purchase as a download from my website on October 28, 2013:<br />
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<a href="http://www.douglasflynt.com/video_information_page.html" target="_blank">www.douglasflynt.com </a></div>
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I hope you enjoy the preview!</div>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com3tag:blogger.com,1999:blog-7580430527071698103.post-91003717643646055912013-09-28T11:59:00.000-07:002013-09-28T14:40:20.402-07:00Still Life Painting Instructional Video<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.douglasflynt.com/images/flier2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.douglasflynt.com/images/flier2.png" height="320" width="281" /></a></div>
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I am pleased to share that I have a new instructional video in the works. I have had numerous requests for instructional videos and this will be my first release. I am hoping it will offer insight into not only my current painting process but also a number of the ideas I consider during the creation of an oil painting. Over an hour in length, it will be available as an instant downloadable video. The exact release date along with other details are still to be announced. If you would like to receive updates, including a notification when the video is available, please consider joining my e-mail list by visiting the link below:<br />
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<a href="http://visitor.r20.constantcontact.com/d.jsp?llr=7mbciodab&p=oi&m=1103211070876&sit=zd7red5eb" target="_blank">Join Douglas Flynt's Mailing List</a><br />
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The painting featured in the video is currently available through
Scottsdale Fine Art:<o:p></o:p></div>
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<a href="http://www.scottsdalefineart.com/flynt-douglas.html" target="_blank"> Scottsdale Fine Art</a></div>
<span style="line-height: 18px; text-align: right;"><span style="font-family: Times, Times New Roman, serif;">7116 E. Main Street</span></span><br />
<span style="line-height: 18px; text-align: right;"><span style="font-family: Times, Times New Roman, serif;">Scottsdale, AZ 85251</span></span></div>
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<br /> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com6tag:blogger.com,1999:blog-7580430527071698103.post-14501129544224090272012-11-25T08:06:00.000-08:002012-11-25T08:06:20.545-08:00Newly Available Paintings<!--[if gte mso 9]><xml>
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For this post I wanted to share a few newly available
paintings.<span style="mso-spacerun: yes;"> </span>The John Pence Gallery in San Francisco will be
looking to find homes for them.</div>
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If you have an interest in acquiring one (or more) of these
pieces for your own collection please contact the gallery:</div>
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John Pence Gallery</div>
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<a href="http://www.johnpence.com/" target="">www.johnpence.com</a><a href="http://www.johnpence.com/"> </a></div>
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750 Post Street
. San Francisco
. California
94109</div>
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Phone: 415.441.1138 | Fax: 415.441.1178</div>
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Hours: 10 am to 6 pm (Mon - Fri), 10 am to 5 pm (Sat)</div>
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If you are in the area and would like to see them in person
please stop by the gallery.</div>
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Below you will find images of each piece, with and without
their frames, along with pertinent size and medium information. <br />
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<span style="mso-spacerun: yes;"></span>Regardless if you
are, or are not, looking to acquire a new painting for yourself (or someone
else) at this time I hope everyone will enjoy seeing these new works!</div>
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Thanks for stopping by!</div>
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<i><span style="font-size: 14.0pt;">Pear and Cherries</span></i></div>
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<span style="font-size: 14.0pt;">Oil on Mounted Linen</span></div>
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<i><span style="font-size: 14.0pt;">Two Tigers</span></i></div>
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<span style="font-size: 14.0pt;">Oil on Stretched Linen</span></div>
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<i><span style="font-size: 14.0pt;">Sand and Shells</span></i></div>
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<span style="font-size: 14.0pt;">Oil on Stretched Linen</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 14.0pt;">10" x 14"</span></div>
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-82836162464978414912012-06-11T07:43:00.001-07:002015-10-04T11:37:47.109-07:00Painting Naturalistic Skin Colors (Part I—Regional Local Colors):<br />
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When teaching workshops related to portraiture or figure
painting, I often encounter artists who feel somewhat mystified by the colors
they see in skin. From a naturalistic standpoint skin follows all the rules of
physics that any other material does. So like any other material, once we have
a better understanding of skin, we can begin to demystify the colors we see. </div>
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I generally encourage the artists I work with to think in
terms of identifying a local color specific to the region of form(s) they are currently
painting. This local color can then help guide their color choices rather than their
reacting moment-by-moment to the colors they feel they see. From a somewhat
simplified standpoint I would encourage painters to consider three main
variables when accounting for the local color of a given region: <i style="mso-bidi-font-style: normal;">(1)</i> <i style="mso-bidi-font-style: normal;">the
amount of blood present, (2)the amount of pigmentation, and (3) the color of the
skin itself (devoid of or</i> <i style="mso-bidi-font-style: normal;">with low
amounts of blood or pigmentation). </i>There are, of course, variations between
these as we visually detect more or less of each. </div>
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In this post I will try to expand upon these variables in
order to help explain what local colors are really present in skin and why. In
subsequent posts I would like to discuss how narrow the color range of skin
really is under average lighting conditions, and also how a regional local
color, when combined with various modeling factors, gives us the full range of the
colors we experience visually when looking at flesh tones. </div>
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The following diagram shows a range of local skin colors in
addition to spheres illustrating the modeling factors seen for 3 different
local colors selected from this gamut.</div>
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<b style="mso-bidi-font-weight: normal;">The Local Color of
Skin Absent Blood or Pigmentation:</b></div>
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I want to start with a discussion of skin imagined with an
absence of blood or visible pigmentation. This concept of skin as a "local
color" stands as the blank canvas for every individual—regardless of
ethnic background. To this we can add factors of blood and pigmentation. Of
course in reality this "local color" in its most ideal state is
perhaps impossible to fully experience. Even in cases of albino individuals (illustrated in the
following images from Wikipedia<span style="font-size: 8pt;">[1]</span>), who
lack any pigmentation, the blood in the skin will affect the color we see. </div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/a/a2/Albinistic_girl_papua_new_guinea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/a/a2/Albinistic_girl_papua_new_guinea.jpg" height="249" width="320" /></a></div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/9/9a/Albinisitic_man_portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/9/9a/Albinisitic_man_portrait.jpg" height="320" width="281" /></a></div>
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However, in order to obtain a sense of the skin color to
which I am referring, first locate a place on your body that has little visible
pigmentation—perhaps the palm of the hand, or some other area that receives
little sun exposure. This will, of course, be easier for lighter skinned
individuals. On this area apply a generous amount of pressure to displace the
blood from the region and then remove the pressure. For a brief moment, before
the blood returns, the color you observe will begin to offer a sense of the
local color we are conceiving of at it's most extreme state. Trying to classify
this color can be a bit tricky. Most scientific accounts of which I am aware
typically only say that skin by itself is yellowish in color. I would narrow
this down more by adding—from my own experience—that skin by itself is rather
light in value and more orangish-yellow rather than the yellow it is often described
as. By itself, it also generally offers the lowest chromatic intensity of any
local color observed in skin.</div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/flesh_swatch2_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/flesh_swatch2_2.jpg" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Melanin as a Pigment:</b></div>
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Within the epidermal, or upper layer of our skin, we find
melanocytes or cells that produce melanin. This melanin is responsible for helping
to protect us from the sun's ultraviolet rays. Although everyone, regardless of
ethnicity, has approximately the same number of
melanocytes, the production rate, size, and type of melanin pigment they
create, is what offers the visual color differences between various individuals. </div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/d/dd/Illu_skin02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/d/dd/Illu_skin02.jpg" height="243" width="320" /></a></div>
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The two types of melanin produced are pheonmelanin which is
often described as light yellow, tan or even reddish yellow and eumelanin which
is alternatively described as dark brown or even black. After reviewing a
number of descriptions and various charts showing the wavelengths both types
absorb, it would appear that they show more of a marked difference in terms of
value rather than hue. The result is that, in general, the addition of melanin of
either type contributes toward skin darkening in value while shifting its hue
toward an orangish-yellow. To get a better sense of the color they contribute
try looking at moles and freckles. These can offer some sense of their color
since their appearance is brought on by an increased amount of melanin.</div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/freckles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/freckles.jpg" /></a></div>
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For each individual this melanin production will affect the
overall skin color. Additionally, within a particular individual, areas that
get more sun exposure will produce more melanin. The result is that these areas
will be darker in value than the paler skin regions with little visible blood
or melanin. </div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/addition_of_melanin_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/addition_of_melanin_2.jpg" height="107" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Blood and Hemoglobin:</b></div>
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Within our blood, the oxygen carrying protein, hemoglobin,
is largely responsible for the reddish color we see. The following photograph<span style="font-size: 8pt;">[2]</span> shows human blood magnified 600 times. </div>
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<a href="http://www.3dham.com/animal/humanbood600x3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.3dham.com/animal/humanbood600x3.jpg" height="240" width="320" /></a></div>
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In regions with larger amounts of blood present, the blood
will, of course, contribute toward shifting the appearance of the skin towards
red. Additionally, since this red is more chromatically intense than either the
color of melanin, or skin with an absence of blood or melanin, these blood rich
regions will have the highest chroma of any of our local skin colors—a
relationship that is well to keep in mind in order to produce the appearance of
naturalistic skin. It might also be speculated that since blood vessels are found
in the lower dermal layer of the skin, individuals with darker skin will not
show as pronounced of a local color shift when entering these blood regions
since the melanin causing the darker skin tones resides above the hemoglobin—somewhat
masking its appearance. </div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/addition_of_blood_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/addition_of_blood_2.jpg" height="107" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Variations:</b> </div>
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The colors I have offered for blood, melanin, and skin
absent either, really suggest extremes. There will of course, be variations in
between them so that we may have to consider more than one to distinguish the
local color of a region. For instance, on lighter skinned individuals, the areas
that receive a fair amount of sun exposure will produce some melanin suggesting
that the region will be orangish-yellow. However, when hemoglobin is seen in
combination with the melanin, the hue's appearance will shift back toward red,
resulting in a local color that might be thought of as more truly orange in
character. The following chart shows the color of skin lacking both hemoglobin
and melanin in the lower left hand corner and the resulting color shifts as they
are both introduced. In theory, this chart should offer the full range of skin
colors found in any individual—including various local colors for a particular
individual that could be selected from within the array. Please keep in mind
that the colors selected for the chart were approximated.</div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/increasing_hemogloben_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/increasing_hemogloben_2.jpg" height="259" width="320" /></a></div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/increasing_hemogloben.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<b style="mso-bidi-font-weight: normal;">Veins:</b></div>
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<span style="font-family: "Times New Roman"; font-size: 12pt;">Although I did not mention veins in my introduction,
what color to use for them is often a concern that arises when discussing skin
colors and so I thought I should address it. Contrary to what is commonly
assumed, veins are not actually blue in color. These blood vessels that
generally carry deoxygenated blood back to the heart are actually very dark red
in color with some suggestions that along with this darkening of value the red
appears more purplish. The following image</span><span style="font-family: "Times New Roman"; font-size: 8pt;">[3]</span><span style="font-family: "Times New Roman"; font-size: 12pt;"> shows venous blood—offering some sense of it's color. </span><br />
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<a href="http://upload.wikimedia.org/wikipedia/commons/e/e7/Bloodbags.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/e/e7/Bloodbags.jpg" height="217" width="320" /></a></div>
<span style="font-family: "Times New Roman"; font-size: 12pt;"> </span>
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Although, like Wikipedia, most sources tend to suggest that
the bluish color is "because the subcutaneous fat absorbs low-frequency
light, permitting only the highly energetic blue wavelengths to penetrate
through to the dark vein and reflect back to the viewer,"<span style="font-size: 8pt;">[4]</span> I am troubled by this explanation. For a
thought exercise, let's assume a model where an even spectrum of white light is
illuminating an arm with visible veins. Now, try to keep track of the various wavelengths
that are somewhat absorbed or reflected, as the light passes through the skin
(orangish-yellow), melanin (orangish-yellow), hemoglobin (red) and possibly even
the fat (yellowish color) before it then strikes the dark but still predominately
red vein, and then passes back up through all of these materials again. Keeping
in mind that the color of an object is the result of what is reflected rather
than absorbed, the resulting wavelengths available for the viewer to see after
this journey would seem to offer a predominance of wavelengths throughout the
red, orange and yellow spectrums rather than the blues the Wikipedia quote
seems to suggest. </div>
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To complicate things further, the same Wikipedia article
cites a study entitled <i style="mso-bidi-font-style: normal;">Why do veins
appear blue? A new look at an old question</i>. The summary of this study
states that "the reason for the bluish color of a vein is not greater
remission of blue light compared with red light; rather, it is the greater
decrease in the red remission above the vessel compared to its surroundings
than the corresponding effect in the blue.<span style="font-size: 8pt;"> </span>"<span style="font-size: 8pt;">[5]</span> With an understanding that "remission,"
as it relates to how light interacts with materials, means "to send
back," the first part of this summary would seem in direct contrast to the
previous quote from the Wikipedia article and somewhat closer in line to the results
of the greatly simplified thought exercise I offered. As with the second part
of the study just quoted, some sources additionally cite visual perception as
playing a role in perceiving veins as blue. </div>
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To my understanding, visual perception seems to be a more
creditable account of what is occurring. Tied to "retinex theory," a
very low in chroma reddish-orange when seen surrounded by a field of the same
color can easily be judged as bluish or bluish green in color—even though in
actuality it is not. For this reason, I often suggest that a very very low in
chroma orange or reddish-orange (the color should be more exactly determined by
the local color of the region) that is slightly darker than the surrounding
local color will often serve just fine to suggest veins. </div>
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This effect is demonstrated in the two following images: The
first shows two larger squares. The left square is reddish-orange,
approximating a skin color, while the right square is chromatically neutral. The
smaller squares, contained in each of the larger squares, are the same color.
On the left the smaller square appears slightly bluish in color while on the
right you can more accurately see it is actually a very low chromatic
reddish-orange. With finer lines, rather than squares, the effect is even more
striking as is illustrated in the second image.</div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/veins_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/veins_2.jpg" height="216" width="320" /></a></div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/veins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/vein_examples_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/skin_blogpost_part1/vein_examples_2.jpg" height="141" width="320" /></a></div>
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<a href="http://douglasflynt.com/skin_blogpost_part1/vein_examples.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<b style="mso-bidi-font-weight: normal;">Part I Summary and
Future Posts:</b></div>
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Thus far we have been looking at what causes the various local
colors we see in human skin. I have yet to address how narrow the color range
for skin really is under average lighting conditions (although this may have already
been inferred by the discussion offered) or how the modeling factors for these
local colors influence any additional colors we might perceive. In future posts
I hope to address both. When addressing modeling factors I will discuss
highlights, a type of specular reflection, and how, when dealing with diffuse
reflection, the loss of light on a local color offers variations of value and
chroma of that local color. Additionally, I plan to address other considerations
such as reflected light (diffuse inter-reflection) and translucency (diffuse
transmission). </div>
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<span style="font-size: 10pt;">1. <a href="http://en.wikipedia.org/wiki/File:Albinistic_girl_papua_new_guinea.jpg">http://en.wikipedia.org/wiki/File:Albinistic_girl_papua_new_guinea.jpg</a></span></div>
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<span style="font-size: 10pt;"> <a href="http://en.wikipedia.org/wiki/File:Albinisitic_man_portrait.jpg">http://en.wikipedia.org/wiki/File:Albinisitic_man_portrait.jpg</a></span></div>
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<span style="font-size: 10pt;">2. Image by John Alan Elson,
<a href="http://www.3dham.com/animal/bloodcompare.html%20">http://www.3dham.com/animal/bloodcompare.html </a></span></div>
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<span style="font-size: 10pt;">3. Image by "Flicker" user "montuno,"
<a href="http://www.flickr.com/photos/montuno/2285013430/">http://www.flickr.com/photos/montuno/2285013430/</a></span></div>
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<span style="font-size: 10pt;">4. <a href="http://en.wikipedia.org/wiki/Vein">http://en.wikipedia.org/wiki/Vein</a></span></div>
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<span style="font-size: 10pt;">5. <a href="https://www.imt.liu.se/edu/courses/TBMT36/pdf/blue.pdf">https://www.imt.liu.se/edu/courses/TBMT36/pdf/blue.pdf</a></span><br />
<br />
<br />
<br />
<h4 style="text-align: center;">
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Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com17tag:blogger.com,1999:blog-7580430527071698103.post-62292641429456286802011-10-27T11:15:00.000-07:002013-12-05T18:02:21.268-08:00More French Translations for Earlier Posts<div class="MsoNormal">
I wanted to again thank Franck SATAUD for the additional French translations.</div>
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They are available below as downloadable PDF files:</div>
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<div class="MsoNormal">
<a href="http://douglasflynt.com/pdf_for_blog/diffuse_transmission_french_translation.pdf">diffuse_transmission_french_translation.pdf</a><br />
<a href="http://douglasflynt.com/pdf_for_blog/the_composition_of_light_french_translation.pdf">the_composition_of_light_french_translation.pdf</a> </div>
<span style="font-size: 12pt;"><a href="http://douglasflynt.com/pdf_for_blog/using_a_sphere_french_translation.pdf" style="font-weight: normal;">using_a_sphere_french_translation.pdf</a></span> <br />
<h3>
<span style="font-size: 12pt;"><br />
</span></h3>
Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com2tag:blogger.com,1999:blog-7580430527071698103.post-57759104570830526042011-10-13T07:18:00.000-07:002011-10-13T07:18:37.066-07:002012 Florida Workshops<div id="yui_3_2_0_1_1318514892270128" style="color: black; margin-bottom: 0px; margin-top: 0px;"><span id="yui_3_2_0_1_1318514892270147">I am pleased to announce that I will again be hosting two 10 day workshops in the <span class="yshortcuts" id="lw_1318514889_1">Fort Myers</span>, Florida area. The workshop will be held at my previous studio location (some of you may know that I have set up a new home studio) that is close to <span class="yshortcuts" id="lw_1318514889_2">Sanibel Island</span> and <span class="yshortcuts" id="lw_1318514889_3">Fort Myers Beach</span>.</span></div><div style="color: black; margin-bottom: 0px; margin-top: 0px;"><br />
The first will be focusing on still life painting while the second will focus on portrait painting. My goal is to sharing a wealth of information in the form of demonstrations, group lectures/discussions and individual feedback sessions, all while striving for an intimate and relaxed atmosphere.</div><div style="color: black; margin-bottom: 0px; margin-top: 0px;"><br />
I look forward to working with everyone who can attend!</div><div style="color: black; margin-bottom: 0px; margin-top: 0px;"><br />
</div><span id="yui_3_2_0_1_1318514892270129" style="color: black; font-size: 12pt;"></span><br />
<div align="center" style="margin-bottom: 0px; margin-top: 0px; text-align: center;"><span style="font-size: large;"><span>"<strong>Still Life Painting in Oil</strong>" 10-Day Workshop</span></span></div><span style="font-size: small;"> </span><div align="center" style="text-align: center;">Date: <span class="yshortcuts" id="lw_1318514889_5">March 12 - 16</span>, 19 - 23, 2012</div><span style="font-size: small;"> </span><div align="center" id="yui_3_2_0_1_1318514892270149" style="margin-bottom: 0px; margin-top: 0px; text-align: center;"><span id="yui_3_2_0_1_1318514892270148">Location: <span class="yshortcuts" id="lw_1318514889_6">Fort Myers, FL</span></span></div><span style="font-size: small;"> </span><div align="center" style="margin-bottom: 0px; margin-top: 0px; text-align: center;">Click <b><a href="http://www.douglasflynt.com/2012_still_life_painting_workshop_description.html"><span class="yshortcuts" id="lw_1318514889_7">"here"</span></a></b> for further information regarding enrollment. </div><div align="center" style="margin-bottom: 0px; margin-top: 0px; text-align: center;"><br />
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</div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-78805165360329185912011-10-11T07:28:00.000-07:002011-10-11T07:28:57.450-07:00French Translations for Posts on Ellipses<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
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</style> <![endif]--> <div class="MsoNormal">I wanted to make a quick post extending my thanks to Frank SATAUD who voluntarily translated my last two posts on ellipses into French and then offered to share those translations for French readers of the blog.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">They are available below as downloadable PDF files.</div><div class="MsoNormal"><br />
</div><h3 class="post-title entry-title"><span style="font-size: small;"><a href="http://douglasflynt.com/pdf_for_blog/part1_ellipses.pdf">Accurate Ellipses- Part 1</a></span></h3><h3 class="post-title entry-title"><span style="font-size: small;"><a href="http://douglasflynt.com/pdf_for_blog/part2_ellipses.pdf">Expanding on Accurate Ellipses - Part 2</a></span></h3> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-26026002432533774922011-09-26T14:42:00.000-07:002011-10-11T07:33:17.480-07:00Expanding on Accurate Ellipses<div class="MsoNormal"><span style="font-size: small;">(UPDATE 10/11/11 -For French translation of this post please click "<a href="http://douglasflynt.blogspot.com/2011_10_01_archive.html">here</a>.") </span><br />
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For this post I wanted to expand on my previous post that addressed drawing ellipses<span style="font-family: "Times New Roman"; font-size: 12pt;">—</span>an element so critical to my own paintings. In the previous post I illustrated the “major” and “minor” axes of an ellipse, showed that an ellipse or circle in perspective could be constructed at the picture plane, and offered a geometrical construct to aid us in drawing ellipses regardless if they are 2-dimensional (at the picture plane) or in perspective. If the reader is unfamiliar with those items reading the previous post might prove useful before going further. Here is a link to the previous post:</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><a href="http://douglasflynt.blogspot.com/2011/08/accurate-ellipses.html">http://douglasflynt.blogspot.com/2011/08/accurate-ellipses.html</a> </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">After drawing or painting a great number of still-life elements it becomes evident that the placement and orientation of the major and minor axes are critical to constructing an accurate ellipse within a drawing or painting. In my own work I largely free hand the drawing rather than setting up a careful perspective framework and then make use of my perspective knowledge to inform and correct the decisions I make. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Before going further I should clarify that the following discussion addresses circular, cylindrically shaped objects (cylinders with cross sections that form perfect circles) rather than forms derived from elliptical cylinders, also know as “cylindroids,” whose cross sections are elliptical. It should also hold true for right angle cones that have circular cross sections. </div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/regular_cylinder_irregular_cylinder_w_text_cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="http://douglasflynt.com/ellipses_2/regular_cylinder_irregular_cylinder_w_text_cropped.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><span style="font-family: "Times New Roman"; font-size: 12pt;">When perceiving an ellipse that belongs to these types of objects, we need to find the orientation of the minor axis for that ellipse. Knowing this will in turn let us find the major axis of the same ellipse. One way to find the minor axis of one of these ellipses is to first find the center axis of the object—that is the axis running through the object perpendicular to its ends. The following image shows this axis for a simple cylinder.</span><br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/cylinder_wireframe_cropped_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="http://douglasflynt.com/ellipses_2/cylinder_wireframe_cropped_sm.jpg" width="320" /></a></div><br />
<div class="MsoNormal"></div><div class="MsoNormal">Once we know this center axis spatially we need to visualize the angle or line that we would perceive at the picture plane for this axis. This will also be the visual line of symmetry for the outside contour or silhouette of the object. </div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/cylinder_wireframe_rendered_with_angle_cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="http://douglasflynt.com/ellipses_2/cylinder_wireframe_rendered_with_angle_cropped.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Working 2-dimensionally at the picture plane, this line will run through the minor axis of any ellipses we might need to draw for that object. We then know that the major axis will run perpendicular to the line we found. Now that we know the orientation of both axes, once we visually determine their lengths we can construct a perfect ellipse for any of the circles that we see in perspective!</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/cylinder_wireframe_rendered_with_angle_finished_cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="http://douglasflynt.com/ellipses_2/cylinder_wireframe_rendered_with_angle_finished_cropped.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"></div><div class="MsoNormal">This all might seem rather self evident for a glass of water sitting upright directly in front of you but as you encounter cylindrically based objects that are spatially rotated to more unconventional positions guessing the orientation of the major and minor axes can at times become rather tricky and I have found that this simple understanding and assessment greatly aids me in my own work. Here are some cylinders (and a cone) to illustrate a few more examples:</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/clycorrected.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="http://douglasflynt.com/ellipses_2/clycorrected.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/ellipses_2/clycorrected_w_overlay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="http://douglasflynt.com/ellipses_2/clycorrected_w_overlay.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Thanks for taking a look!</div><div class="MsoNormal"><br />
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</div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com2tag:blogger.com,1999:blog-7580430527071698103.post-4646687275796321752011-08-08T19:56:00.000-07:002015-10-04T11:39:02.759-07:00Accurate Ellipses<div class="MsoNormal">
<span style="font-size: small;">(UPDATE 10/11/11 -For French translation of this post please click "<a href="http://douglasflynt.blogspot.com/2011_10_01_archive.html">here</a>.") </span><br />
<br />
I finished up teaching a still life workshop at the Grand Central Academy of Art about a week ago. While there one of the items we discussed were drawing accurate ellipses in our still-lifes. I thought I would share some of that information here. This information has been of great use to me while drawing cylindrically based objects such as cups and jars in my own still-lifes </div>
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One of the first things we need to know is some terminology pertaining to ellipses. The widest distance across an ellipse is known as the "major axis" while the shortest distance is known as the "minor axis." For a circle the major axis and the minor axis would be the same distance.</div>
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<a href="http://douglasflynt.com/ellipses/major_and_minor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/major_and_minor.jpg" height="180" width="320" /></a></div>
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With this shared terminology, it is interesting to note that if we take an ellipse and place it in perspective the resulting curvature we perceive is no different than if we were to construct an ellipse at the "picture plane" using the dimensions of the major and minor axes as they appear at this picture plane. The image below shows a circle in perspective on the left and the resulting ellipse that we would see at the picture plane on the right. The curvature of both are the same. </div>
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<a href="http://douglasflynt.com/ellipses/circle_in_perspective.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/circle_in_perspective.jpg" height="97" width="320" /></a></div>
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As a quick side note, for those of you unfamiliar with the term picture plane, in perspective it is the imaginary flat surface that is located between the viewer and the object being viewed. The drawing below from G.A. Storey's 1910 book, <i style="mso-bidi-font-style: normal;">The Theory and Practice of Perspective</i> gives a good visualization for imagining a picture plane.</div>
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<a href="http://douglasflynt.com/ellipses/picture_plane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/picture_plane.jpg" height="188" width="320" /></a></div>
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Returning to our ellipses, because the ellipse found in perspective and the ellipse constructed at the picture plane both create the same curvature we don't actually have to construct the circles or ellipses we see within our still-lifes in perspective—it should however be noted that the ability to do so is a valuable aid to our conceptual comprehension. Instead, and here is the important part, to draw a ellipse or circle being viewed in perspective we only need to know the dimensions of the major and minor axes as they are perceived at the picture plane. With these dimensions we can correctly construct an ellipse at the picture plane which will correspond to the ellipse or circle being viewed in perspective.</div>
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With this knowledge in tow, for now let us only work at the picture plane and construct an ellipse. There are many ways to construct ellipses yet there are two main ways that I usually find myself constructing them (or very often correcting freehanded versions of them). If they are rather small I often just draw the major and minor axes in and then carefully freehand the ellipse checking the symmetry of both sides as I go. </div>
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<a href="http://douglasflynt.com/ellipses/freehand_ellipse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/freehand_ellipse.jpg" height="320" width="282" /></a></div>
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For larger ellipses I construct the following geometrical frame work which gives me 12 points along the ellipse to guide any freehanded approximations. </div>
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<a href="http://douglasflynt.com/ellipses/ellipse_full_construct.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse_full_construct.jpg" height="222" width="320" /></a></div>
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To make the framework I need to first create a rectangle with the proportions of the major and minor axes of the ellipse. I then need to divide this rectangle into 16 equal sections. To make these sections it is useful to remember that a simple “X” created from diagonal corners of the rectangle will always find the center of that rectangle. Along the way we will also gain 4 of our 12 points that make up the ellipse.</div>
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<a href="http://douglasflynt.com/ellipses/ellipse2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse2.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse3.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse4.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse5.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse6.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9a.jpg" height="222" width="320" /></a></div>
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At this point we now know 4 of our points and we have divided our rectangle into 4 equal sections. We now need to divide each of those sections into four more sections.</div>
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<a href="http://douglasflynt.com/ellipses/ellipse9b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9b.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9c.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9d.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9d.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9e.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9f.jpg" height="222" width="320" /></a></div>
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<a href="http://douglasflynt.com/ellipses/ellipse9g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9g.jpg" height="222" width="320" /></a></div>
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We now have 16 equal sections. However, before going further let's remove the diagonals used in constructing those sections to keep things from getting too visually confusing.</div>
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<a href="http://douglasflynt.com/ellipses/ellipse9j.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9j.jpg" height="222" width="320" /></a></div>
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To find the remaining 8 additional points we need to run diagonal lines across the 4 outer sections along each side. Next note where these diagonals intersect the boundaries between the outer four sections of that particular side. At these intersections, the one that is the closest to the outside of our original rectangle will also mark a point along our ellipse. Let's start with the bottom section.</div>
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<a href="http://douglasflynt.com/ellipses/ellipse9k.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/ellipse9k.jpg" height="222" width="320" /></a></div>
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Now for the top section.</div>
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The right section.</div>
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And finally the left section.</div>
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Once again, for clarity let's remove the diagonals used to find the additional points.</div>
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And finally we now have 12 points we can use to aid us in drawing our ellipse!</div>
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Leaving the picture plane behind, it is useful to know that this same process works just as well to draw ellipses or circles that are in perspective.</div>
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<a href="http://douglasflynt.com/ellipses/circle_with_points_in_perspective.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://douglasflynt.com/ellipses/circle_with_points_in_perspective.jpg" height="171" width="320" /></a></div>
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This knowledge has been a resource which I have found very useful in my drawings and paintings. After a couple of times rehearsing the process it becomes fairly easy to commit to memory. Additionally, after constructing a number of ellipses in this formal and structured way I suspect that most people will begin to get more accurate results when free-handing them without such a complex framework. </div>
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Going even further, some of you may have already picked up on the fact that the ellipses I have shown in perspective have thus far been in one point perspective with an ellipse that would be directly in front of us (the viewer). It is interesting to note what happens when the ellipse is moved left or right from this center position. In doing so the major and minor axes of the ellipse (as seen at the picture plane) will begin to rotate. They do however continue to stay perpendicular to one another. </div>
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There is still plenty more to share on this subject however my busy schedule means that I will have to return to the subject at another time. Yet I hope some of you will benefit from what I have been able to share. And as always, thanks for visiting.</div>
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<span style="font-family: "Times New Roman"; font-size: 12pt;"></span> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com16tag:blogger.com,1999:blog-7580430527071698103.post-76037703494481094082011-06-30T07:46:00.000-07:002011-06-30T07:46:22.684-07:00Returning to the Blog—A Few New Paintings to Share<!--[if gte mso 10]> <style>
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</style> <![endif]--> <div class="MsoNormal">Owing to a number of business and personal related obligations I haven't been able to post in quite a few months.<span style="mso-spacerun: yes;"> </span>During that time I have received a number of questions that would be great to answer via the blog.<span style="mso-spacerun: yes;"> </span>With these in mind, I am hoping to make a return to posting more regularly.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I thought I would get back into things with a few recent paintings.<span style="mso-spacerun: yes;"> </span>The second and third of these were started as demonstrations during workshops I taught earlier this year.<span style="mso-spacerun: yes;"> </span>These particular pieces have already found homes with collectors and so are no longer available, however I hope you enjoy getting to see them.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Thanks for stopping by!</div><div class="MsoNormal"><br />
</div><div style="text-align: center;"><a href="http://douglasflynt.com/constantcontact/two_planes_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="http://douglasflynt.com/constantcontact/two_planes_small.jpg" width="320" /></a> </div><div style="text-align: center;">"Planes" 8" x 16" oil on linen </div><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/constantcontact/sand_dollars_and_glass_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="http://douglasflynt.com/constantcontact/sand_dollars_and_glass_sm.jpg" width="320" /></a></div><div class="MsoNormal"></div><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
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</style> <![endif]--><div style="text-align: center;">"Sand Dollars and Glass" 8" x 10" oil on mounted linen </div><div class="MsoNormal"><br />
</div><span id="goog_1419603273"></span><span id="goog_1419603274"></span><span id="goog_1419603275"></span><span id="goog_1419603276"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/constantcontact/apples_with_cups_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="http://douglasflynt.com/constantcontact/apples_with_cups_sm.jpg" width="320" /></a></div><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
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</style> <![endif]--><div style="text-align: center;">"Apples and Measuring Cups" 8" x 10" oil on mounted linen </div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com5tag:blogger.com,1999:blog-7580430527071698103.post-79662984412448665482010-12-05T18:16:00.000-08:002010-12-05T18:16:24.524-08:00My Studio LightsI often get regular questions regarding the kind of lighting I use in my studio. At this time I do not have the good fortune to have natural light in my studio. However during my studies I became somewhat accustomed to some of the characteristics of natural light and so a number of years ago I started experimenting with building my own light boxes to try and gain some of those characteristics. After building a few lights a number of other artists who saw them asked about building some for themselves and so I put together a few photos of how they were built. Below is a photo of how I often set up for small still life pieces and some shots that I took while makes changes to one of the lights. I thought I would share the process and the materials involved incase it is useful for others out there. And incase you're not the tinkering type, I also put some links at the end to some lights on the market which may serve you just as well. Have fun taking a look!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqOhAfO65-9UMA_uT8jmXWB3KXGjwKvRhtBVS92A98DPOZlKqS2oyPbEwIxnwM2l8Chc-qMPeV51EpQXcZQECZt2bjCYOEV6RuWWF_yM0zMiq4-C_xwQ0Jx3nhW-QZPqsrhhJOnjU8MKJm/s1600/light_setup_w_cast_med.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqOhAfO65-9UMA_uT8jmXWB3KXGjwKvRhtBVS92A98DPOZlKqS2oyPbEwIxnwM2l8Chc-qMPeV51EpQXcZQECZt2bjCYOEV6RuWWF_yM0zMiq4-C_xwQ0Jx3nhW-QZPqsrhhJOnjU8MKJm/s320/light_setup_w_cast_med.jpg" width="212" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;">Here is the setup I often use for small still life pieces.<span style="mso-spacerun: yes;"> </span>The light has a mixture of <span class="yshortcuts">compact florescent bulbs</span>—usually four 6500K bulbs and one 5000K bulb.<span style="mso-spacerun: yes;"> </span></div><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wb_LRSfJUx6mWU5Shxw5Gdx5QInap2bTxbC3iByOTyW89oSYRrB1K9kvXNZUK5vBzy4HkbVvG55Ld-BlGDrqHeLjVub2nryZFhkms1WCQJOKHQQA16ndXjgIt00s1FTRMTvO1lXHM5wG/s1600/light_photo1+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wb_LRSfJUx6mWU5Shxw5Gdx5QInap2bTxbC3iByOTyW89oSYRrB1K9kvXNZUK5vBzy4HkbVvG55Ld-BlGDrqHeLjVub2nryZFhkms1WCQJOKHQQA16ndXjgIt00s1FTRMTvO1lXHM5wG/s320/light_photo1+copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 1</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAfy5ai0oMENLsVeexlWeuSBbpQF4c7BoHn-pso3tWAKjlOACVvKziXh_aZO2MIAfwRARPLflrzBKjkEYffLN6bQtJT08JzhyNkaD89Af1b5DwZ5O_w09Vhk2ZUDFa3X2BakE7NT8VVxMH/s1600/light_photo2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAfy5ai0oMENLsVeexlWeuSBbpQF4c7BoHn-pso3tWAKjlOACVvKziXh_aZO2MIAfwRARPLflrzBKjkEYffLN6bQtJT08JzhyNkaD89Af1b5DwZ5O_w09Vhk2ZUDFa3X2BakE7NT8VVxMH/s320/light_photo2.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 2</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="mso-spacerun: yes;">Photos 1 and 2 show the basic body of the light. This is the first light I built like this and I took these photos while making some modifications to it—upgrading the older design. On this model I used nuts and bolts with lock washers to fasten things together. For future models I used rivets which I would recommend. </span><span style="mso-spacerun: yes;"></span></div><br />
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The 4 light reflectors are 8 inches in diameter. The aluminum frame was constructed with 1/16" by 1/2" "L" channel lengths of aluminum. The rivets are 1/8" "medium" length aluminum rivets. The basic outer dimensions of the frame are 16" x 16" x 6" (not including the light reflectors).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ru7EpVTPy2EYxvTZ4th38bQkCgFCktoeCkDtaQSh-xHxwdvtpXfGaruuGnsxEyWkSOkKUYeEgBv8mp_MIsaYGcrTlPMp4tclBQdkNzIoci09uoha15tBkscLAKXqJqra-_rLYIxXCjfy/s1600/light_photo3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ru7EpVTPy2EYxvTZ4th38bQkCgFCktoeCkDtaQSh-xHxwdvtpXfGaruuGnsxEyWkSOkKUYeEgBv8mp_MIsaYGcrTlPMp4tclBQdkNzIoci09uoha15tBkscLAKXqJqra-_rLYIxXCjfy/s320/light_photo3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 3<br />
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</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photo 3 shows one of the 6" lengths of aluminum. </div><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0QKiE3MYYBx7ivXZPf88XGW0U_cVdx_Tsmg7MD7z3YRM0IOD2JUUt2rfVrXhwots3zIkBqhvx0oiZPMwY5coYoQMYp3_7rMplHvfww70er3FGoQn_Zy_g1H3-312wlgufh6cCDyJ2l1c/s1600/light_photo4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik0QKiE3MYYBx7ivXZPf88XGW0U_cVdx_Tsmg7MD7z3YRM0IOD2JUUt2rfVrXhwots3zIkBqhvx0oiZPMwY5coYoQMYp3_7rMplHvfww70er3FGoQn_Zy_g1H3-312wlgufh6cCDyJ2l1c/s320/light_photo4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 4</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUq0yp488d2h8piZaUP2WY8oOA1sdbysmeKXVy1I61ODaveTAFGKkWZrudAV5Jh5_pi_jtyFcx3MMrpjI9BK1NBdQZxv7raUOyPYnsA0KaGgIraQDH1xumAFlUsvx7_OMlMnpAmQYMiCX/s1600/light_photo5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUq0yp488d2h8piZaUP2WY8oOA1sdbysmeKXVy1I61ODaveTAFGKkWZrudAV5Jh5_pi_jtyFcx3MMrpjI9BK1NBdQZxv7raUOyPYnsA0KaGgIraQDH1xumAFlUsvx7_OMlMnpAmQYMiCX/s320/light_photo5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 5</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photos 4 and 5 show the piece that I fabricated so I could attach a handle. These were attached at the center on two opposite sides of the 16" x 16" frame (side attached to the reflectors).<span style="mso-spacerun: yes;"> </span>The piece was cut from an 1/8" thick "L" channel length of aluminum.<span style="mso-spacerun: yes;"> </span>It is approximately 2" in length.<span style="mso-spacerun: yes;"> </span>The hole has threads that accept a 1/4" #20 bolt.<span style="mso-spacerun: yes;"> </span>It was created using a "T handle or a tap wrench" and the correct sized drill bit. </div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwzetsnvTbuYHHgZ2r9en-N4gVOVy_P5IjEre3XSxAK5rtRTmAmWvlX10Wlwu6OJJfXfXeQ_tu75u-hgqnBKjiZJ4bNwN_WgCO2ayk7Sv7U_lIDbbFFypX62c_6c0LySeQBb8rsIcnHv2/s1600/light_photo6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="292" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwzetsnvTbuYHHgZ2r9en-N4gVOVy_P5IjEre3XSxAK5rtRTmAmWvlX10Wlwu6OJJfXfXeQ_tu75u-hgqnBKjiZJ4bNwN_WgCO2ayk7Sv7U_lIDbbFFypX62c_6c0LySeQBb8rsIcnHv2/s320/light_photo6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 6</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8fMp341F_Isw_8_cUDMr9DTi8mn27SrhtzIE19pZN9mgtbzugoUBgGHOpaoecrYsq4HpSgYDu42J1zhIR9AAtF1Bm0bTgJgSPtB-UCiOULLLLsl4h0sSzSakC9P7HTTcMSDcHAYTiVLFd/s1600/light_photo7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8fMp341F_Isw_8_cUDMr9DTi8mn27SrhtzIE19pZN9mgtbzugoUBgGHOpaoecrYsq4HpSgYDu42J1zhIR9AAtF1Bm0bTgJgSPtB-UCiOULLLLsl4h0sSzSakC9P7HTTcMSDcHAYTiVLFd/s320/light_photo7.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 7</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Dpr_rvHPZy0vLgNikId5oUgZEtkgG4_aK7l8s24YkEXFsL6RyBtA7LcBd84ss4uvCebG0kGmXY2q7D3u13AZO1ZiQaaT64OXqylcpDm92inachD_Qdvh0cupWCc79Jvr8xL7-O3PmxPh/s1600/light_photo8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Dpr_rvHPZy0vLgNikId5oUgZEtkgG4_aK7l8s24YkEXFsL6RyBtA7LcBd84ss4uvCebG0kGmXY2q7D3u13AZO1ZiQaaT64OXqylcpDm92inachD_Qdvh0cupWCc79Jvr8xL7-O3PmxPh/s320/light_photo8.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 8</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photos 6, 7 and 8 show a smaller different light I constructed that has a "U" shaped channel (made by adding an extra "L" channel) on three sides. I later decided this was perhaps the best way to go in order to hold the diffusion lens to be made later.<span style="mso-spacerun: yes;"> </span>The channel is a gap of about an 1/8th of an inch.</div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-shh9bBajIEN9xHdNs3rKCpxEgQFmteAEG9Otosf9MjjWU4Xom-xObcsoNdwTm5SuR3rcfCdsbN6R6iT86GavGPkVghDOItBri8kvazhxa_IXqGSVBWudniGfedM2OIh9MhhOMjH1Ca1w/s1600/light_photo9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-shh9bBajIEN9xHdNs3rKCpxEgQFmteAEG9Otosf9MjjWU4Xom-xObcsoNdwTm5SuR3rcfCdsbN6R6iT86GavGPkVghDOItBri8kvazhxa_IXqGSVBWudniGfedM2OIh9MhhOMjH1Ca1w/s320/light_photo9.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 9</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiBfu8FBvA-RTXdE6Dua6nvX3L0oSDOPWktixQeKJnrOl73KfqaHO0K1bNjoqTeDDVFr2o0OpdoNUxXLMZoPu6HFEcgxT3lKBlmwWrAzoQV1wuMMJEBtTIZZfHxqsW2crlya4PXrFb2al/s1600/light_photo10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiBfu8FBvA-RTXdE6Dua6nvX3L0oSDOPWktixQeKJnrOl73KfqaHO0K1bNjoqTeDDVFr2o0OpdoNUxXLMZoPu6HFEcgxT3lKBlmwWrAzoQV1wuMMJEBtTIZZfHxqsW2crlya4PXrFb2al/s320/light_photo10.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 10</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photos 9 and 10 show an extra center light that I added by cutting down another aluminum reflector.<span style="mso-spacerun: yes;"> </span>They also show the start and finish of enclosing the sides and rear openings.<span style="mso-spacerun: yes;"> </span>To do this I used aluminum flashing and rivets. On the rear I left the four corner spaces open to allow for air to circulate, helping to dissipate the heat.</div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTyeBT918JQqUNOV_I_wfvEU_xYsiPT03oshCtUx3Qc43Ia5Bb2IL5D45JIoKHiHawdBpNOkicQMNLtyew_Z8eLy5BiR2cc6LOQA-sJbPXm0NkopS9yOfZFrHe1lHdcRmjNQcUbUo_pxxV/s1600/light_photo11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTyeBT918JQqUNOV_I_wfvEU_xYsiPT03oshCtUx3Qc43Ia5Bb2IL5D45JIoKHiHawdBpNOkicQMNLtyew_Z8eLy5BiR2cc6LOQA-sJbPXm0NkopS9yOfZFrHe1lHdcRmjNQcUbUo_pxxV/s320/light_photo11.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 11</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4O237EaG3JG4B5Msmhl9IBHmH2aAZt3hslA1Y_lo8VvM9yZM5z71CUTfwIaoYIyoQm1oU2WJE-VfesYCfqo8XY42FGyn4dg4TLa1Jnk9JDszflk2r4bxWqdLAHTG5Bizu4hSJtNYtDvOU/s1600/light_photo12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4O237EaG3JG4B5Msmhl9IBHmH2aAZt3hslA1Y_lo8VvM9yZM5z71CUTfwIaoYIyoQm1oU2WJE-VfesYCfqo8XY42FGyn4dg4TLa1Jnk9JDszflk2r4bxWqdLAHTG5Bizu4hSJtNYtDvOU/s1600/light_photo12.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 12</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuAIJnK_Vztos0r5-q73IQQd0dZXKOoWvFucP-hV4341u7Ob1StZhKImhmARjYxQ2G33qu_ZCwdaZWEYxgCwDVCmOf87dRynWX4G9b4aagYM1NOEUiNpiCK6pKdUx3LSqR8nFzAxJ8je1P/s1600/light_photo13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuAIJnK_Vztos0r5-q73IQQd0dZXKOoWvFucP-hV4341u7Ob1StZhKImhmARjYxQ2G33qu_ZCwdaZWEYxgCwDVCmOf87dRynWX4G9b4aagYM1NOEUiNpiCK6pKdUx3LSqR8nFzAxJ8je1P/s1600/light_photo13.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 13</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdvw2PWWpZT27kHRSfh1OX1Kf5pCyBY0jJyXH6eb3kLf1rUXF8VJM3vp-dXwd43_Y3-zkDVLxiLPCNVQpObDCzHoiT97Q7W7Ka9pHE-Hq8WDqeo0oxRTXeq4ICWCm70hqMHVGf-jBIHkm/s1600/light_photo14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdvw2PWWpZT27kHRSfh1OX1Kf5pCyBY0jJyXH6eb3kLf1rUXF8VJM3vp-dXwd43_Y3-zkDVLxiLPCNVQpObDCzHoiT97Q7W7Ka9pHE-Hq8WDqeo0oxRTXeq4ICWCm70hqMHVGf-jBIHkm/s320/light_photo14.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 14</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5EZY7Nxu8iztLk5sgzl292a5sPZFUeKb77bj0vboqosHYubWEeAitSvcpJXkkmSU-HSzPNt5RDnWYl6jqRHN9HuJTUdFlCc-Mx8FtIAK0u_d4bcGAtqLT4FeatwokLlNrLCqugk4FY4A9/s1600/light_photo15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5EZY7Nxu8iztLk5sgzl292a5sPZFUeKb77bj0vboqosHYubWEeAitSvcpJXkkmSU-HSzPNt5RDnWYl6jqRHN9HuJTUdFlCc-Mx8FtIAK0u_d4bcGAtqLT4FeatwokLlNrLCqugk4FY4A9/s1600/light_photo15.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 15</td></tr>
</tbody></table>Photos 11-15 show the arm handle/bracket that I fabricated so that the unit can be tilted and mounted on a sturdy tripod. Most of the handle/bracket was constructed with 1/8" thick 3/4" "L" channel lengths of aluminum and 1/16" thick 1/2" "L" channel lengths of aluminum for the corner braces. At the ends that attach to the light's frame I drilled 1/4" holes for carriage bolts to go through. I then threaded a 1/4" # 20 carriage bolts through the pieces I had earlier tapped out (to create threads)—adding spacers, washers and large nylon wing nuts which can be tightened down so that the angle of the light can be locked in place.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5V87ZNDIiw0GfjuxQ9056obrx3IKmkXTJfBueIrkAyaND6PFzJtXkZpWiRmvbu2fTORFITOh-Ec71PBeyKpyXgj5v7qWFs-RRerHSll2kjifRj7dzraZiOPtFjUv9Ry2wiTeQ14rOsE1/s1600/light_photo16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH5V87ZNDIiw0GfjuxQ9056obrx3IKmkXTJfBueIrkAyaND6PFzJtXkZpWiRmvbu2fTORFITOh-Ec71PBeyKpyXgj5v7qWFs-RRerHSll2kjifRj7dzraZiOPtFjUv9Ry2wiTeQ14rOsE1/s1600/light_photo16.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 16</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photo 16 shows a tapped out hole (to create threads) put at the center of the u-shaped handle/bracket so that the whole unit can be put onto a sturdy tripod.</div><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFVW2Qsw6Yz9tZ3qx6iYUlYKs3SiN_GR5Y_viCWwzyreyWV2APpSAjQCiXalQqD274gatwDcK23sD4vcRo15tNamORFLvn3dWXUqLtWANJoi_AR1PcwXA8OYBkkB-kHHSKXOl7ALsdlb8/s1600/light_photo17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFVW2Qsw6Yz9tZ3qx6iYUlYKs3SiN_GR5Y_viCWwzyreyWV2APpSAjQCiXalQqD274gatwDcK23sD4vcRo15tNamORFLvn3dWXUqLtWANJoi_AR1PcwXA8OYBkkB-kHHSKXOl7ALsdlb8/s320/light_photo17.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 17</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQd6PKQSnhd7EoMOVhLHZqLpMlfcG1wFCUR7s3g2H1u5FOohJawRsH_-7qxvYmszpMTnjSXKp6mJq23i-SIrPKd2epkzjBZdqRQxlP4AtrJXNpCOWaO3vjmVZuuLAMhUVLduPi9OAkNX6/s1600/light_photo18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQd6PKQSnhd7EoMOVhLHZqLpMlfcG1wFCUR7s3g2H1u5FOohJawRsH_-7qxvYmszpMTnjSXKp6mJq23i-SIrPKd2epkzjBZdqRQxlP4AtrJXNpCOWaO3vjmVZuuLAMhUVLduPi9OAkNX6/s320/light_photo18.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 18<br />
</td></tr>
</tbody></table>Photos 17 and 18 show the diffusion lens in place and by itself. I cut it down from a 2' x 2' piece I purchased. I cut the corners off to allow for air to circulate dissipating heat. I also sanded the edges to remove sharp spots and lessen the likelihood of it cracking.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHcd_PJ6K4z0R_xQUV5LPRr9JfkC6EIzkE94Y5C29xUmpBWGlE9GVQdK3wiwkteE71aRH_1hDeng8is-STvtE9tJH96y1Q8yi1MmmQmLI9l1SQ0f7YxbBOIMu4DCtn9XYRWAig97W3ysW6/s1600/light_photo19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHcd_PJ6K4z0R_xQUV5LPRr9JfkC6EIzkE94Y5C29xUmpBWGlE9GVQdK3wiwkteE71aRH_1hDeng8is-STvtE9tJH96y1Q8yi1MmmQmLI9l1SQ0f7YxbBOIMu4DCtn9XYRWAig97W3ysW6/s320/light_photo19.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 19</td></tr>
</tbody></table><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLMKpBWxNDgqYR-bvD0hR-XMlWsGJSB2Wpi_9kMwoQzeny85gDpyPMkdbvt1gf8MXcBwVf4J_7J97v0WSex-OASFT8zeYowqVrVs3ghAwixDVuX9IiGkjYlDjUO81Is7OLNQVaP0KzCAA/s1600/light_photo20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="269" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLMKpBWxNDgqYR-bvD0hR-XMlWsGJSB2Wpi_9kMwoQzeny85gDpyPMkdbvt1gf8MXcBwVf4J_7J97v0WSex-OASFT8zeYowqVrVs3ghAwixDVuX9IiGkjYlDjUO81Is7OLNQVaP0KzCAA/s320/light_photo20.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo 20</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none;">Photos 19 and 20 show the bulbs added and the light sockets attached. I later wired all of the cords together into one plug. </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqOhAfO65-9UMA_uT8jmXWB3KXGjwKvRhtBVS92A98DPOZlKqS2oyPbEwIxnwM2l8Chc-qMPeV51EpQXcZQECZt2bjCYOEV6RuWWF_yM0zMiq4-C_xwQ0Jx3nhW-QZPqsrhhJOnjU8MKJm/s1600/light_setup_w_cast_med.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqOhAfO65-9UMA_uT8jmXWB3KXGjwKvRhtBVS92A98DPOZlKqS2oyPbEwIxnwM2l8Chc-qMPeV51EpQXcZQECZt2bjCYOEV6RuWWF_yM0zMiq4-C_xwQ0Jx3nhW-QZPqsrhhJOnjU8MKJm/s320/light_setup_w_cast_med.jpg" width="212" /></a></div><br />
And finally the light in action again! As promised here are some links to some lights that should give a similar result:<br />
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<a href="http://www.bhphotovideo.com/c/product/479658-REG/Impact_VA903_VA903_Five_Lamp_Fluorescent.html">http://www.bhphotovideo.com/c/product/479658-REG/Impact_VA903_VA903_Five_Lamp_Fluorescent.html</a><br />
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<a href="http://www.bhphotovideo.com/c/product/479659-REG/Impact_VA_905_Cool_Light_IX_Nine.html">http://www.bhphotovideo.com/c/product/479659-REG/Impact_VA_905_Cool_Light_IX_Nine.html</a> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com12tag:blogger.com,1999:blog-7580430527071698103.post-61673031983978372772010-11-27T09:24:00.000-08:002010-11-27T11:26:23.690-08:00Workshops in 2011Hi everyone, <br />
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For those of you interested, I wanted to go ahead and post the workshops and demonstrations I have scheduled thus far for 2011. As some of you may already know, I also offer private one-on-one workshops catered to an individual participant's particular questions and challenges. For further information on this type of workshop please send me an e-mail at:<br />
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<a href="mailto:workshops@douglasflynt.com">workshops@douglasflynt.com</a><br />
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As always to check on workshop updates, read comments by workshop attendees, view online demonstrations, or view recommended books and websites, please visit the following link on my website:<br />
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<a href="http://www.douglasflynt.com/teaching.html">http://www.douglasflynt.com/teaching.html</a><br />
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For those of you that are able to participate in a workshop or attend a demonstration I look forward to seeing you in 2011!<br />
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<div style="text-align: center;"><strong><span style="font-size: large;">2011 Workshops and Demonstrations:</span></strong></div><div style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdYiEPlWD2UiX9QSNV2oT9x2fIMuc_iuHbxjB1O860Yc601lMZe60p3PjHMXWgP15n0XO7kfHbtRZvcxvL_QTBXICbcXb-9fn2WNmunAHXHt5aseW3bAhC6cb_GLlYX3bKpLHuQw5bM9MU/s1600/try2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="72" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdYiEPlWD2UiX9QSNV2oT9x2fIMuc_iuHbxjB1O860Yc601lMZe60p3PjHMXWgP15n0XO7kfHbtRZvcxvL_QTBXICbcXb-9fn2WNmunAHXHt5aseW3bAhC6cb_GLlYX3bKpLHuQw5bM9MU/s320/try2.jpg" width="320" /></a></div><br />
<div style="text-align: center;"><span style="font-size: large;"><span style="font-size: small;"><strong>Demonstration: Portrait with Oils</strong></span></span><br />
<div style="text-align: center;"><span style="font-size: small;">(for the Portrait & Figure Painters Society of SW Florida, <a href="http://www.portraitandfigure.org/">http://www.portraitandfigure.org/</a>)</span></div></div><div align="center"><span style="font-size: small;">January 11, 2011, 10:30 am - 1:30 pm</span></div><div align="center"><span style="font-size: small;">(Cost: $10 members, $15 non-members)</span></div><div align="center"><span style="font-size: small;">Robb & Stucky Interiors Community Room</span></div><div align="center"><span style="font-size: small;">13170 S. Cleveland Avenue</span></div><div align="center"><span style="font-size: small;">Fort Myers, FL 33907</span><span style="font-size: small;"><br />
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</div><div align="center" style="text-align: center;"><span style="font-size: small;"><strong>Workshop: Still Life Painting in Oil</strong></span></div><div align="center" style="text-align: center;"><span style="font-size: small;">February 28 - March 4, March 7 - 11, 2011 (10 day intensive)</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">(Cost: $875)</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">Artist's Studio Space</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">Fort Myers, FL</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">For more information please click here:</span></div><div align="center" style="text-align: center;"><span style="font-size: small;"><a href="http://www.douglasflynt.com/2011_still_life_painting_workshop_description.html">http://www.douglasflynt.com/2011_still_life_painting_workshop_description.html</a></span></div><span style="font-size: small;"></span><span style="font-size: small;"></span><br />
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</div><div align="center" style="text-align: center;"><span style="font-size: small;"><strong>Workshop: Portrait Painting in Oil</strong></span></div><div align="center" style="text-align: center;"><span style="font-size: small;">March 21 - 25, March 28 - April 1, 2011 (10 day intensive)</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">(Cost: $975 - includes model fees)</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">Artist's Studio Space</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">Fort Myers, FL</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">For more information please click here:</span></div><div align="center" style="text-align: center;"><span style="font-size: small;"><a href="http://www.douglasflynt.com/2011_portrait_painting_workshop_description.html">http://www.douglasflynt.com/2011_portrait_painting_workshop_description.html</a></span></div><span style="font-size: small;"></span><span style="font-size: small;"> </span> <br />
<div align="center" style="text-align: center;"><br />
</div><div align="center" style="text-align: center;"></div><div align="center"></div><div align="center"></div><div align="center" style="text-align: center;"><span style="font-size: small;"><strong>Workshop: Still Life Painting in Oil</strong></span></div><div align="center" style="text-align: center;"><span style="font-size: small;">Summer, 2011 - exact dates to be announced (10 day intensive)</span></div><div align="center" style="text-align: center;"><span style="font-size: small;">The Grand Central Academy of Art </span></div><div align="center" style="text-align: center;"><span style="font-size: small;">New York, NY</span></div><div align="center" style="text-align: center;"><span style="font-size: small;"><a href="http://grandcentralacademy.classicist.org/index.html">http://grandcentralacademy.classicist.org/index.html</a></span><span style="font-size: small;"><br />
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<div style="text-align: center;"><span style="font-size: small;"><strong>Workshop: Portrait Painting in Oil</strong></span></div><div style="text-align: center;"><span style="font-size: small;">August 22 - 26, August 29 - September 2 (10 day intensive)</span></div><div style="text-align: center;"><span style="font-size: small;">(Cost: Early Registration $1100, Due June 30th, 2011</span></div><div style="text-align: center;"><span style="font-size: small;"></span></div><div style="text-align: center;"><span style="font-size: small;">Late Registration $1200, After June 30th, 2011)</span></div><div style="text-align: center;"><span style="font-size: small;">Bay Area Classical Artist Atelier</span></div><div style="text-align: center;"><span style="font-size: small;">Belmont, CA</span></div><div style="text-align: center;"><span style="font-size: small;">For more information please click here:</span></div><div style="text-align: center;"></div><div style="text-align: center;"><span style="font-size: small;"><a href="http://bacaa2010.squarespace.com/workshops/douglas-flynt-august-22-september-2.html">http://bacaa2010.squarespace.com/workshops/douglas-flynt-august-22-september-2.html</a></span></div></div><div align="center"></div><div align="center"></div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com0tag:blogger.com,1999:blog-7580430527071698103.post-8334190316773921232010-09-19T15:48:00.000-07:002011-10-27T11:22:16.440-07:00Using a Sphere to Understand Light on Complex Forms<span style="font-size: xx-small;">(UPDATE 10/27/11 -For French translation of this post please click "<a href="http://douglasflynt.blogspot.com/2011/10/more-french-translations-for-earlier.html">here</a>.") </span><br />
Recently I received a question that concerns an earlier image I posted awhile back in the article, <i>The Anatomy of Light on Form: Part II</i>. Here is the image:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s1600/figure4planeonspherewithcircles_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s320/figure4planeonspherewithcircles_sm.jpg" /></a></div><b><br />
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The question centers around how the use of a sphere, an object so very different from the complex forms of the cast, can help us to better understand how the light on this complex form (or other forms) works. And ultimately how we might utilize this knowledge to assist us in determining values and rendering.<br />
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My short answer is, that by understanding how light affects the simple forms of the sphere we can better understand how light affects the forms of a more complex object. However, this answer hardly seems adequate. For this reason I am going to endeavor to break down the connection between a sphere and a complex form further.<br />
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To do this, first I would like to start not with forms but with 2-dimentional geometrical shapes. First let's take an odd shape and place it next to a circle.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3LyiyhJ-0Gkqn4tEcHTyIUwQCVvZx9yuHApNRsvffSjMY1Ke-1merFf9xw7ge_XYaWSHtbQQm3y7X63t5uMfU_YB3ZLANOe8E0DuoHHozheNGYDaeSY8kNufKfvAwtBnhNacF5hlDkEJs/s1600/shape_circle1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><b><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3LyiyhJ-0Gkqn4tEcHTyIUwQCVvZx9yuHApNRsvffSjMY1Ke-1merFf9xw7ge_XYaWSHtbQQm3y7X63t5uMfU_YB3ZLANOe8E0DuoHHozheNGYDaeSY8kNufKfvAwtBnhNacF5hlDkEJs/s320/shape_circle1.jpg" /></b></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;">Let's say that we needed to replace a section of the odd shape's contour with a section of the circle. In doing so we would find that any section of line (when averaged in our minds to a straight single tilt) from the odd shape has a corresponding section of line or tilt (again when averaged to a straight line) within the circle. This is assuming that we could not rotate the sections of line if we removed them from their shape. </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiqbuygkv-Lv2m1hNqLQ1p9WohmthUutqtIOG7c-uXXREf0zPn4NL0zZO4EwEWgdItpzYPqm5pCtbY2P8tKZ5UVqFqErBjjMj5cnaT-OoogRmiAW5sMQKU6Sl68HRFue9auQeqaC5uP8x/s1600/shape_circle2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiqbuygkv-Lv2m1hNqLQ1p9WohmthUutqtIOG7c-uXXREf0zPn4NL0zZO4EwEWgdItpzYPqm5pCtbY2P8tKZ5UVqFqErBjjMj5cnaT-OoogRmiAW5sMQKU6Sl68HRFue9auQeqaC5uP8x/s320/shape_circle2.jpg" /></a></div><br />
It might also be mentioned that although the corresponding sections from the circle may be a close match in terms of their tilt or pitch they might not be the correct scale in terms of their size, this however could be overcome by using circles of different sizes.<br />
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So now we realize that a circle, in essence, contains all of the same line segments (averaged in or minds to straight lines), with their unique tilts or pitches, that we would find on a unique shape. <br />
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We now need to apply this same concept 3-dimensionally to the sphere and the cast that we originally looked at in our first picture. Instead of considering line segments (averaged to straight lines) we now need to visualize the form of the sphere and cast as averaged to planes. The following image might help you visualize the sphere with planes:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjYJuESMZapmiGKaSuagqC6JtFc0WYzsgrIxIuEHhtMOvTz8LEfWHvAw5pn9nK_vB7cK2JtOvO6isN41vur4A8b19j3p6K0UlLKl9NAyHeNd2eOYCqdAVYPpw_2MDAzlWrnNcbkyNsRXd/s1600/sphere_with_planes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjYJuESMZapmiGKaSuagqC6JtFc0WYzsgrIxIuEHhtMOvTz8LEfWHvAw5pn9nK_vB7cK2JtOvO6isN41vur4A8b19j3p6K0UlLKl9NAyHeNd2eOYCqdAVYPpw_2MDAzlWrnNcbkyNsRXd/s320/sphere_with_planes.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Each plane on the sphere has it's own value in relation to how much light it receives. Just like with the odd shape and the circle, if we consider the spatial orientation of a plane on the cast and find its corresponding plane on the sphere they both should be the same value (value equating to their pitch or spatial tilt), assuming they both are under the same lighting conditions. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s1600/figure4planeonspherewithcircles_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s1600/figure4planeonspherewithcircles_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s320/figure4planeonspherewithcircles_sm.jpg" /></a></div><br />
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<div class="MsoNormal" style="margin: 0in 0in 0pt;">This can lead us to begin to look less at the optical value of a plane and more at its spatial orientation in relation to a light source. On a complex form the amount of light a plane receives might be somewhat confusing to interpret but the same plane thought of in the context of a sphere reveals how much light it is receiving quite easily. Utilizing this conceptualization, it can be easily determined if a plane belongs to a region such as a halftone, or a highlight, not so much based upon its value but upon its orientation in space and context as part of the sphere. </div><br />
For instance in the image of the faceted sphere from earlier, the plane that appears as a highlight is rather obvious. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqqx0Iu_BPQn_NvUktPTW-EhHQ58s_XBDy1n_03LOfcFa40gKc18yIKyxrQanac67wxVcxVAfvEZETLpaWIZqK2DqwPDQrOyx2J85H9NAK8eZ7FFz94U-3FsSSQVl7b4bUop5Ibl06EKo2/s1600/sphere_with_planes_marked_highlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqqx0Iu_BPQn_NvUktPTW-EhHQ58s_XBDy1n_03LOfcFa40gKc18yIKyxrQanac67wxVcxVAfvEZETLpaWIZqK2DqwPDQrOyx2J85H9NAK8eZ7FFz94U-3FsSSQVl7b4bUop5Ibl06EKo2/s320/sphere_with_planes_marked_highlight.jpg" /></a></div><br />
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An artist painting the cast trying to identify highlights might not look for spots of light tone to identify them but instead look for planes that have the same corresponding spatial orientation as the highlight plane on the sphere. <br />
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Visualizing a sphere can be a conceptual way of keeping track of the part and the whole while still focusing only on a particular part (or parts) of a complex form. It is often noted that when painting in a "window shade" or "area by area" manner an artist may have a hard time keeping track of large value relationships—a problem of keeping track of the part in relation to the whole. This trouble can be overcome in some respects by conceptually referencing a real or imagined sphere under the same lighting conditions and then comparing planes from the object to the corresponding planes on a sphere. This is not entirely dissimilar from taking a road trip and tracking your progress on a map to maintain a sense of where you are, where things are in relation to you, and how much further you have to go. <br />
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Comparing two planes on the cast and then analyzing both on a sphere can also be a great way to compare their relative spatial relationships to aid in assigning them relative values. For instance two planes facing very much toward the light on the cast might appear to be almost the same value. However if you wish to make a very subtle distinction between them you could easily decide which is lighter and which is darker by plugging them both into a sphere and seeing which one receives more light. It might also be noted that despite one being darker than the other neither can get very dark in value because they are both very much out in the light and a great deal of planes exist on the sphere between them and the darker planes of the half tones. <br />
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These kinds of conceptual thoughts using a sphere can allow for very subtle distinctions between tones that optical assessments alone might not allow for. <br />
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This all leads back to my original explanation for using a sphere, where I stated that by understanding how light affects the simple forms of the sphere we can extrapolate to better understand how light affects the forms of a more complex object. As with many of the subjects that I have written about on this blog this line of thought could be explored in a much more full and robust discussion—but alas, my schedule doesn't permit me to do so.<br />
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Yet perhaps the next time you're painting an object you might just think about a sphere along side it and see if you begin to understand things differently, and consequently "see" in a slightly different way than perhaps you did before.<br />
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Thanks for taking a look!<br />
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<div align="center"></div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com11tag:blogger.com,1999:blog-7580430527071698103.post-35110485900958078772010-08-21T09:59:00.000-07:002011-10-27T11:21:30.588-07:00DIFFUSE TRANSMISSION AND TASTING THE RAINBOW<span style="font-size: xx-small;">(UPDATE 10/27/11 -For French translation of this post please click "<a href="http://douglasflynt.blogspot.com/2011/10/more-french-translations-for-earlier.html">here</a>.") </span><br />
<span style="font-size: xx-small;"> </span><br />
DIFFUSE TRANSMISSION <br />
<div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I have had a few requests to discuss how "diffuse transmission," which makes up the appearance of translucency, works. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Because I paint a great variety of materials in my still life work I encounter diffuse transmission quite regularly—perhaps in the light passing through milk (Figure1) or the light passing through the thin wall of a shell (Figure 2). However I also encounter it when doing figurative work and this seems to be where many people really take notice of it's effect—perhaps when looking at the intense high chroma reddish, orange seen in the ears of a person who is backlit.</div><div style="text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINe5ocot3oxGdxJML2hFmb-8Nv8rcCEL6f2ZjfXCafLgudsf2fdLbG1HZSiouUasDA5vW_E8bHOLt57RykfXl5RFiljwTHESyB9zB7z_i956qShrV4rjJBN4w47-Wd6O0zBwdIu1mUXkn/s1600/blackandwhiteforblog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINe5ocot3oxGdxJML2hFmb-8Nv8rcCEL6f2ZjfXCafLgudsf2fdLbG1HZSiouUasDA5vW_E8bHOLt57RykfXl5RFiljwTHESyB9zB7z_i956qShrV4rjJBN4w47-Wd6O0zBwdIu1mUXkn/s320/blackandwhiteforblog.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1. <i> Black and White</i> 8" x 6" Oil on linen</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34kSR2jcdIwPfr6coGDhRIazHniRatpe-hMkaBx9DP0DVcfX1v4gBReuLwizXxFttXVz0oti3ghJVWnKaG_xcr8Yv6XMb7uEfdxTsweLtBUshW3TnNUE78PzwFTQFixxg-u0g_lHRuoyE/s1600/Underingstanding+phi1forblog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34kSR2jcdIwPfr6coGDhRIazHniRatpe-hMkaBx9DP0DVcfX1v4gBReuLwizXxFttXVz0oti3ghJVWnKaG_xcr8Yv6XMb7uEfdxTsweLtBUshW3TnNUE78PzwFTQFixxg-u0g_lHRuoyE/s320/Underingstanding+phi1forblog.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2.<i> Understanding Phi</i> 10" x 16" Oil on Linen</td></tr>
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</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">As its name implies diffuse transmission deals with the diffuse component of light. And because this light has passed through the object it is described as "transmission." Diffuse transmission is composed of light that has entered a material, undergone subsurface scattering (losing wavelengths to absorption in the process) and then has been emitted back out of the material on the shadow side of the object. It is actually the same process as "diffuse reflection" except that the light has exited the material on the shadow side, instead of the light side, of the object. For this reason we should expect to observe diffuse transmission mainly on the shadow side of an object. On translucent materials that have some substantial thickness (such as a sphere vs. a sheet of paper) the diffuse transmission will appear just past the terminator or shadow line.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In terms of its affect on the appearance of color, diffuse transmission is usually darker in value than what is seen on the light side of the same object. This is due to the loss of light through absorption as the light passes through the object. However it will be higher in chroma than the color found on the light side of the object. This is because only certain wavelengths were absorbed, in effect filtering out some wavelengths while allowing others to pass through. It has been my experience that there may also be some shift of hue (often very slight) from what the local color appears to be on the light side of the object. Sometimes this may be because as the light travels through the object it encounters different layers of materials (each material absorbing different sets of wavelengths. However, I have often wondered if there are also other factors at work, based more on our perceptions with different relative proportions of wavelengths stimulating the eye differently—however that is something to be contemplated further at another time. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">TASTING THE RAINBOW</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">For a greatly simplified analogy, to understand what has already been stated, lets say I find myself with a huge bowl of Skittles candy that represents a certain quantity of light. Each candy with its own color might be a particular photon with a particular wavelength. I am standing on a stage in a filled auditorium with the audience representing all of the atoms that make up a particular object. In this analogy each person in the audience only likes a particular color of candy but for some reason no one in the room likes green. </div><div style="text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMzUG0ZiI2rB1yCheAngJxUK_jnOYA32PqOXsvRiHsrDhL-7tem5gohzyez11JJJpZxCekDOhXXoa1n5jZT3YVlWB3HDwdfkqOsPgp8Qg1_D9-uoNYH1Dvrlon-rZEcp0Pc1-E2445ZPJH/s1600/skittleslight.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMzUG0ZiI2rB1yCheAngJxUK_jnOYA32PqOXsvRiHsrDhL-7tem5gohzyez11JJJpZxCekDOhXXoa1n5jZT3YVlWB3HDwdfkqOsPgp8Qg1_D9-uoNYH1Dvrlon-rZEcp0Pc1-E2445ZPJH/s320/skittleslight.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Bowl of Light</td></tr>
</tbody></table><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I begin to toss out handfuls of Skittles to the first row which they proceed to eat assuming they get the color of candy they like. If they don't like the color or they are currently eating a piece, they can pass it on to someone else. However they can only pass a Skittle on 10 times. If no one eats it in that time they proceed to toss it back up onto the stage. This candy on stage makes up diffuse reflection. There is less candy than what we started with (hence less light) and although some of all of the colors should end up back on stage the proportion of green Skittles should be much greater (giving the appearance of green). </div><div style="text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfzV3EqpXirbtMW1KIzpbDXgtkTwEtvyDtRzmwE8Hv8gmHmeH6wFku642NvVEm3e3JG1EpeGs-V0CMzp0SS_fYUMwn10TQv3ZHN5Bq5ZqhKw9wG_zmObjB503rnbYc4A7UgD4xPi1mkzp9/s1600/skittleslight1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfzV3EqpXirbtMW1KIzpbDXgtkTwEtvyDtRzmwE8Hv8gmHmeH6wFku642NvVEm3e3JG1EpeGs-V0CMzp0SS_fYUMwn10TQv3ZHN5Bq5ZqhKw9wG_zmObjB503rnbYc4A7UgD4xPi1mkzp9/s320/skittleslight1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diffuse Reflection</td></tr>
</tbody></table><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">After all the leftovers are back on stage the audience having just started to work up a sugar high demands an encore! Not wanting to disappoint them I break open some new bags of skittles filling back up the bowl and start the process over again. However realizing that many people in the rows further back never got any candy the first time I allow them to pass on the candy 50 times. This time if no one eats it I ask them to toss the leftovers toward the lobby entrance in the rear of the auditorium. This time the candy left here makes up diffuse transmission. There is a lot less candy than what we started with (hence even greater loss of light) and a very large proportion of green Skittles (giving the appearance of a very high chroma green)</div><div style="text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdg6-JILi0sJXhBJgi65aTsiSbTwGdkel1ezDLTaIQs9y7hV1VguwzWoQe9M1gi36rOX_CO7EgKiqwNAm99HHexCxz7Tu44uaM_xuysDzkJWtpOnMXgHvZC8jUHk6R6eEB4_TynvgKUpHl/s1600/skittleslight2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdg6-JILi0sJXhBJgi65aTsiSbTwGdkel1ezDLTaIQs9y7hV1VguwzWoQe9M1gi36rOX_CO7EgKiqwNAm99HHexCxz7Tu44uaM_xuysDzkJWtpOnMXgHvZC8jUHk6R6eEB4_TynvgKUpHl/s320/skittleslight2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diffuse Transmission</td></tr>
</tbody></table><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">CONCLUSION</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Very often the phenomenon of diffuse transmission causes us to see beautiful glows of high chroma on an object or in spots throughout a scene. Accurately understanding what is occurring helps in capturing these glows with paint ( through "relative" relationships of color or "absolute" color matches). Getting this effect right communicates to the viewer the type of material being represented, giving a "truthful" or "realistic" effect and can also be beautiful in an aesthetic sense at the same time. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Thanks for taking a look!</div> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com2tag:blogger.com,1999:blog-7580430527071698103.post-418421557065739572010-07-25T13:43:00.000-07:002011-10-27T11:19:39.919-07:00The Composition of Light and J. G. Vibert<span style="font-size: x-small;">(UPDATE 10/27/11 -For French translation of this post please click "<a href="http://douglasflynt.blogspot.com/2011/10/more-french-translations-for-earlier.html">here</a>.") </span><br />
I was recently reading "The Science of Painting" by J. G. Vibert and came across a section where he discusses understanding the local color of an object in terms of the color spectrum of light and which wavelengths are absorbed vs. reflected. Here is a brief excerpt:<br />
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<blockquote>"If, on the contrary, a body sends back a part of the light received, and decomposes the rest, the colour of the coloured ray or of the mixture of coloured rays which it will send back will be of a colour more or less light, according to the quantity of light sent back.<br />
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Example: —A body which sends back the half of the light received, decomposing the remainder, and sending back only the red ray, gives the impression of half-white and a seventh of half-red, i.e. pink."</blockquote><blockquote>J. G. Vibert, The Science of Painting, trans. (from 8th edition) and ed. J. G. Vibert (London: Percy Young, 1892), 22</blockquote>Online text of book: <br />
<a href="http://books.google.com/books?id=LO8DAAAAYAAJ&printsec=frontcover&dq=The+science+of+painting+vibert&source=bl&ots=VGmKXHT7wr&sig=D__AAeHVIyvRXcOwfiA4uYgFh14&hl=en&ei=IjdMTIGxOoS8lQeNwMj4DQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBcQ6AEwAA#v=onepage&q&f=false">http://books.google.com/books?id=LO8DAAAAYAAJ&printsec=frontcover&dq=The+science+of+painting+vibert&source=bl&ots=VGmKXHT7wr&sig=D__AAeHVIyvRXcOwfiA4uYgFh14&hl=en&ei=IjdMTIGxOoS8lQeNwMj4DQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBcQ6AEwAA#v=onepage&q&f=false</a><br />
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Images of J. G. Vibert's work:<br />
<a href="http://www.artrenewal.org/pages/artist.php?artistid=134">http://www.artrenewal.org/pages/artist.php?artistid=134</a><br />
I found the text interesting because I sometimes think of a model which examines the light wavelengths present to keep track of the appearance of an object's color (in terms of hue, value and chroma). I make use of this model both in my own work and also in my teaching and thought I might share some of that information here.<br />
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I should point out that this model is not entirely truthful when dealing with the resulting color we perceive based upon the composition of light. I will endeavor to clarify this problem later in the post. Despite this flaw, as a model, it consistently works to keep track of how the color of an object appears to change based on the light it receives and then reflects.<br />
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As I have discussed in previous posts, light is composed of many different wavelengths and for our model I am going to classify them into 6 groups, namely red, orange, yellow, green, blue, and violet <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Linear_visible_spectrum.svg/1000px-Linear_visible_spectrum.svg.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" hw="true" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Linear_visible_spectrum.svg/1000px-Linear_visible_spectrum.svg.png" width="320" /></a></div><br />
(Note: This is different from Vibert who uses 7 colors—perhaps influenced by the writings of Newton.)<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/en/0/0a/Newton%27s_colour_circle.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" hw="true" src="http://upload.wikimedia.org/wikipedia/en/0/0a/Newton%27s_colour_circle.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Newton's Color Wheel</td></tr>
</tbody></table>To visualize the model I think of the colors in the form of a bar graph. All of the bars together add up to 100%. However, each bar individually only contributes about 16.7%. If all colors of light are present in a very high degree this translates to appearing very light in value. In this same scenario because all wavelengths are present they will neutralize one another giving the appearance of a neutral (achromatic) color. In this situation the resulting color would appear white. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu38Lwi6-NxbbxQZfLcEKFirwhsRD7dHdPishO5CyNU94qHWEHMsdQyoc2ljNZiG5Ss76EJvkOIi2tBeoJKLxUsiWoeTdUEszWO4MdTYEc0YNCDhN62KjEI1NC-rVeDZ9d8pUR41vDg9cA/s1600/Figure3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu38Lwi6-NxbbxQZfLcEKFirwhsRD7dHdPishO5CyNU94qHWEHMsdQyoc2ljNZiG5Ss76EJvkOIi2tBeoJKLxUsiWoeTdUEszWO4MdTYEc0YNCDhN62KjEI1NC-rVeDZ9d8pUR41vDg9cA/s320/Figure3.jpg" /></a></div><br />
(Note: The percentages of light in the diagrams and the resulting color are highly approximated. They are mainly for offering a rough visualization of the concept being discussed)<br />
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The absence of light would of course appear as black. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn36Z5XLPblokD5-YQaGtaSc2NP2QVTtPAZNWYSNm7FFat-TM5fRwArCGBsij2v2J94B2mb0kr7zfUMpwsWrZOy8JF87KOMzGqL4G5pxbl-4-_ENC-j8TpBYfJHDH4kzSkT_jYfBvj4k7K/s1600/Figure4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn36Z5XLPblokD5-YQaGtaSc2NP2QVTtPAZNWYSNm7FFat-TM5fRwArCGBsij2v2J94B2mb0kr7zfUMpwsWrZOy8JF87KOMzGqL4G5pxbl-4-_ENC-j8TpBYfJHDH4kzSkT_jYfBvj4k7K/s320/Figure4.jpg" /></a></div><br />
With less overall light present but all colors in equal proportion the result would still be chromatically neutral but darker in value—giving the appearance of a grey.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyphenhyphen9EhXRbklMq5M0uPMYcckAv1MGyOu8mwoYmFU6oV_l5_aqGuHgiFFHsKY1lYqH54nYNIk7AwLwA8024woGIpGetCB4PoahXpKhJksXk1hxDElOCt2WILZAJzbKpw1XD-Co2bvzlZbhbA/s1600/Figure5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghyphenhyphen9EhXRbklMq5M0uPMYcckAv1MGyOu8mwoYmFU6oV_l5_aqGuHgiFFHsKY1lYqH54nYNIk7AwLwA8024woGIpGetCB4PoahXpKhJksXk1hxDElOCt2WILZAJzbKpw1XD-Co2bvzlZbhbA/s320/Figure5.jpg" /></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/AVvXsEiowyHF4HH3ZfIMyqz-AFM_1dImZNE5dRxREtaNVV86IXxB3QfZRRAXpm4oiGyeP9ONrBisV8xlYZF4nwFkYE8Ft5KzBvVNTGUWTFsdTFpOhDQfjYeex9i0-tK2qMYv5c-IKWwyxidhVyVW/s1600/Figure6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiowyHF4HH3ZfIMyqz-AFM_1dImZNE5dRxREtaNVV86IXxB3QfZRRAXpm4oiGyeP9ONrBisV8xlYZF4nwFkYE8Ft5KzBvVNTGUWTFsdTFpOhDQfjYeex9i0-tK2qMYv5c-IKWwyxidhVyVW/s320/Figure6.jpg" /></a></div><br />
Along these lines and speaking in terms of the appearance of objects as composed from their reflected light, rather than the light source itself, Vibert offers the following:<br />
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<blockquote>"A body which absorbs part of the light and sends back the rest is grey. The whitest objects, therefore, are only very light grey, and the blackest very dark grey. However, the light which a grey body sends back is the same as that which is sent back by a white body: the difference is merely in quantity."</blockquote><blockquote>J. G. Vibert, The Science of Painting, trans. (from 8th edition) and ed. J. G. Vibert (London: Percy Young, 1892), 21</blockquote>Continuing with the model being presented, if only one color is present the result will be that hue. Because there are no other colors present this color will be at its highest chromatic intensity. However since there is less light present overall it will have darkened in value.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsu4J8574A6nMN36CMAEjqzyxmshlNsOpS2RjTRgSZtJKrtTJNMNv2BibpDEHPjDE9E3j-hpWDX65VMdvEMng7-6TL7HANH4Pr8o5NoiPFiyY3mgc6v9S2sokLIuy7dVVnt8VIq5JKRue/s1600/figure7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsu4J8574A6nMN36CMAEjqzyxmshlNsOpS2RjTRgSZtJKrtTJNMNv2BibpDEHPjDE9E3j-hpWDX65VMdvEMng7-6TL7HANH4Pr8o5NoiPFiyY3mgc6v9S2sokLIuy7dVVnt8VIq5JKRue/s320/figure7.jpg" /></a></div><br />
As there is less light of this particular color present it will continue to darken in value and appear to weaken in chroma.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpcGv0lYw_wmKu3menOfi7079IPuZU17fBzIuWx133Pg7gXairJ7ZC6cQcuPv9o6a9yEWsatccY3gnEea_LmsF7sEm5Cf5OEXGuLuqjSSRvTJ3G5F979EMncv6I1InM4U6o4Oq2T8gWHPW/s1600/figure8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpcGv0lYw_wmKu3menOfi7079IPuZU17fBzIuWx133Pg7gXairJ7ZC6cQcuPv9o6a9yEWsatccY3gnEea_LmsF7sEm5Cf5OEXGuLuqjSSRvTJ3G5F979EMncv6I1InM4U6o4Oq2T8gWHPW/s320/figure8.jpg" /></a></div><br />
If one color is present in it's full percentage but we add back in the other colors in equal proportion this increase in the amount of light will cause the value to lighten but the chroma to weaken.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsp3ln1Xb0b5Eful1YXmir-FQ2EsCN7NMRHjEVOlhfhCxN-BJHH0BaGxUsGOFUc3sLomtvKDTiFNeNZkUUS3u_t7dDxpU5H94iDqEjeug-qred_6VG5d7hTS7ZySUI8D0K4oeXXpwRpMrC/s1600/Figure+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsp3ln1Xb0b5Eful1YXmir-FQ2EsCN7NMRHjEVOlhfhCxN-BJHH0BaGxUsGOFUc3sLomtvKDTiFNeNZkUUS3u_t7dDxpU5H94iDqEjeug-qred_6VG5d7hTS7ZySUI8D0K4oeXXpwRpMrC/s320/Figure+9.jpg" /></a></div><br />
In looking at the model it may be useful to imagine the percentage of all colors equally present as equaling that percentage of white, the absence of light as equaling that percentage of black, and the percentage of color(s) present individually (not already included with our white percentage) as equaling the percentage of that color. By then combining these together we get some sense of what the resulting color might be. The following diagram should make this easier to grasp.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZRGczq_PWH-vdWfo3lUtOU99ng3lHJN_1Xd_mjn0oY_QhDmLNI2Mu3RkeZr0sZDT7RHMdIJnA0c4e6qqgGM43kv9ZjEzimBtUipe-oEJQxcMBmdUM9tvUbtE74KQVqBuXXpxYzQ2fr1yn/s1600/figure10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZRGczq_PWH-vdWfo3lUtOU99ng3lHJN_1Xd_mjn0oY_QhDmLNI2Mu3RkeZr0sZDT7RHMdIJnA0c4e6qqgGM43kv9ZjEzimBtUipe-oEJQxcMBmdUM9tvUbtE74KQVqBuXXpxYzQ2fr1yn/s320/figure10.jpg" /></a></div><br />
It needs to be mentioned that this model of light as it has been presented so far is based on the composition, or mixture, of wavelengths an object would reflect assuming full illumination. With less illumination, such as is found upon planes of an object "turning" from a light source, this "mixture" would be the same, but there would be less of the "mixture" overall. The result would cause the appearance of the local color's mixture to darken in value and weaken in chroma.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimo6mt9_QgdCiCnlQANqW0nZu1viK7hedXFGkiFMplOadka_tvpM_lROtQqEvl60g-e4JfYi7-59YPG3YgCdQK623M2k7SyO0HQ3hT8PfXupL_ici6kttCAK_omLNvp7IsGt9qvPewNQm2/s1600/figure11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimo6mt9_QgdCiCnlQANqW0nZu1viK7hedXFGkiFMplOadka_tvpM_lROtQqEvl60g-e4JfYi7-59YPG3YgCdQK623M2k7SyO0HQ3hT8PfXupL_ici6kttCAK_omLNvp7IsGt9qvPewNQm2/s320/figure11.jpg" /></a></div><br />
I mentioned earlier that there is an untruth with this model. This untruth lies in the fact that our perceptions of colors are due to combinations of various wavelengths so that just because we see a color does not mean that those light waves are actually present. A great example is that the screen you are viewing is composed of only 3 colors of light which are red, green and blue. Despite this you have experienced the color of orange in the diagrams I offered. However for our purposes the model will yield consistent perceptual results in trying to understand the relative changes to the appearance of objects when observing the loss or addition of certain assumed wavelengths—for instance when dealing with reflected light since the reflected light will have a different composition of wavelengths than the original light source.<br />
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There are many ways we can use this model to help explain what we see but they are more than I can post at this time. Perhaps in a future post I can use the model to explain particular examples—for instance how the reflected light from an object reflecting back onto itself can cause the object to appear even higher in chroma, even when there is less light present such as in a shadow. <br />
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Thanks for taking a look. Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com2tag:blogger.com,1999:blog-7580430527071698103.post-35218048627936210462010-06-30T16:05:00.000-07:002010-06-30T16:05:09.512-07:00"Dollars and Cents"For this post I thought I would share a recently finished painting entitled "Dollars and Cents." It is a small piece at only 6" x 12" and was painted in oil on a mounted linen panel. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://douglasflynt.com/constantcontact/dollars_and_cents_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153" ru="true" src="http://douglasflynt.com/constantcontact/dollars_and_cents_small.jpg" width="320" /></a></div><br />
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This particular piece is currently in transit to Nantucket, MA where it will be available for purchase from Cavalier Galleries. <br />
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You can visit their website by clicking on the following link:<br />
<a href="http://www.cavaliergalleries.com/html/home.asp">http://www.cavaliergalleries.com/html/home.asp</a> <br />
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Thanks for taking a look. Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com4tag:blogger.com,1999:blog-7580430527071698103.post-31844441141750887552010-06-16T09:55:00.000-07:002012-01-18T14:17:18.055-08:00Update on the Link between Value and Chroma<div class="MsoNormal"><span style="font-size: x-small;"><span>(Update 1/18/12) For a French translation of this post please click here for a downloadable PDF file:</span></span></div><span style="font-size: x-small;"> </span><div class="MsoNormal"><span style="font-size: x-small;"><span> <a href="http://douglasflynt.com/pdf_for_blog/update_on_the_link_between_value_and_chroma_french_translation.pdf">http://douglasflynt.com/pdf_for_blog/update_on_the_link_between_value_and_chroma_french_translation.pdf</a></span></span></div><div class="MsoNormal"><br />
</div>After my last post I had an e-mail exchange with Dr. David Briggs (who I had referenced in the post). He had some further information to share regarding the subject I was writing about along with some accompanying images. The information he shared concerns the anticipated trajectory through color space that occurs with a loss of light—particularly a distinction between computer color space models such as HSB or HSL and Munsell Color Space.” <br />
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HSB, HSL: <a href="http://en.wikipedia.org/wiki/HSL_and_HSV">http://en.wikipedia.org/wiki/HSL_and_HSV</a><br />
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Munsell Color Space: <a href="http://en.wikipedia.org/wiki/Munsell_color_system">http://en.wikipedia.org/wiki/Munsell_color_system</a><br />
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In light of this new information I wanted to share his comments and images. You will find the images directly below his text.<br />
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Dr. Briggs said:<br />
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<blockquote>"These lines we are drawing represent the set of points where, as brightness varies, the balance of wavelengths remains the same. Technically, these are called lines of uniform "chromaticity". As I've said on Dimensions of Colour, these lines maintain uniform HSB "hue" (H) and "saturation" (S), and appear in YCbCr space (the space I used for many of my illustrations) as perfectly straight lines radiating from the point of zero light energy.<br />
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More recently I've been looking into how these lines appear in Munsell space. The Munsell chroma scale fundamentally has a visual basis, and there is no in-built theoretical relationship between chroma and saturation. Nevertheless Ralph Evans reported that when projected onto a hue plane, paths of uniform chromaticity (and therefore uniform saturation) delineate simple straight-line relationships between lightness and chroma (Fig. 1, from Evans, The Perception of Colour, 1974). Surprisingly at first, however, these lines radiate from a point roughly one and a half Munsell value divisions below the Munsell zero value. I believe that this is because the Munsell zero value represents the light energy at the visual threshold of blackness, while the chromaticity lines are radiating from the actual point of zero light energy. Perhaps also surprisingly, for many hues these lines are somewhat curved when viewed on the hue plane; that is, as brightness changes they drift slightly in Munsell, i.e. perceived hue (but not in HSB "hue", H). Zsolt Kovacs' wonderful program drop2color has a facility for factoring in different brightnesses of illumination on paint colours, making it easy to illustrate these paths (Figure 2, 3).<br />
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I think an important practical consequence of these relationships is that the shading series for a brightly coloured surface goes nowhere near black paint! (Figure 2). This would explain why black paint is unsatisfactory as the darkest value of strongly coloured objects - for these it seems you might need to use the highest-chroma deep dark you can hit. I'd be very interested to know if you agree."</blockquote><br />
<div style="text-align: center;">Figure 1:</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZqypP0SqsZZpdu00JAJJooKRgFSr6eenGtcIcO_V6Z0VRNSGFhKyUrVz9PJuckmsvzn3SJRdlJwlHL3BuHKMPPyLTXUC3dF3ZfZDVOKYdV12APYr55l5-0B_k9sA_0EHhLV04VV7Xq35/s1600/Fig+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZqypP0SqsZZpdu00JAJJooKRgFSr6eenGtcIcO_V6Z0VRNSGFhKyUrVz9PJuckmsvzn3SJRdlJwlHL3BuHKMPPyLTXUC3dF3ZfZDVOKYdV12APYr55l5-0B_k9sA_0EHhLV04VV7Xq35/s320/Fig+1.jpg" /></a></div><br />
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<div style="text-align: center;">Figure 2:</div><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/AVvXsEiyEu0YeYn0dsnNMREXOiq4eDqv6QpJY1YABOyXCo-_YFQZUotJ7P-mSlgb4jHmQXxrNz2wmRay1ro-hpxYTG5gT3hBgzwZu-dv5gQbnF6V18n7iTMn2hQjOBVbv5Uqam2D6oMLBe844cCW/s1600/Fig+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyEu0YeYn0dsnNMREXOiq4eDqv6QpJY1YABOyXCo-_YFQZUotJ7P-mSlgb4jHmQXxrNz2wmRay1ro-hpxYTG5gT3hBgzwZu-dv5gQbnF6V18n7iTMn2hQjOBVbv5Uqam2D6oMLBe844cCW/s320/Fig+2.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;">Figure 3:</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/AVvXsEglPIwCOXY7IZwL-7uVJ1dJdaIlOudemneybCb7MF-NvLQIX61QDSRmG59PteQrhJIGz4OEzuXP-GJONFgyUxDsIm2uY6ETbbwARn2Q4KimhswduBuNeY4kZq6ZVT89rjdtTm7cGK1fepS9/s1600/Fig+3+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPIwCOXY7IZwL-7uVJ1dJdaIlOudemneybCb7MF-NvLQIX61QDSRmG59PteQrhJIGz4OEzuXP-GJONFgyUxDsIm2uY6ETbbwARn2Q4KimhswduBuNeY4kZq6ZVT89rjdtTm7cGK1fepS9/s320/Fig+3+.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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The implications are that the premise for the trajectories I offered in the post will continue to hold reasonably true in computer color space models such as HSB but that a visualization for this trajectory in Munsell Color Space would be somewhat altered. When visualizing the trajectory in Munsell Color Space we need to visualize a base line trajectory from an object’s local color to a location below Munsell’s zero value. Additionally, a certain allowance would have to be made for some slight hue drifts from a true straight line trajectory. <br />
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I hope that others will find this information useful just as I did. Thanks David. Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com2tag:blogger.com,1999:blog-7580430527071698103.post-11313402059269470472010-06-13T14:12:00.000-07:002012-01-18T13:38:37.244-08:00The Link between Value and Chroma<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style>
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<div class="MsoNormal"><span style="font-size: x-small;">(Update 1/18/12) For a French translation of this post please click here for a downloadable PDF file:</span></div><div class="MsoNormal"><span style="font-size: x-small;"><a href="http://douglasflynt.com/pdf_for_blog/the_link_between_value_and_chroma_french_translation.pdf">http://douglasflynt.com/pdf_for_blog/the_link_between_value_and_chroma_french_translation.pdf</a></span></div><div class="MsoNormal"><br />
</div>Since posting the articles about light on form I have received a number of questions regarding the link between chroma and value. Because of this, I thought I would put together a few diagrams to help illustrate how I think about the two. Please keep in mind they are approximated for illustration purposes only and are limited by my inexperience with the software programs I created them with. <br />
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In order to understand how value and chroma are related I first distinguish between the specular and diffuse components of light (which I discussed in the earlier articles). With this distinction I can analyze what is happening to both separately. In areas of diffuse reflection (form-light) the appearance of value and chroma are linked because they both shift with the amount of light the surface receives to begin with. As I previously explained in The Anatomy of Light on Form: Part I:<br />
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<blockquote>“As the surface angles away from the light source fewer light rays, or streams of photons, can strike any given unit of surface area. Fewer striking light rays means less light is later re-emitted to carry the information about the local-color of the object to our eye. Absence of light is perceived as darkness or achromatic blackness—as when all lights are turned off. With less light reflecting the local-color back to the viewer's eye the amount of darkness increases causing the local-color's appearance to simultaneously darken in value and weaken in chroma”</blockquote><blockquote><a href="http://douglasflynt.blogspot.com/2010/04/anatomy-of-light-on-form.html">http://douglasflynt.blogspot.com/2010/04/anatomy-of-light-on-form.html</a></blockquote>It is useful to think of areas composed of specular reflection (like high-lights) as obscuring or overriding the diffuse reflection one would normally see. It is also good to remember that the more light an object receives the greater its potential to display its true local color as long as the areas being viewed are not affected by specular reflections. In areas of form dominated by diffuse reflection the greater amount of light will visually increase the chroma (getting us closer to the object’s true local color) rather than “washing it out,” as is often seen in an overexposed photograph. <br />
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Within a color space model such as Munsell color space, once the local color is known (found where the object receives the most light not obscured by specular reflection) a straight line proceeding from that point toward the bottom center (achromatic black) displays the trajectory its appearance will follow as the light diminishes. This path also reveals the linked rate of darkening in value and weakening of chroma that we should expect to see.<br />
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For myself I don’t actually chart this trajectory for given objects but approximate it by eye and feel as I paint. This is much in the same way as I might conceive of an object’s vanishing point in space without actually drawing in the orthogonal lines used in perspective drawing. <br />
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The following image shows a much approximated rendering of an orange sphere and a slice of color space (again much approximated in both its construction and line trajectory) containing the color pathway the loss of light would create. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMwZm3VzyvFKgq6DClwldZOxJaeLoSuYrAtCQQuWBp5gZZrjfUrZXiUZVSM5Od5wXyMeJAWKk4UmG-5SoNxVYbaxg4AyLauNM8vQWVEGL6Y1HlAl1TWLb6l9GOGcugxRvHCkEFAVe-luY6/s1600/chroma_decrease_orange_sphere_df.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMwZm3VzyvFKgq6DClwldZOxJaeLoSuYrAtCQQuWBp5gZZrjfUrZXiUZVSM5Od5wXyMeJAWKk4UmG-5SoNxVYbaxg4AyLauNM8vQWVEGL6Y1HlAl1TWLb6l9GOGcugxRvHCkEFAVe-luY6/s320/chroma_decrease_orange_sphere_df.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">The next image instead shows the deviation from that path which would occur if we were to go through a region of specular reflection in the form of a highlight and assuming a achromatic (white) light source. In this highlight region the pathway will move toward the upper center of color space (achromatic white) and then return to the original pathway upon exiting it.</div><div class="separator" style="clear: both; text-align: left;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyfvI6lGc7BspITNr0fYwQJEw7VzVeDqDm9EkPLxz8kzPd3m69yb4yR-SgsiJmKhL_VeFwYmQNppwTZPGBRYLEkia5iu8dvTdVn5GpnxWwTObtmnPotF330yKeCeI_eCipyocxmrOzsz0V/s1600/chroma_decrease_orange_sphere_dfwsf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyfvI6lGc7BspITNr0fYwQJEw7VzVeDqDm9EkPLxz8kzPd3m69yb4yR-SgsiJmKhL_VeFwYmQNppwTZPGBRYLEkia5iu8dvTdVn5GpnxWwTObtmnPotF330yKeCeI_eCipyocxmrOzsz0V/s320/chroma_decrease_orange_sphere_dfwsf.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">It should be noted that this pathway may in reality be further altered by other factors such as diffuse inter-reflection (reflected light) or diffuse transmission (translucency). </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">The following images show another example of these pathways for a different local color. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkO_70PwyN_mF-bP5u7IfvrLOslihqYsTA4rpv-0EiEQREGvgXeEPbj6SQzxCk7k8_NZSFUgm3XxriPgR-3w9BkiEgOtYbOi5jli6f9nixcO4VhqBZNYj3hFUnDT5D6fIkzPOsjCa7kXA/s1600/chroma_decrease_lowchrorange_sphere_df.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkO_70PwyN_mF-bP5u7IfvrLOslihqYsTA4rpv-0EiEQREGvgXeEPbj6SQzxCk7k8_NZSFUgm3XxriPgR-3w9BkiEgOtYbOi5jli6f9nixcO4VhqBZNYj3hFUnDT5D6fIkzPOsjCa7kXA/s320/chroma_decrease_lowchrorange_sphere_df.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2CmOnpIwLltqGTaIb_Vi6lin4gCSVPFPyb8UzuEckM8-w6qin012b3l7FmGlNdQzUsrn3aunTs__ttNGsh3Izbfph00wGTCXr6jlUZT1NgeU6DMXdA512rowfJNmgpIKn777rl5hDzc9/s1600/chroma_decrease_lowchrorange_sphere_dfasr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2CmOnpIwLltqGTaIb_Vi6lin4gCSVPFPyb8UzuEckM8-w6qin012b3l7FmGlNdQzUsrn3aunTs__ttNGsh3Izbfph00wGTCXr6jlUZT1NgeU6DMXdA512rowfJNmgpIKn777rl5hDzc9/s320/chroma_decrease_lowchrorange_sphere_dfasr.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">I hope the illustrations I have offered give a sense of how a person might conceptualize the relationship between value and chroma. Thanks for stopping by. </div><br />
For more authoritative reading on this subject I would highly recommend David Briggs’s website, <a href="http://www.huevaluechroma.com/">http://www.huevaluechroma.com/</a>. The following excerpt further addresses what has already been said and also denotes that the main path of diffuse reflection in color space (without other variables) falls along a “line of uniform saturation:” <br />
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<blockquote>“If a surface of uniform colour turns progressively away from a single light source, the diffuse reflection from its surface steadily decreases in brightness. We would of course expect to represent this in a painting with a series of colours diminishing in lightness, but what would be the chroma of these colours? The answer lies in the fact that because the colour of the illuminant and the colour of the surface are both constant, the proportion of the different wavelengths in the reflected light will not change. Consequently the hue and saturation of the reflected light remain constant, while the brightness diminishes. The series of colours we use to represent such a surface, here called a shading series, should therefore lie along a line of uniform saturation; such lines radiate from the black point of the colour solid (Figure10.1). Along such a line, chroma decreases steadily as lightness decreases, at the precise rate necessary to keep the saturation of light from the surface constant.”</blockquote><br />
<blockquote><a href="http://www.huevaluechroma.com/101.php">http://www.huevaluechroma.com/101.php</a></blockquote><br />
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<blockquote></blockquote> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com4tag:blogger.com,1999:blog-7580430527071698103.post-57008171373590377902010-05-29T06:51:00.000-07:002012-01-18T14:14:48.065-08:00The Anatomy of Light on Form: Part II<div align="center" class="MsoNormal" style="text-align: left;"><span style="font-size: x-small;"><b><span class="Apple-style-span">(Update 1/18/12) For a French translation of this post please click here for a downloadable PDF file:</span></b></span></div><div class="MsoNormal"><div class="MsoNormal"><span style="font-size: x-small;"><b><span class="Apple-style-span"><a href="http://douglasflynt.com/pdf_for_blog/the_anatomy_of_light_part_ii_french_translation.pdf">http://douglasflynt.com/pdf_for_blog/the_anatomy_of_light_part_ii_french_translation.pdf</a></span></b></span></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: x-large;"><br />
</span></b></div><b><span class="Apple-style-span" style="font-size: x-large;"><span style="color: black;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Now that it has been published I can share with you the second part of a two part article I was asked to write for the Portrait Society of America. It was originally published in the </span></span><i><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Journal of the Portrait Society of America</span></span></i><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">, Volume XII, Issue No. 47. You can find the first part of the article in my April posts. I hope you enjoy it.</span></span></span></span></b></div><b><br />
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<div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="font-size: 21px; font-weight: 800;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></span></b></div><div align="center" class="MsoNormal" style="text-align: center;"><b><b><span style="font-size: 16pt;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">The Anatomy of Light on Form: Part II</span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></span></b></b></div><div align="center" class="MsoNormal" style="text-align: center;"><b><b><span style="font-size: 10pt;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">by Douglas Flynt ©2010</span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></span></b></b></div><div align="center" class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: 13px; font-weight: 800;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></span></b></div><div class="MsoNormal" style="text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-size: 13px; font-weight: 800;"></span></span></b></div><b><span class="Apple-style-span" style="font-size: small;"></span></b><br />
<div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">In the previous article we stayed much to the physics of what is occurring as light illuminates a form or object, particularly as it concerns our visual perception. In this second part we will look at how this information can be applied through assessment and application. Similar to the great diversity in procedure employed by anatomically informed artists when drawing the figure the information can be applied in a wide variety of ways. For this reason I have decided to offer it based upon some of my own working thoughts and practices. The reader can then adopt, adapt, or reject these thoughts and practices as they see fit. </span></b></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Color Terminology</span></span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></b></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">As we continue it is necessary to speak in terms of color since the visual artist cannot express light and how it reveals forms without it. I have approached this with an awareness that color terminology varies greatly among artists, especially in the realm of color models and color space, or the arrangement of colors in three dimensions owing to their attributes. The attributes of color that I generally think in terms of are: "hue," a color's quality of being reddish, orangish, yellowish...etc, "value" its lightness or darkness, and chroma, its degree of departure from a particular hue toward a perfectly neutral grey without shifting in value.</span></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Questions and Assessment</span></span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></b></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">When painting, although I have to ask myself about the colors I am seeing and their relationships as a starting point, I feel I can't leave this as my final assessment in determining the correctness of what I have created. I also need to include questions such as: What is happening? What does each mark or stroke of color I put down imply in terms of form and light? And ultimately, does what I have created make sense in terms of how light illuminates form? A similar comparison can be made to an artist drawing the contour of a figure. When doing so they may ask themselves about the tilts and points that compose the contour but ultimately they need to determine if the contour in their drawing correctly reflects the anatomical structure of the figure.</span></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Visualizing the Light Trajectory</span></span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></b></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">I often visualize the spatial relationship between the object and the light. I evaluate the trajectory that the light will travel—imagining lines emitting from the light source touching the object upon various planes. The angle of tangency with which these lines intersect the planes gives me insight into the amount of light they are receiving. (Figure 1)</span></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynWLm6QZimPCwbUQrd7eBSu3eodZ-MyYu8tedEO5QkLlB5hPDjpB45WgS3l73Y02Ewa3wAFN19yyiM43V_eeLCka02WJP_IQioptDWFuP_2IOECMemrvLZ9Yts7hD3vYFpnoIJJ8luBN9/s1600/figure1trajectory_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynWLm6QZimPCwbUQrd7eBSu3eodZ-MyYu8tedEO5QkLlB5hPDjpB45WgS3l73Y02Ewa3wAFN19yyiM43V_eeLCka02WJP_IQioptDWFuP_2IOECMemrvLZ9Yts7hD3vYFpnoIJJ8luBN9/s320/figure1trajectory_sm.jpg" /></span></a></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Even if I can't see the light source, one way I can still assess its trajectory is to look at an object's cast shadow and mentally align a point along its edge with the corresponding, causative, point along the object's terminator (form-shadow line). An example of this in locating the angle of a light source might be to follow an imaginary line from the outer edge of a sundial's shadow up to the top of its needle. A straight line between these two points gives the light's trajectory. For instance, on a portrait the nose and its cast shadow might be utilized to apply this. (Figure 2)</span></span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0POX41uEYSCIYnncTNfpZi-rJ30gYxrWv3zOTPSiqPqneRIwW72FJ5KX6NklgHBn2pGuC3WY5FMa0Ri6x5O-4VBWa4_MDzPAsDz2Zd8jEiDZy-TOw8R7RShip5rS2hyHDmdOozyFn1KJx/s1600/figure2nosetrajectory_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0POX41uEYSCIYnncTNfpZi-rJ30gYxrWv3zOTPSiqPqneRIwW72FJ5KX6NklgHBn2pGuC3WY5FMa0Ri6x5O-4VBWa4_MDzPAsDz2Zd8jEiDZy-TOw8R7RShip5rS2hyHDmdOozyFn1KJx/s320/figure2nosetrajectory_sm.jpg" /></a></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Although a bit too intrusive for portraits another method I've used to check trajectory is to drive a nail into the flat side of a piece of wood like a ruler so that it is perpendicular to its surface. By placing this ruler close to the object I am working from and then tilting the ruler until the cast shadow from the head of the nail perfectly aligns with the nail's base, the tilt of the nail's shaft is now aligned to give the trajectory of the light. (Figure 3)</span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1O4AFwqAwdn1TVnWRjUwhSGiVp8FpKCuT1Wj6BtK16GKrmK0XRjl-OyZEparRgTrtXQ6E4fDraKlIz6PZURIfIg4NPmDdChOkW56LYTlNEWzy4yezej6PywbL2f9E7740EaT3U4REnqeT/s1600/figure3nail_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1O4AFwqAwdn1TVnWRjUwhSGiVp8FpKCuT1Wj6BtK16GKrmK0XRjl-OyZEparRgTrtXQ6E4fDraKlIz6PZURIfIg4NPmDdChOkW56LYTlNEWzy4yezej6PywbL2f9E7740EaT3U4REnqeT/s320/figure3nail_sm.jpg" /></span></a></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="MsoNormal" style="text-align: left;"></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Surface Planes in Relation to Light Trajectory</span></span></b></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">With the light's trajectory established I can examine an object's surface planes in relation to the trajectory. From Part I of the article we know on a surface composed of primarily diffuse reflection, unless obscured by specular reflections or altered by other variables such as local color changes, the more these surface planes face away from the light the more they should tend to appear darker in value and weaker in chroma. This progression begins very slowly out in the lights and then speeds up as we move into the half-tones and finally into the shadows. By considering this for each individual plane, the very subtle value and chroma shifts which are nearly indistinguishable by eye often become much more apparent. This assessment of surface planes and the light trajectory for each of them allows me to express very subtle modulations of value and chroma along with their directional gradations. </span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Using a Sphere to Visualize</span></span></b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"> </span></span><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Surface Planes in Relation to Light Trajectory</span></span></b></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Very often when assessing tilts many artist's compare them to a horizontal and vertical plum line, either real or imagined. This context tends to make their assessments more accurate. In a very similar way the surface planes of an object can be compared to a sphere (often thought of with some degree of faceting) under the same lighting conditions. By assessing a surface plane on the object and comparing it with a surface plane on the sphere that has the same spatial orientation, the sphere gives context to the plane and clearly allows a judgment to be made whether or not it is receiving a lot of light or very little light. This then translates to a clearer sense of what its value and chroma should be relative to other planes. In this way surface planes can also be easily assessed as belonging to a region of light, halftone or shadow. (Figure 4)</span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s1600/figure4planeonspherewithcircles_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpg3rwQISdwp7ZotvLUNhCG-PSDk1pcJKwGPTLFYSobBsyOBbw1KpMm-qD22vojdT_IKv6KxWjlQhJQ7R8vcZ5rmuV3gEJLRmxFaY9H-Cnu0haGroDAFKB1DZGiW8Ka-dhkr-a45WvW5F/s320/figure4planeonspherewithcircles_sm.jpg" /></span></a></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="separator" style="clear: both; text-align: left;"></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">The use of a sphere also allows for the comparison of multiple surface planes on an object to see relative color relationships. For example two surface planes on an object may appear visually quite similar in value but once both have been assessed as planes on a sphere it often becomes quite obvious which is lighter and which is darker according to how much light they receive. </span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Painting Dark to Light or Light to Dark Examining Diffuse Reflection</span></span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></b></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
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</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Whether painting broadly or tightly, the examination of diffuse reflection from either dark to light or light to dark is often a helpful sequence for me. This consideration allows me to anticipate what is likely to happen as I move across the object either away from the light or toward the direction of light. Assuming that I am working in an area of a single local-color, as I progress across the surface from one plane to the next, based upon the light on the form I can anticipate whether it should be lighter or darker in value and stronger or weaker in chroma than the previous plane and skew the mixture(s) on my palette in that direction. </span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Small pools of paint can be created on the palette one next to the other, each color representing the amount of light a particular plane is reflecting. By placing these pools next to each other on the palette even very delicate modulations of color can be detected and any radical break in the trajectory of the sequence of hue, value or chroma stand out. (Figure 5) </span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic2CG6zPDb8lAKTdlGtLZ6xEaDdR_-gRvmDuotPNMIsj6-7FwxgCBSh49nGTusXMdkplFKWs72c2EH5wW961pH2pwo7Ytqlkd2mVkG89AfE1UDA13YB5eSmsYTahEk2bwVmIJSQhCMWwj-/s1600/figure5colorpools_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic2CG6zPDb8lAKTdlGtLZ6xEaDdR_-gRvmDuotPNMIsj6-7FwxgCBSh49nGTusXMdkplFKWs72c2EH5wW961pH2pwo7Ytqlkd2mVkG89AfE1UDA13YB5eSmsYTahEk2bwVmIJSQhCMWwj-/s320/figure5colorpools_sm.jpg" /></span></a></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><br />
</span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">In addition, painting this way allows for the construction of one section of form at a time. In doing this, each section can be evaluated to see if it correctly conveys the form of the object and makes sense in terms of how light illuminates it. </span></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Conclusion</span></span><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><o:p></o:p></span></b></span></b></div><div class="MsoNormal"><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">Although this article is limited, both parts focus upon the anatomy of light on form. The expression of this, consciously or unconsciously, is part of every representational artist's consideration. Part I offers a scientific base to be built upon through knowledge and experience. Part II offers ideas for the unitization and conveyance of that science which can be made to serve artistic creativity depending upon individual artistic genius and need. Together they offer points for consideration so that ultimately our thoughts and execution are clearer as we not only </span><i><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">see</span></i><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"> but also understand the </span><i><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;">why</span></i><span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"> of the representational creative process. </span></span></b></div><b><span class="Apple-style-span" style="font-size: small;"><br />
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</span></b> Douglas Flynthttp://www.blogger.com/profile/03555979975038363353noreply@blogger.com8