Thank you for your time answering this question. I feel there is always more to learn as ones understanding changes over time. I was prompted by some points Mr. Gammell makes in his Bio of D. Bunker. (p 60) about key in landscape painting and was interested to learn what you make of the question regarding a studio painting with a similar range. Again, thank you for a most helpful answer.
@@PaulIngbretson Thanks Paul, much appreciated. It's good to hear you speak about the process of searching and discovery when approaching a painting. It makes me think of something Degas said, that he never found his method, which seems to say that he never resorted to any formula. Thanks again.
Wonderful as always Paul. Those exterior paintings and their luminosity made me think about Henry Hensche and his particular way of painting. Im not a fan of his way of handling form but i have to say that he got the impresionist color and light right on spot. What are your thoughts on his method? and how would you compare it with your own?
Seems similar to the decision making process when colour correcting a raw picture in photoshop. Adjusting the exposure in the highlights and shadows, etc etc - but one makes the decisions in ones head.
@@PaulIngbretson True, my thought was that photoshop does a methodical job of breaking down colour correction ( exposure, contrast, hue, saturation etc) and that decision tree can be done in-head while painting from life. As with photoshop, the in-head method rather depends on the artist, the Indian not the arrow.
Deborah would you mind asking a specific question where I might clarify? I have not interest in being opaque or obtuse. Maybe I can use other words you are more familiar with?
Thanks Again Paul ...
Informative!
Thank you for your time answering this question. I feel there is always more to learn as ones understanding changes over time. I was prompted by some points Mr. Gammell makes in his Bio of D. Bunker. (p 60) about key in landscape painting and was interested to learn what you make of the question regarding a studio painting with a similar range.
Again, thank you for a most helpful answer.
I am not near my Bunker book today but would like to review that and talk about it today...if you see this.
@@PaulIngbretson Thanks Paul, much appreciated. It's good to hear you speak about the process of searching and discovery when approaching a painting. It makes me think of something Degas said, that he never found his method, which seems to say that he never resorted to any formula. Thanks again.
Wonderful as always Paul. Those exterior paintings and their luminosity made me think about Henry Hensche and his particular way of painting. Im not a fan of his way of handling form but i have to say that he got the impresionist color and light right on spot. What are your thoughts on his method? and how would you compare it with your own?
Paint with the effects. Set up the painting with the effects. Draw with the effects (would be possible with charcoal). Thanks for this.
Seems similar to the decision making process when colour correcting a raw picture in photoshop. Adjusting the exposure in the highlights and shadows, etc etc - but one makes the decisions in ones head.
Yet the final result is the verification of your decision, right?
@@PaulIngbretson True, my thought was that photoshop does a methodical job of breaking down colour correction ( exposure, contrast, hue, saturation etc) and that decision tree can be done in-head while painting from life. As with photoshop, the in-head method rather depends on the artist, the Indian not the arrow.
I am going to paint you because the color palette is subdued and the light coming through the window. I hope you don't mind.
:) not at all
I can't understand a word he says, it is so complicated a way to explain things.
Deborah would you mind asking a specific question where I might clarify? I have not interest in being opaque or obtuse. Maybe I can use other words you are more familiar with?