Glow Draw Painting

we have many glow draw painting ideas here!

HOW TO PAINT LIGHT

I teach how to paint and draw light. I am also a lighting specialist. My fascination with light encompasses, not only the commercial, retailing aspect, but the artistic as well. Once drawing and painting skills are developed to the point where can accurately put down what they see, creating light and shadow is studied and faithfully delineated subject matter emerges in a world of space and volume.

LEARNING TO SEE

Basically, the depiction of light and shadow is accomplished by using dark and light colors in painting and tonal gradations in drawing. For a beginning student this often requires some visual skills first, I tell the student it is necessary to convert what they see to a two-dimensional vision that they can translate to a two-dimensional surface like a canvas or a sketchbook page.

POWERFUL GRIDS

Seeing objects two-dimensionally can be done in several ways. The easiest (and most time-tested) is to construct a grid in front of the subject matter--that could be actual objects, a photo or a picture. This can be done most simply by holding a pencil vertically and horizontally against the viewed objects, comparing their shapes to the vertical and horizontal lines of the pencil.

Light and shadow are more easily discerned and created with this grid method. How objects are illuminated can be defined on paper or canvas by observing and re-creating light and shadow at play in each quadrant. In accomplishing this by shading and highlighting, illumination and therefore, volume is created, the illusion of the three-dimensional space is created, reborn on a two-dimensional surface.

EARLY LINE AND COLOR

Accuracy, as well as light and shadow were not always the motivation behind depicting artful images. Before the Renaissance, art works in Europe depicted objects ( figures, landscapes, buildings) in a flat space. There was no light and shadow. Figures were delineated and colored in a style much like a coloring book. These images translated well to stained glass windows and mosaics. Their simplicity of line and color contributed to the strength of the iconography, often of religious significance.

It is interesting to me that the journey a beginning drawing or painting takes often replicates the historical transition from the Medieval use of line and color-in style to the Renaissance application of illuminated space and volume. And, with more advanced, their journey often continues to repeat the contemporary return to line and color-in, the preference for depicting flat, shallow space and solid color.