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ART FACTS
THE ART OF SPECIAL EFFECTS
By Robert K. Roark
©"CRYSTAL ORANGES", o/p,
13" X 10", by Robert K. RoarkIn the painting workshops that I conduct when time allows, I am invariably asked to explain and demonstrate the various techniques that are used to paint certain lighting and textural effects. I usually begin these digressions by pointing out that, firstly, there are no "hidden secrets" to painting spectacular effects and , secondly, mastering these secrets that don't exist is not particularly difficult.
May I start by saying that painting a cut crystal decanter sitting on a sunlit window sill is no more profound a task than painting an apple on that same sill? True, the glass may present more facets that must be accurately rendered, but then we are speaking more of time than of difficulty.
We all marvel at a beautifully painted piece of glass as the light streams across its surface glistening and reflecting dramatically. Students and professional artists alike are often daunted at the prospect of
creating these and other lighting effects. However, if we take a step-by-step approach to the challenge we will discover that the problems are not as intractable as we may have first feared.
The first step is to observe. Learning to "see" as opposed to merely looking can, in and of itself, be an ornery undertaking. If you wish to master a painting of our glass decanter, for example, start by setting one up on a table or window sill. Then look at it, or observe it closely, from different angles and under various lighting conditions. If the detail in the glass seems beyond comprehension, remember to see the large areas first, then gradually break these areas down into smaller components.
If possible, use a 35mm camera to record the decanter. You may then closely examine the photographs at your leisure and more easily come to an understanding of what is happening. The point is, once you understand how light affects a specific surface, you will find it much easier to render that surface convincingly.
If you have not already done so, consider starting a photo file of reference material. You may include photographs which you have taken, along with photos clipped from magazines, periodicals, etc. This material should be categorized according to subject matter: glass, water, clouds, and so on. Study and refer to these photos for clues to how things look under various conditions.
The realistic look of water is another effect which many artists have trouble rendering. Again, start by careful observation. Try to study water under a wide range of lighting conditions. Refer to the photographs in your file and don't forget to take a look at the paintings of artists whose work you admire.
A good general rule to follow when painting special effects is to start with the large areas and then work into the smaller areas. Let's take our decanter on the window will as an example. Start by noting the general, overall color of the piece: red, green, clear, etc. Block in the shape of the decanter using this color. By squinting your eyes at the object, you may see several large shapes of various colors. In other words, break the decanter down into simple, basic shapes, then paint those shapes as accurately as possible. With a bit of practice, you'll become much better at this!
©"AUTUMN REFLECTIONS", o/p,
16" X 14", by Robert K. RoarkOnce the large shapes have been defined and the paint has dried, proceed to render the smaller shapes within. It's simply a process of gradual refinement.
This approach works well on a variety of subject matter. Begin by carefully observing the SHAPES and COLORS of the objects you intend to paint. Draw or paint these shapes in. Pay close attention to the colors as you go along. As you begin to gradually refine the patterns, you will see your decanter, water or silk fabric miraculously emerge!
It's all about paying attention, patience, developing a good eye and practice, practice, practice.
In next month's article I will go into some details about specific tools and techniques that are useful for achieving those elusive special effects!
- E-mail Mr. Roark your ideas for topics, comments or questions: rkroark@artisticforum.com
- Share your questions, comments or favorite helpful tips with other artists on our new forum.
- Read article on Mr. Roark
- Visit Mr. Roark in his studio at Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
RELATED ARTICLE
THE ART AND TECHNIQUE OF SPECIAL EFFECTS
By Robert K. RoarkA LIST OF MR. ROARK'S UPCOMING ONE-PERSON 2001 EXHIBITIONS
© "DAYBREAK", o/c, 24x40, by Robert K. Roark" ROBERT K. ROARK: Master of Light and Realism" The Cape Museum of Fine Arts will be mounting this exhibition of Mr. Roark's work in their new Polhemus/Savery Gallery.
The exhibition will open with an artist reception on November 18, 2001 and will then run through January 20, 2002. Please contact the CMFA, P.O. Box 2034, Dennis, MA 02638, 508.385.4477, for times and complete details.
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