Lost and Found

International Artist - - Important Principles Of Art -

This work is filled with edges that are lost into ad­ja­cent ar­eas and then find them­selves again. I’ll show you what I mean about an ap­proach that’s lasted hun­dreds of years.

A. Her hair and that back­ground are sim­i­lar val­ues. Parts of her hair nat­u­rally dis­ap­pear. They are found again in front of her hair­line. Lost and found.

B. That dark value con­tin­ues with her hair

down the front of her. In essence her

hair and that back­ground bring us a very dra­matic shape. C. There’s a lighter dark against her pro­file that brings out her fea­tures. Pur­posely, it is not as dark in value as A and B.

D. Catches her el­bow and you see the light­ness of the leather goes into the back­ground. E. Is a trea­sure trove of lost and found edges but essen­tially we know ex­actly what’s hap­pen­ing there.

F. A hor­i­zon­tal lev­el­ing ef­fect works with the ver­ti­cal of the long hair and an­gle of the arm.

Look around this work and see the many ar­eas that are lost and then found. This is ex­tremely es­sen­tial in our ap­proach to art. In other words, we need not de­tail ev­ery edge. Why not? Be­cause na­ture doesn’t. We in­ter­pret what she hands us.

a face. Well, it turns out, we don’t stop there, we keep de­vel­op­ing, find­ing new av­enues, al­ter­nat­ing ap­proaches, ask­ing ques­tions about life and love and our con­tin­ued spirit with art. So, our goal is to keep mov­ing for­ward in the di­rec­tion of our pas­sion. Do you agree? That paint­ing you are about to do is of one spe­cific mo­ment within bil­lions of mo­ments. The dif­fer­ence with that mo­ment is that you chose it. Ac­tu­ally some­times, it chooses you. It reaches for you. I learned that we gen­er­ally ob­serve a paint­ing start­ing from the left, mean­ing we mostly read di­ag­o­nals from left to right. Also, don’t put strong col­ors into shad­ows. Lack of light dul­lens color. And be care­ful with the tones and val­ues you use. Get­ting them right makes a mas­sive dif­fer­ence. Of­ten the ma­jor dif­fer­ence. Much of what I know about art was passed on to me by other artists. In turn, I en­joy pass­ing on what I felt worked; that may sound like I’m edit­ing my knowl­edge. And I am.

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