I start with some loose idea of the character of the light in the scene. The spaces are defined by how light penetrates them, and so I start by just plopping in bits of light here and there, almost scribbling, but following my intuition, and letting things sort of sift out according to what feels good. Usually the color of the light comes in here, and I tend to favor warm (hence everything being brown). It's a bit like how architecture isn't about the solid structure of the buildings, but rather the spaces defined within and around them. A silhouette isn't meant to be a cool thing in the foreground, rather it's there specifically to be subordinate to the sea of light beyond. Surfaces in the mist reflect silvery planes not to be futuristic rooftops, but rather to lend the luminous air transparency, and to characterize the light's source and intensity.
Thats an interesting and enlightening explanation. I would love to hear your thought process on more of the work you post.
When are you coming down to SoCal to teach a workshop? I know you've said you have an aversion to LA, but there are a lot of people down here who would love to see your process firsthand!
I absolutely love that you can do that. I'm finding it really difficult to just work with paint and be loose like that. I always find myself focusing too much on a little area and ruining the painting.
10 comments:
I love your composition style. The subtly and confidence in your early color choice is awesome. How did you develop such boldness?
I start with some loose idea of the character of the light in the scene. The spaces are defined by how light penetrates them, and so I start by just plopping in bits of light here and there, almost scribbling, but following my intuition, and letting things sort of sift out according to what feels good. Usually the color of the light comes in here, and I tend to favor warm (hence everything being brown). It's a bit like how architecture isn't about the solid structure of the buildings, but rather the spaces defined within and around them. A silhouette isn't meant to be a cool thing in the foreground, rather it's there specifically to be subordinate to the sea of light beyond. Surfaces in the mist reflect silvery planes not to be futuristic rooftops, but rather to lend the luminous air transparency, and to characterize the light's source and intensity.
Thats an interesting and enlightening explanation. I would love to hear your thought process on more of the work you post.
When are you coming down to SoCal to teach a workshop? I know you've said you have an aversion to LA, but there are a lot of people down here who would love to see your process firsthand!
Thanks for showing. All the best,
-Zach
Very cool Matt!....love these little digi bits!
Wow! Your work is so good its evil! Awed and inspired.
W
Great concepts!! very very good!!
and I appreciate your explanation, it helps a lot, actually .
thanks for sharing!!
:)
I absolutely love that you can do that. I'm finding it really difficult to just work with paint and be loose like that. I always find myself focusing too much on a little area and ruining the painting.
sinister paints mr. barrett!
Very cool, I like the write up reply too. You might consider adding that sort of thing to the posts from the start.
OMG! These are nice!
Post a Comment