This weblog by Dinotopia creator James Gurney is for illustrators, plein-air painters, sketchers, comic artists, animators, art students, and writers. You'll find practical studio tips, insights into the making of the Dinotopia books, and first-hand reports from art schools and museums.
You can write me at: James Gurney PO Box 693 Rhinebeck, NY 12572
or by email: gurneyjourney (at) gmail.com Sorry, I can't give personal art advice or portfolio reviews. If you can, it's best to ask art questions in the blog comments.
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All images and text are copyright 2020 James Gurney and/or their respective owners. Dinotopia is a registered trademark of James Gurney. For use of text or images in traditional print media or for any commercial licensing rights, please email me for permission.
However, you can quote images or text without asking permission on your educational or non-commercial blog, website, or Facebook page as long as you give me credit and provide a link back. Students and teachers can also quote images or text for their non-commercial school activity. It's also OK to do an artistic copy of my paintings as a study exercise without asking permission.
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
Garrett, I assume Shishkin looked at photography, but maybe daytime photography, because night photos in his day would have been relatively primitive and everything black and white. Though I don't know: there were people doing very long exposures at night. Here's a previous post about his view of the usefulness of photography: http://gurneyjourney.blogspot.com/2015/09/shishkin-and-photography.html
Anyway, the color would be based on memory mostly I presume. I can't say what pigments. There are many different scans of this image and the original must have wonderful qualities that we don't get in the scans.
Thanks for the response James! I too have noticed all the variations of this particular painting (some very green, while others more blue). Would love to see more Eastern paintings make their way to the West, else I will have to head that direction some day.
5 comments:
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
I've always loved this image (haven't seen the painting in person!). Here in Canada I have seen so many snow covered trees that look just like this, but I just have so many questions about how he captured the scene so accurately.
I assume this was painted from various references..? Not sure how common night photography was at the turn-of-the-century, so is this a day-far-night approximation? From memory + daytime studies?
Would you say this could be painted with a limited warm/cool palette? Say ultramarine, black, and umber.. with the umber serving as the "warm" tone? Or would you need a dull yellow & red too?
Garrett, I assume Shishkin looked at photography, but maybe daytime photography, because night photos in his day would have been relatively primitive and everything black and white. Though I don't know: there were people doing very long exposures at night. Here's a previous post about his view of the usefulness of photography: http://gurneyjourney.blogspot.com/2015/09/shishkin-and-photography.html
Anyway, the color would be based on memory mostly I presume. I can't say what pigments. There are many different scans of this image and the original must have wonderful qualities that we don't get in the scans.
Thanks for the response James! I too have noticed all the variations of this particular painting (some very green, while others more blue). Would love to see more Eastern paintings make their way to the West, else I will have to head that direction some day.
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