tag:blogger.com,1999:blog-2999230124118604245.post1033362118227819459..comments2024-03-28T16:36:12.581-04:00Comments on Gurney Journey: The Windmill PrincipleJames Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-2999230124118604245.post-87507691297689153622014-07-13T07:48:34.088-04:002014-07-13T07:48:34.088-04:00I come back to this concept often, every since I r...I come back to this concept often, every since I read it in one of your books. It's such a simple technique to incorporate and it makes a huge difference in the impact of a piece of artwork!Anonymoushttps://www.blogger.com/profile/05600673251180423439noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-65784869125817455972013-10-03T13:39:21.683-04:002013-10-03T13:39:21.683-04:00Very informative information. Very informative information. Art Exhibitionhttps://www.blogger.com/profile/13447097883128858894noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-74612370937278744542008-04-08T23:01:00.000-04:002008-04-08T23:01:00.000-04:00Wow! I don't think I've ever consciously thought a...Wow! I don't think I've ever consciously thought about that, but I think I've seen this at work in other Rembrandt stuff (such as his etchings) and in Turner. It gives the scene a very "hyperreal" quality, in my opinion--or the feel of something very real yet also fantastical or mystical. Not sure why.Sarah Stevensonhttps://www.blogger.com/profile/16534942492714970282noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-68903515834340053722008-04-08T03:47:00.000-04:002008-04-08T03:47:00.000-04:00OO!!Klassic!I wish you creative successes!! Elena ...OO!!Klassic!I wish you creative successes!! Elena Gagarina. Moscow.Lenahttps://www.blogger.com/profile/12344934133399937532noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-30097790934602508892008-04-06T22:13:00.000-04:002008-04-06T22:13:00.000-04:00James,I have quite a few books on Rembrandt, one o...James,<BR/><BR/>I have quite a few books on Rembrandt, one of my favorites written by Ernst Van De Wetering is titled "Rembrandt The Painter at Work".<BR/><BR/>This book was the first one that introduced me to the concept of "houding". Though the explanation of what it is was not crystal clear, the concept involves the practice of utilizing contrast and color to make objects in a painting move from "back to front" in the third dimension. It was also used to draw the viewer's focus.<BR/><BR/>Since most of my interest in Rembrandt is his portraiture and figurative work I had not studied his landscapes. The fact that the windmill blades caught your eye leads me to believe that this may very well be a landscape-version of his use of "houding", though I like the term you have coined for it too.<BR/><BR/>Rembrandt was one of the best at this concept. Another of his examples that utilizes it very well is the painting "The Night Watch". I guess about all of his work utilizes it well ;)<BR/><BR/>Regards, Ronvrkayahttps://www.blogger.com/profile/01351125495821140292noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-17308720110832174562008-04-05T03:10:00.000-04:002008-04-05T03:10:00.000-04:00Armel: What a great blog you have! Thank you for s...Armel: What a great blog you have! Thank you for showing your croquis, and your studies from the Carpeaux and Zorn.<BR/><BR/>Eric: I think you're right about Wyeth and Frazetta using this principle, consciously or not. Frazetta's experience in comics made him think in terms of simple light and dark masses. <BR/><BR/>Frazetta sure exemplifies what Mark says: "contrast sells," though he would probably say that subtlety or close contrast is what holds people after they start looking at your work, and that's what the two subordinate "vanes" of the windmill can do for the picture. Mark, I think you're right that contrast is at the core of all kinds of artmaking. <BR/><BR/>Chris--I love your vis dev work on ChrisOatley.com. And Paolo, thanks again for the awesome Ghost Rider comics you illustrated, and I'll see you at the Society of Illustrators in NYC on the 9th.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-18527158910442042442008-04-04T17:09:00.000-04:002008-04-04T17:09:00.000-04:00Thanks for giving this a name. This is one of my f...Thanks for giving this a name. This is one of my favorite elements to play with in a composition.<BR/><BR/>Looking forward to you your lecture at the Society of Illustrators next week.Paolo Riverahttps://www.blogger.com/profile/11088106827920011644noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-50145437803139214842008-04-04T12:47:00.000-04:002008-04-04T12:47:00.000-04:00James,This is amazing and insightful, as many of y...James,<BR/><BR/>This is amazing and insightful, as many of your posts are. I feel like I am in art school again.<BR/><BR/>Dinotopia was one of the reasons I got into illustration in the first place and I have no doubt that one of the things that drew me to that book was your masterful eye for painting (particularly light and color).<BR/><BR/>Thanks for another remarkable post. You are a delight to your fellow artists.<BR/><BR/>Chris OatleyChris Oatleyhttps://www.blogger.com/profile/11863794087498151624noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-70132716686031923222008-04-04T11:27:00.000-04:002008-04-04T11:27:00.000-04:00Wow Mark,"contrast sells"I really love that!Wow Mark,<BR/>"contrast sells"<BR/>I really love that!Anonymoushttps://www.blogger.com/profile/15375615378259386972noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-85923486159285872322008-04-04T11:21:00.000-04:002008-04-04T11:21:00.000-04:00Longtime fan, and regular reader of your blog. I’...Longtime fan, and regular reader of your blog. I’m a self-educated artist, and the insights you share on technique, process etc are valued, and much appreciated. I must admit that the term ‘tonal relationships’ isn’t one I’ve ever given much thought, if any- But reading “The Windmill Principle”, I realized that tonal relationships are essentially all about contrast, which, working in black and white as I do, is something I consider constantly, and probably the tool I employ most. <BR/><BR/>Several years ago, one of the most successful artists I know shared a simple piece of advice I’ve found invaluable: “Contrast is what sells.” I’ve come to understand since that contrast of one kind or another forms the appeal of nearly every kind of art, music, the kinds of places I enjoy experiencing most, and am most inspired by. Light and dark, solid and ephemeral, mass and emptiness- All those kinds of places and moments where unlike meet. <BR/><BR/>Well. That got wordy, didn’t it. Sorry. :)<BR/><BR/>Oh, btw- The Dept. of Art pylon is great too. :)Mark Reephttps://www.blogger.com/profile/07928808493620257146noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-24532326816074266362008-04-04T10:56:00.000-04:002008-04-04T10:56:00.000-04:00Awesome! I've noticed this as well with some paint...Awesome! I've noticed this as well with some painters, particularly Norman Rockwell. Now I have a name to give it and that will make me more conscious of trying to incorporate it! The Windmill Principle! Thanks!Ted Dawsonhttps://www.blogger.com/profile/02731194571758245291noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-63914993068444731022008-04-04T07:42:00.000-04:002008-04-04T07:42:00.000-04:00I think N.C.Wyeth and Daumier both would be intere...I think N.C.Wyeth and Daumier both would be interesting studies in this regard. I've studied Wyeth's dark/light combinations and I find them thrilling. Frazetta too.Anonymoushttps://www.blogger.com/profile/15375615378259386972noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-16910571779891414082008-04-04T05:44:00.000-04:002008-04-04T05:44:00.000-04:00Hi, JamesI'm quite a new blogger on blogspot, writ...Hi, James<BR/><BR/>I'm quite a new blogger on blogspot, writing from France but I've been enjoying your blog from the beginning. I just wanted to thank you for all the good advices you give. Here in France, I find it hard being an illustrator, but you give hope.<BR/>I find today's article particularly interesting. The way the composition with these four tonal arrangements can link the subject and the backgroun, and let each other live freely is a precious discovery.armelhttps://www.blogger.com/profile/04404724159548474196noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-34181616578301497632008-04-04T02:44:00.000-04:002008-04-04T02:44:00.000-04:00Hi, Anonymous. Sorry for the confusing shorthand. ...Hi, Anonymous. Sorry for the confusing shorthand. I've added the explanation in blue type to the original post. "D/L" means "Dark over Light," for example.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-62512080650230111792008-04-04T02:29:00.000-04:002008-04-04T02:29:00.000-04:00this is Great, thanks! quick question: what does e...this is Great, thanks! <BR/>quick question: what does each of the lightning opitons mean? D/L, L/L,D/D and L/D ? i am guessing part is if light hits it directly and the other part the objects tone?Anonymousnoreply@blogger.com