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.
Permissions
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.
Page 75 of your book Imaginative Realism shows the hood of a red compact car in the painting's lower right corner. Your rendering of its shiny surface was the first element I noticed in the picture, and evidently I haven't forgotten it years later. Even the far right edge where there's no obvious pattern, still conveys the reflective surface with photographic precision.
I used to regard this question-- how to paint the shiny reflective surface of a car hood-- as a largely technical one. Then I spent some time with artists such as Bernie Fuchs, Mark English and Bob Heindel, who all came through the Detroit car painting art studios. They spoke of car painting in poetic terms with a kind of reverence that opened my eyes. They talked about "the chrome guys" who specialized in painting chrome and were brought in to touch up details in the inadequate car paintings that Bernie and others had done. They talked about the kinds of things (such as clouds) that various car painters preferred to paint in the reflections. They talked about the abstractions, about what a particular car painter could accomplish with payne's gray, and about how the clients distinguished between a highly realistic technician and a genuine artist. It was a revelation to me to hear these artists speak with such high regard about a category of painting that I had previously glossed over.
That helped me alot, I have real problems to do reflections on glass and other materials... I Guess now I just have to trained more, and practice your tips. TY! You're the best! Kisses and Hugs from BRAZIL! :)
3 comments:
James,
Page 75 of your book Imaginative Realism shows the hood of a red compact car in the painting's lower right corner. Your rendering of its shiny surface was the first element I noticed in the picture, and evidently I haven't forgotten it years later. Even the far right edge where there's no obvious pattern, still conveys the reflective surface with photographic precision.
I used to regard this question-- how to paint the shiny reflective surface of a car hood-- as a largely technical one. Then I spent some time with artists such as Bernie Fuchs, Mark English and Bob Heindel, who all came through the Detroit car painting art studios. They spoke of car painting in poetic terms with a kind of reverence that opened my eyes. They talked about "the chrome guys" who specialized in painting chrome and were brought in to touch up details in the inadequate car paintings that Bernie and others had done. They talked about the kinds of things (such as clouds) that various car painters preferred to paint in the reflections. They talked about the abstractions, about what a particular car painter could accomplish with payne's gray, and about how the clients distinguished between a highly realistic technician and a genuine artist. It was a revelation to me to hear these artists speak with such high regard about a category of painting that I had previously glossed over.
That helped me alot, I have real problems to do reflections on glass and other materials... I Guess now I just have to trained more, and practice your tips. TY! You're the best! Kisses and Hugs from BRAZIL! :)
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