You can also listen to this article in the voice of own Plastic Artist Rosângela Vig:
young glory of the sun on a silver spoon in flames,
Alva! Light Christmas, Spring day,
Do not love you! Not for you, BRAVIA dog days,
That to yourself you estruis,
The fire that derramas!
I love you, hour hesitant in which preludes
The adage matinee, recamas tomb you will
Of mourning and splendor, crepes and auriflamas,
Dying to laugh about their own agony!
I love you, o late sad, or late Augusta, between
The first light of the stars in the womb,
Under the veils of mystery and shadow in the dew.
You bring, to palpitate, like an autumn fruit,
The night, soul nurturer of lust and sleeping;
Perpetuation of life and starting from scratch…
(BILAC, 2007, p. 61)
Step by step 17 of how to draw
Only a great writer is able to translate words in the world around. In his sonnet, Olavo Bilac wistfully described an evening, as the ending of a day and the evening break, and its elements. The look of a poet will always be the charm for life. For him, the Beauty It is in small details and the trivial scenes, as the simplicity of a sunset.
This spiritual look is repeated in art and the artist translates into colors, passages day. One who paints or draws the sky in a scene, transposes to the screen or to blank paper, the metamorphosis of nuances transiting over hours. The hands of the painter, sunny sky, cloudless is covered with various blues and other colors, which may vary depending on the sun position. A blue sky can not be completely blue, the eyes of a good observer. In figure 1, you can see the nuances that flood the clear sky. The colors range from top to bottom, clear vivid blue (Fig. 2), to another shade lighter and a third, yellow soft, off-white. A sharp eye can lead to perceive more colors. Each change of tone is discreet, almost imperceptible to the eye and occurs gradually.
However, some clouds can dare to emerge in this clear sky and soften the sun's heat. It is worth noting that firmament (Fig. 3) with sparse clouds in their coordinated choreography. Made cotton shredded, they are not uniform and have hidden part of the blue, contrasting its whiteness.
And the landscape is still beautiful, even if the clouds intimidate sunny day (Fig. 4). still sparse, but a burden, they will slowly covering the space, making it clear that nature has its strength and it rains it takes. In this image, the color is gray on the bottom and white clouds on its top, due to sun light that still shines on them. Note also that, as you get near the mountains, the clouds are smaller. As they approach the top of the scene, they get bigger, because they are closer to the look and distant vanishing point. The mountains must also be observed in the picture. The nearest are dark green and the farthest are a darker blue than the sky.
Although the sun was almost completely hide (Fig. 5), white clouds were gray and blue, from top to bottom, forming a sort of gradient, as they become heavier, the rain that threatens to fall. Next image (Fig. 6), with completely overcast, the colors that prevail are gray, the lower portions of the clouds; it's white, the upper. This is because beyond the stormy sky, It is still day and the sunlight falls above the clouds, about them. Also note that in all images with clouds, the nuances are not plateaus, that is, alternate is gently.
But it is conceivable that I agree with our poet and weave a paragraph here only to praise the afternoon. This is the time when the sun is on the horizon curve, leaving their colorful light trails. It is the afternoon that opens the door for the night, at the stars and dream. And nothing is more beautiful than the sky on a summer afternoon, in Brazil. If there are scattered clouds (Fig. 7), they are hand-painted by the king star, and tinge of pink, yellow, orange and lilac. If avolumarem (Figures 8 and 9), can the sun, though demure, print light on the bottom. If the sun does not account for all the light clouds, they tinge of gray tones and darker blue than the sky.
The late afternoon cloudless composes the scene of Venice, in figure 11. On drawing made with pencils, It is noticeable two-tone light blue, top-down and a little above the horizon line yellow and soft, As seen in Figures 1 and 2. At the top of the image 12, dark blue was gradually applied, enabling an evening effect. So you do not darken too much a work, the ideal is to work first with light colors and then with the dark, as in the navy. Note the image and realize you the skyline, the vanishing point, the merits of light and where it focuses on the city. Watching is contemplating.
Art is this way of seeing the world with the look of enchantment, as did Olavo Bilac in his poetry on the afternoon. Determine this perception is to train the senses to what is deeper. Simple sunsets (Figures 13 and 14) creates a beautiful scene, to it are added the elements of Spirit. Train your sensitivity just opening the window and watching the images that appear to look; walk the streets with open soul, sharpened; extract of life what is sweeter. A work does not need superfluous, only the essential. Revel in what pleases the soul.
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Articles about the Art History of Rosângela Vig:
- BILAC, Olavo. Antologia Poética. Porto Alegre: Ed. L & PM Pocket, 2007.
Fig. 1 – sunny day and clear sky in the city, Rosângela Vig.
Fig. 2 – Three shades of blue, on sunny day, Rosângela Vig.
Fig. 3 – Sky with few clouds, Rosângela Vig.
Fig. 4 – Sky with heavy clouds, Rosângela Vig.
Fig. 5 – Cloudy sky, Rosângela Vig.
Fig. 6 – Sky completely overcast, Rosângela Vig.
Fig. 7 – Clouds on a late afternoon, Rosângela Vig.
Fig. 8 – Clouds on a late afternoon, Rosângela Vig.
Fig. 9 – Clouds on a late afternoon, Rosângela Vig.
Fig. 10 – Clouds on a late afternoon, Rosângela Vig.
Fig. 11 – Venice, color pencil, 2015, Rosângela Vig.
Fig. 12 – Venice, color pencil, 2015, Rosângela Vig.
Fig. 13 – End of late afternoon, Rosângela Vig.
Fig. 14 – End of late afternoon, Rosângela Vig.