1. David Roberts "Ruins of the Temple of Baccus"
- Even if you have believable perspective, figures and lighting will make a space more believable-
2. Arthur Hacker "The Annunciation"
-All your hues can be in a same relative group with slight shifts and still read as a diverse palette (all the hues here are yellow)-
3. S.J. Solomon "St. George"
-Being selective with highlights will make some materials read better-
4. S.J. Solomon "Cupid and Psyche"
-Two characters interacting need to be carefully considered to be believable-
5. J. W. Waterhouse "The Mermaid"
- Use your environmental lighting to frame your character-
6. Gabriel Ferrier "Moonlit Dreams"
-Have fun; you don't always have to make sense-
7. Albert Lynch "Joan of Arc"
-Any item in a crowd can be implied with a few well placed objects-
8. Dante Gabriel Rossetti "Bocca Bacciata"
-A set palette used cleverly can make your character more welcoming-
9. Robert Auer "Allegory of Medical Science"
-Warm lighting on skin from a nearby light source will make warm ambient light look cool-
10. Jean-Francois Millet "Haystacks"
-You can have a cacophany of hues that are the same value/saturation but put in one that is slightly more saturated and that will read as the relative local color-
Paintober Master Studies
Instead of Inktober I did a Paintober with master studies. Felt like I mastered my handling of color and stroke making more from this. Put the name of the original painting and the lesson I learned under each piece.