[shinji69]

Anybody heard of Tom Browining, who's famous for his Santa Claus postcards?

In his book Timeless Techniques for better Oil paintings, there is a very, very confusing article about painting light reflection.

He stated with an example of a painting of white horse that many students make mistake by adding yellowish sun-reflection on the bright side of an object. He claimed that the brighter side of an object, especially an white one, in fact reflects the blue sky color and the bouncing light from the ground hits the shadow area, making the reflecting light yellowish.

But I haven't seen this kind of approach on nowhere else. In his painting the back of the horse is bluish and the tummy side is yellowish because it reflects the light bounced from the ground.

Can somebody please clear this?

[Steven Stahlberg]

I've heard there's a convention to paint portraits cool in the highlights, warm in the shadows outdoors, and the opposite indoors (or is that vice versa?). It probably doesn't matter much, as long as you don't make them both warm or cool.

[Lunatique]

Take a look at the real deal? Sit outside for an hour and just LOOK.

I'm impressed with the limited palette stuff though. I can't believe he said that Zorn paints with so few colors. I've been told that is the best way to paint, but look at Gil Elvgren--he paints with over 2 dozen colors on his palette, and I love his paintings.