Problems with Painting Fire
The
notion that fire is merely a bright colour can result in a childish depiction
of flames in a painting. Bonfires, candlelight and a log fire will all appear
different. The following painting practices can result in an unconvincing
portrayal of fire.
How to Paint Fire Rachel Shirley |
Treating
fire as a solid entity with opaque colours.
Giving
harsh outlines to the fire, resulting in a cardboard cutout impression of fire
An
insistence to make fire stand out within a daytime scene, even though the
flames may not actually appear so bright in context, resulting in an overly
garish impression of fire.
Using
a red or orange colour that is actually darker in hue than the surrounding
colours.
How
to Paint Fire
Fire
is not always red yellow or gold. Depending upon the nature of the fire, can be
many colours. Consider the following when painting fire.
A
lone candle flame will appear very different to a large bonfire. The former
will often appear golden-yellow or burnished in hue; the latter a smouldering
orange or crimson. The tones within will also shift in different ways.
Fire
can often contain the most unlikely colours such as violet, blues, greens and
even browns.
The
size of the fire as well as the materials being burned will have an impact upon
the appearance of the hues and the tonal shifts to be expressed. In other
words, no one set of colours of art technique will fit every type of fire.
Tips
on Painting Fire
Although
nothing can replace honest observation, there are things the artist can do to
avoid the pitfalls of painting fire, such as the following:
Remember
to consider fire in context of its surrounding and lighting conditions. Because
it is inherently bright, it will appear almost blinding in a darkened room, but
almost indecipherable on a bright sunny day.
Fire
will usually appear brightest at its core in that the lightest tones will be
observed at its heart.
Flames
are not merely attached to the object under combustion, but appear to hover
slightly above it.
Fire
will not exhibit harsh outlines, but ghostlike formations that appear to ‘fade’
abruptly on its outer reaches.
Cooler
colours will often be apparent above or away from the heart of the flame, such
as crimsons, blues or violets.
How to Photograph Fire
Fire
can be a tricky subject matter to paint, rather like reflections or mist, which
has little definite outlines and doesn’t adhere to the rules of solid objects.
The following art techniques might help when painting fire.
As
fire is constantly in flux, it might be best to work from photos. Take several to
be sure of getting at least one good one. Try doing so in the dark, so the fire
will be easier to see. Set the camera on fast setting to prevent blurring of
the fire pictures. Take a light reading from the flame itself rather than the
background or the fire will appear merely as a white smudge, revealing little
of the detail within. Take separate light readings of the background if this is
also vital to the painting. This means you will have 2 sets of photos: those of
the fire and those of the background. The two can then be combined in the
painting.
Art
Techniques for Painting Fire
Rather
than take photos of flames in isolation, place objects nearby to create some
ambience. Objects with interesting contours will appear dramatic when placed
near a candle in a darkened room. Examples might be a person’s face, a Roman bust
or an ornament.
Use
a similar colour palette on the candlelit object as for the flame itself. This
will give the painting some coherence.
Bright
colours on a white background will appear tarnished or dull, making it
difficult to key in the tones of the flames. To counter this problem, apply a
thin wash of a neutral colour over the art surface first, so that the bright
colours will be immediately appreciated. Diluted acrylic paint will dry
quicker. Such an underglaze is also known as an imprimatura and any colour can
be used to set the mood.
Work
on the background of the painting before the flames, working just up to (but
not too close to) the outline of the flames. Working thinly around this area
will prevent colour contamination when it comes to applying the bright, clean
colours of the fire. Knit the two areas together with a clean soft brush once
the dark colours and the bright colours have been applied. Use 2 separate art
brushes for both tones to prevent continually cleaning the brushes to mix
different colours.
Art
Techniques for Painting Fire
Setting
the scene for the fire is half the battle. A dramatically-lit object in a
darkened room will help make the fire appear more convincing. Paint the shaded background
area first and then the brightest colours last, which will be the highlights of
the object and the flame itself. I use the following colours for painting fire
(in order of prevalence): white, lemon yellow, cadmium yellow (pale) permanent
rose, cadmium red, ultramarine, pthalo blue and burnt sienna. Useful others
are: burnt umber, carmine red, alizarin crimson and viridian.
Observe
the colour temperature of the fire (different to the actual temperature of the
fire). A little cadmium yellow (pale) or burnt sienna will make the fire appear
warm in hue. Adding a dab of crimson will cool the colour a little. Adding a
little violet will cool it further, regardless of the tonality of the fire.
Look
out for cooler colours on the outer reaches of the fire. Ultramarine, pthalo
blue, permanent rose or burnt umber might be in order here.
Observe
how the colour shifts in the fire. It might be white to cream-to-violet, with
no orange to be seen, or it might be gold-to-blue.
Work
the paint in the direction of the flames’ growth, i.e. upwards. Allow the paint
to glide over the art surface to suggest the strands of the flames.
Oil
Painting Techniques for Fire
Don’t
end the colour abruptly. Blend a little of the flame colour into the background
colour to reinforce the ghostly quality of the fire. Move a clean, dry brush
upwards. If an unwanted colour stains the bristles use another clean brush.
Look
at how the fire blends out into the background which might be different at
various points of the fire. A smooth glow might be apparent in the centre, yet
more defined structures can be seen on the outer reaches. Does the fire radiate
straight upwards, or does it corkscrew?
Different
elements and materials will generate different hues in the fire, some of which
might be green, violet or bright blue.
Look
out for sparks in the flame. Apply these last, dabbing the paint neat from a
fine brush.
Fire
in Art
Fire
is not always easy to paint for its ghostly quality. Due to its constant flux,
consider taking several photos to work from. Take light readings from both the
flame and the background to garner 2 sets of photos that reveal elements of
each. Applying a dark underglaze first will make adding a bright colour on top easier
to key in tonally. Set the scene before painting the fire. Dispel idealised notions
about fire such as it is always red or yellow. Some fires will display neither.
Look at how the colours and the tones shift within. Move the paint in the direction
of the flames’ growth and apply detail on the flames lastly in the painting. Remember
to look at how the fire looks in context, as it will appear blinding in a darkened
room, yet a similar tone to the surroundings within bright daylight.
Advice on Painting Bright Coloured Objects
How to paint gold
How to paint silver
Sunset painting demonstration
Anatomy of yellow
Advice on Painting Bright Coloured Objects
How to paint gold
How to paint silver
Sunset painting demonstration
Anatomy of yellow
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