Establishing The Shadow Family

I lay in the shadow family first

The more I paint, the more I am convinced that establishing an effective value pattern is the most important aspect of a successful picture. This can be quite a challenge when painting out of doors. The past several sessions of outdoor painting with my students has been evidence of this. I've been reading a lot these days about plein air painting including Carlson's Guide to Landscape Painting as well as from Fill Your Oil Paintings With Light And Color by Kevin D Macpherson.

In the book Macpherson advocates simplifying the value pattern into to "families" consisting of the light family and the shadow family. The light family is anything that the light source illuminates and the shadow family contains areas of the composition that are not directly illuminated. In order to create a clear matrix or value pattern, keep the two groups distinct and separate from one another. You can do this by remembering that the lightest area of the shadow family wants to remain darker than the darkest area of the light family.

By following this rule, you will not intermingle your value pattern with confusing lights and darks and your masses will be distinct. Of course this can be a challenge when the light is overcast. In this situation, you will rely solely on the local values of each mass within the composition and plan your value arrangement accordingly. Our painting session ended up more overcast than sunny so my light and shadow families are not as distinct, but the light and dark value pattern persists and the painting works for the most part because of this. I spent about an hour and 40 minutes on this study.

George Bellows' Limited Palette

Stag Night at Sharkey's - George Bellows, 1909

George Bellows (1882-1925) was an American painter associated most closely with "The Eight" and "The Ashcan School". Both groups of painters advocated depicting contemporary American society. He is perhaps best known for his paintings of boxing scenes including "Stag Night at Sharkey's".

In black and white the structure of the painting is maintained powerfully.

I have always been impressed with his effectively designed value patterns as well as his understated but beautiful limited color palettes. The diagram below of some of Bellows' work shows his limited color selections for each piece as well as the value range for each tone.

Click to Enlarge

Bellows demonstrates here that there is no need for outrageous color or even a wide color variety when effective value and color patterns are employed-color becomes secondary to value structure. I think the simple solutions are often the best when it comes to value pattern and color palette choices.

This concept previously on LNA

Thanks to Bill Perkins for sharing this diagram with me (and now you).
Upcoming Bill Perkins workshops

Notes From Bill Perkins Workshop

Our workshop group on the final day. I am next to Bill (center back with my arm against the wall)

If you have been reading this blog lately, you have noticed a few entries regarding the Bill Perkins Color workshop that I attended a few weeks back So much was covered that it is impossible to give a full recap here without multiple posts. I will continue to break down the most interesting concepts from the workshop in future posts, but today, I wanted to run down a few tips from Bill that I scribbled down in my sketchbook.

ALWAYS squint to see value, but NEVER squint to see color

The value [of a color] cannot be quantified on a color wheel rather it is based on perception.

Large masses reflect more light than small masses, therefore they appear lighter than small masses, because they indeed are. Consequently, small masses (such as the nose on a face)are darker.

Highlights are the color of the light source

Light areas are the local color plus the color of the light source

When lit, objects of mid value create potential for greater range of contrast than objects of either light or dark value. Mid value has the highest value range.

Some of these concepts I had heard before, and they all rang true, but having them all put together in the context of a workshop was a really valuable experience for me. I hope these tips will help you as well.

 I apologize for not posting as frequently of late, I am in the middle of a really big project which I can't spill about. Someday after it becomes public, I'll share. Thanks for being patient. I will post as much as I can in the interim.