When painting outdoors, lighting is controlled by the sun, clouds, atmosphere, and time of day. But in the studio you get to choose your lighting source from window light to bulbs of all kinds. In an article about color in the March 2011 Artists Magazine, Scott Burdick suggests an experiment to compare the effect of cool and warm light sources: Set up a still life of primary-colored objects and paint it twice; once under a warm light and again under cool light. That’s what I did in the studies above.
While I’m not sure I captured every nuance (or get the drawing just right), it’s interesting to see how different the same-colored objects and white background cloth look under different “temperatures” of light.
I did these two studies in Peggi Kroll-Roberts‘ studio, with the subjects lit by 150 watt incandescent bulbs which have an even warmer color temperature than the bulbs I used in my two top studies. The actual goal of the study on the left was to paint the scene (cantaloupe and watermelon slices) with as few brush strokes as possible. The assignment for the one on the right was to group and paint the shadows with one color only.
The four at top I did yesterday, after switching back to regular oils (mostly Winsor & Newton). Below are some that I did previously using Holbein Aqua Duos water-soluble oils that I fell out of love with.
This is a really fun exercise. The idea is to discover about all the variations of value and hue that you can make with just two colors (plus white) and to experiment with using both cool and warm colors for the light or the shadows. It can be done with any medium (with watercolor you’d use two colors and vary the amounts of water instead of adding white).
Doing exercises like this is also a great way to have fun with paint when time is short or if there’s a big scary painting that you’re not quite ready to begin.
After viewing and savoring my Peggi Kroll-Roberts DVDs, I’m doing the exercises she teaches in them, starting with value studies. To keep it simple and focus on values I used colored blocks for my subject. Above is the last study of the day in which I tried to apply to color what I’d learned by doing the gray-scale value studies below.
One of the huge new (to me) things I learned from the Simple Value Plan DVD is that when you make a value plan for a painting, you can choose a range of values for the painting, such as making it high-key (mostly light) or low-key (predominantly dark), rather than copying the values as you see them. Kroll-Roberts compares this to playing music in different keys.
She recommends making a value plan before starting a painting by simplifying and grouping shapes in the image into two or three values, with 1/3 light and 2/3 dark or vice versa for a more interesting design. In the study above on the right I used only mid to dark grays, for a low-key, predominantly dark study.
Another tool she demonstrates is to first mix a value scale and put it at the bottom of your value plan study as I did above on the bottom right, and select your values from that scale. You can see the 3 blobs of paint at the bottom of most of these studies that indicate the values I intended to use.
Above I wanted the study to use the full value scale, black, white and mid-gray. I noted the colors of the blocks and how I was interpreting their values (yellow and white blocks and beige table top = white/gray; red, green and blue = gray/black, depending on if they were in light or shadow). I did some more adjusting of value once I had it blocked in so there are more than 3 values.
On Peggi’s DVD High Key Value, she demonstrates creating a high key (mostly light values) painting by simply selecting the values that are mostly very light. I tried doing that with this study, and I think it works, but could have used an even lighter “darkest dark.”
My Sunday morning watercolor class focused on glazing this week. Glazing is applying a transparent layer of paint over painted or unpainted areas. Like a piece of colored glass, a glaze won’t hide what’s below it but will change the way it appears.
I used the study above to demonstrate glazing with gradations. To make the design I printed the word “HAPPY” in big capital letters and then playfully added more pencil lines between and around letters to make more shapes.
Then I glazed each shape individually, adding more glazed layers in various areas until it felt done. I used only transparent primary colors, so that they combined to create secondary colors. You can also use glazing to make colors appear brighter, duller, darker, warmer, cooler or in shadow or to unify an entire painting or a section of it.
A student who takes individual classes asked for help with painting birds so I used the journal spread above to demonstrate doing a pre-painting strategy session. I tried out various techniques and pigments as I thought about how I might paint the parrot whose photo we downloaded from Morguefile.com (where you are allowed to “copy, distribute, transmit and adapt” the copyright-free photos). Doing this bit of preparation and note-taking really helps to avoid some (but certainly not all) mistakes and corrections during the painting process. LATER I used the spread to write a journal entry (which I’ve blurred here for privacy), right over the feather and color experiments.
I still have these “cheat sheets” for many of my paintings. Recently I came across the one for Cheerios with Strawberries and saw that I’d used a wash of cobalt violet light (a favorite color but very expensive) to make the milk look just like the non-fat that I’d had in that bowl of cereal.
I loved the colors so much on this demo for flat and gradated washes from the previous week that I hung it on my wall as if it was a finished painting (my own mini Rothko).
Watercolor Class Registration
My next 4-week class session begins Sunday August 8. You can register and get more information on my website here. It looks like this session will fill so be sure to sign up soon if you want to join in. I am also planning a new “independent studies” class for people wanting to paint with ongoing coaching. If you’re interested, send me a note to get on the list.
The weather is gorgeous in the S.F. Bay Area today, sunny and warm with a gentle breeze. It inspired me to drag my old bike out of hiding and go for my first bike ride in two years. Of course the tires were completely flat. I got my first bit of exercise pumping up the tires (while managing to get chain grease all over myself working from the wrong side of the bike.) Finally took off down the street and 3 blocks later realized that when the front tire pointed straight ahead, the handles bars were turned to the left.
Rode back home, called bike store, got directions to fix it, used wrong little L-shaped wrench thingee which got stuck in the hole, called bike store again, found the correct metric wrench they said to use in my son’s tools he left behind in my garage, got the stuck one out, tried again, but couldn’t loosen the bolt. Looked around to see if there were any men home on the block who could strong-arm it for me. No men home.
Called sons (both avid cyclists). Son #1 not answering. Son #2 was working from home and was so sweet, came right over and fixed it for me. Finally, two hours after I first planned to leave, I was on my way, down to the Bay Trail.
My reward on the way home was lunch at the Sit Stay Cafe at Pt. Isabel. I was sitting under a bright red-orange umbrella there when I painted this and so all the colors came out really weird (that’s the bay and SF in the distance on upper right). I loved the body language of the people and the dogs. Pt. Isabel is an enormous dog park along the bay with spectacular views. The cafe is next door to Mud Puppy’s Tub and Scrub dog bathing shop, so the patio and cafe are dog friendly.