Tag Archives: loire valley

Lighting in painting

In the art of painting we decide what quality of light we look for. Sharp and brilliant or more diffused is one consideration. The color of the light itself, i.e. warm or cool and the direction where the light comes from will dictate the way we paint the form.

To paint light we must focus our attention on light itself. This means that we will not be painting the objects before us so much as we will be painting light and the way it falls on these objects or brings them into our vision. A painter once said: ‘A head is something you choose for the light to fall upon.’ Contrast determines the quality of light itself, sharp or soft or anything in between. In dim light conditions the separation may only be one or two value steps. In strong light in may be separated by three or four value steps.

For me, a painting with subtle, diffused light is very powerful. More so than one with extreme light and high contrast. It is also much harder to do!

One problem we have as painters is that our brightest light (the white) is never as bright as nature’s. All we can do is stay true to the relationships from lightest to darkest and paint them in that order, even if the value cannot match nature perfectly.

If we paint light correctly, it will make the form work out itself. We think about the light, halftones, and shadows. We make sure we have the correct sequence of value relationships (lightest to darkest) and getting the color within these values. That’s it. Now that sounds easy but, of course, is a lifetime endeavor right there.

Light and its effects provide the best means of bringing unity and consistency to a subject. The light will effect everything in the subject the same way. Everything will take it’s relative place in the whole scheme and all values and colors will be brought together into a single effect. This is unity that creates beauty!

By using color and value right, we can create a powerful and elegant painting even with mundane subject matter!

Thanks to all of you who followed my blog in 2015. I wish every one of you a successful and prosperous new year! Here’s to 2016!! Let’s pray for a more peaceful world.

References/ subject matter

Sometimes students show me their photographs and ask which one would be best for a painting. I am always surprised when I look at them. Often it’s a picture that’s completely useless as painting material. Beautiful sunsets with people silhouetted on the beach or the picture of about a hundred boats sitting in a harbor in bright sunlight with no background.

I think the choice of subject can predetermine the outcome of a painting. Bad choices yield bad paintings, good choices and chances are your painting will be better. How do you pick subject matter? Arguably one of the hardest things, especially when painting outside. Even if you found your painting subject, you still have to find a spot with good or at least decent views. The world is full of information, too much information!! Sometimes, I walk around and can’t find anything that works.. it happens. Time of day is certainly an important factor. There’s a
reason artists talk about the ‘Golden hour’ and how it’s everyone’s favorite time to paint.

I always consider foreground middle ground and background. I look for patterns, how the light plays against the darks and vise versa. If there are buildings with bright roofs, I place myself in ways that the darker background is behind them. If the roofs are dark and silhouetted, I’ll have the lighter sky behind etc etc.
Patterns are spotted first, they make the painting. Light and patterns go hand in hand. Where there’s light there must be darks next to it. Where there’s darks, there must be light also. One can’t be without the other!