2. Select a subject that has only four to six value shifts.
3. Identify and paint dark values first.
4. Harmonize values just like you do colors.
5. Connect lights, connect darks, do not dot...dot...dot.
6. Objects in the distance are lighter.
Thursday, September 27, 2012
Tuesday, August 14, 2012
Wednesday, April 25, 2012
Landscape notes
The following sentences were taken from a recent workshop given by James Richards in Tucker, Georgia.
James Richards Workshop Notes
Composition/ Value
Composition is the abstract arrangement of dark and light
masses.
Value is the lightness or darkness of a color.
A landscape painting needs a center of interest which
dominates the rest of the painting.
This area is enhanced by the following:
- most detailed drawing
- sharpest edges, strongest contrast
- most saturated colors
- addition of manmade structures, animals, or people
- complimentary colors
- should not be placed in the center of the canvas.
Make your single statement clear and forceful. Don’t try to say too much. Many paintings are ruined by this.
Create at least three planes: foreground, middle ground, and
background. Each has its own dominant
value.
General rule is that there are four planes in a landscape and
their value is relevant to their angle to the source of light. The sky(source of light)- is the lightest. Ground planes are next lightest. Slanted planes are next. Upright planes are darkest.
Keep your value range tight.
Holding back on value and color creates a certain power in a painting
It is upon sound values that a picture depends for its
solidity and convincing power.
Try to visualize the finished painting before you begin. Do several thumbnails and value studies to
help develop a strong idea and design.
Keep it simple.
Don’t be afraid of editing and moving objects around to help
emphasize the main idea.
Try having a rest area in front of the center of
interest. This allows for some
breathing room and really helps set the stage.
Make sure you use horizontals, verticals, and diagonals, and
that one dominates.
Lean objects inward not outward.
Try limiting your painting to seven or fewer masses.
Try to find a way to connect all of the lights or all of the
darks.
Relate every value to one another. Value relationships are the most import thing in making a
painting read.
Within each mass in a painting, keep the values closer
together than what you actually see in nature.
Remember that the closer together you can paint your lights
and shadows in value and still distinguish light from shadow, the better you
are as a painter.
The one unbreakable rule in painting is unequal distribution.
-of masses
-light and shadow
-warm and cool colors
-soft and hard edges
-thick and thin paint
-horizontal, vertical, and diagonal lines
Common errors to avoid
- Lines that come from or go
to the corners
- Parallel lines
- Repetition of the same size
mass
- Dividing the canvas in half
- Kissing edges
- Too many sharp edges
- Equal spacing between
objects
Light, Color,
and Atmospheric Perspective
Light and shadows are opposite in temperature. Temperature is relevant within each
painting.
Yellow is the warmest color.
Also the first to drop out as you recede in distance.
The darkest darks are dark and warm up close. They then lighten, purple, and blue off as they recede.
Colors lighten and cool off as they recede.
It’s good to have one
color dominate.
Compare trees to trees and trees to grass. You don’t want both the same color. Nor do you want all of your trees to be the
same color. Look for variety.
Texture comes forward and thin paint recedes.
There are subtle
temperature shifts within just about every mass.
Edges
An edge is formed where two colors, values, or objects
meet. An edge is either sharp, soft, or
somewhere in between.
Sharp edges can be used with great effectiveness in leading
the eye around a painting.
The strongest contrasts are found up front. Contrast decreases with distance.
Thursday, April 19, 2012
Monday, January 10, 2011
notes
The elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all paintings will contain most of if not all, the seven elements of design.
The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.
note - the hyperlinks within the text of this page will open information in a new browser window. After you have read that information the window can then be closed leaving this window open.
THE ELEMENTS OF DESIGN
LINE
Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet.
SHAPE
A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.
DIRECTION
All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action
see notes on direction
SIZE
Size is simply the relationship of the area occupied by one shape to that of another.
TEXTURE
Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual.
see notes on texture
COLOUR
Also called Hue
see notes on colour
VALUE
Value is the lightness or darkness of a colour. Value is also called Tone
see notes on tonal contrast
THE PRINCIPLES OF DESIGN
BALANCE
Balance in design is similar to balance in physics
A large shape close to the center can be balanced
by a small shape close to the edge. A large light
toned shape will be balanced by a small dark toned
shape (the darker the shape the heavier it appears to be)
GRADATION
Gradation of size and direction produce linear perspective. Gradation of of colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape.
REPETITION
Repetition with variation is interesting, without variation repetition can become monotonous.
The five squares above are all the same. They can be taken in and understood with a single glance.
When variation is introduced, the five squares, although similar, are much more interesting to look at. They can no longer be absorbed properly with a single glance. The individual character of each square needs to be considered.
If you wish to create interest, any repeating element should include a degree of variation.
CONTRAST
Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.
The major contrast in a painting should be located at the center of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.
HARMONY
Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent colours on the colour wheel, similar shapes etc.
DOMINANCE
Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements to give emphasis
UNITY
Relating the design elements to the the idea being expressed in a painting reinforces the principal of unity.eg. a painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal lines, soft texture and less tonal contrast.
Unity in a painting also refers to the visual linking of various elements of the work.
After studying these notes on the elements and principals of design, try this exercise
© JOHN LOVETT 1999
image to see an enlarged view.
The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.
note - the hyperlinks within the text of this page will open information in a new browser window. After you have read that information the window can then be closed leaving this window open.
THE ELEMENTS OF DESIGN
LINE
Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet.
SHAPE
A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.
DIRECTION
All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action
see notes on direction
SIZE
Size is simply the relationship of the area occupied by one shape to that of another.
TEXTURE
Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual.
see notes on texture
COLOUR
Also called Hue
see notes on colour
VALUE
Value is the lightness or darkness of a colour. Value is also called Tone
see notes on tonal contrast
THE PRINCIPLES OF DESIGN
BALANCE
Balance in design is similar to balance in physics
A large shape close to the center can be balanced
by a small shape close to the edge. A large light
toned shape will be balanced by a small dark toned
shape (the darker the shape the heavier it appears to be)
GRADATION
Gradation of size and direction produce linear perspective. Gradation of of colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape.
REPETITION
Repetition with variation is interesting, without variation repetition can become monotonous.
The five squares above are all the same. They can be taken in and understood with a single glance.
When variation is introduced, the five squares, although similar, are much more interesting to look at. They can no longer be absorbed properly with a single glance. The individual character of each square needs to be considered.
If you wish to create interest, any repeating element should include a degree of variation.
CONTRAST
Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.
The major contrast in a painting should be located at the center of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.
HARMONY
Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent colours on the colour wheel, similar shapes etc.
DOMINANCE
Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements to give emphasis
UNITY
Relating the design elements to the the idea being expressed in a painting reinforces the principal of unity.eg. a painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal lines, soft texture and less tonal contrast.
Unity in a painting also refers to the visual linking of various elements of the work.
After studying these notes on the elements and principals of design, try this exercise
© JOHN LOVETT 1999
image to see an enlarged view.
Tuesday, February 23, 2010
Papa, Mama, baby
Color and the composition Balance Formula (1,2,3 or Papa, Mama, baby, or mostly, some and a bit you choose how you can best remember)
Color IS part of composition and especially in the landscape. One sure way to make a boring painting is to use your colors equally dispersed throughout your painting. As an example, if you use equal quantities of warm and cool colors there will be no dominance and no variety making your painting uninteresting.
You can study color theory and try to apply what you know but above all if you can remember to check your color balance then your chances of making a successful painting will be greater. Try this 1,2,3 formula checklist:
1. Does your painting colors lean more to cool, warm or an equal mix of color? If your painting leans more to cool, then you need to consider where you will use some warmer colors to give the painting zip. Or, if you painting shows mostly warm colors you need to consider where you could use some cool colors. A good rule is to use the 1 part, 2 part, three part formula to keep the painting from being boring.
2. Does your painting have mostly dark, mostly light or an equal mix? Again, use the 1 part, 2 part, 3 part formula to keep the painting interesting.
3. Does your painting carry mostly pure colors, tints, shades or tones? Would your painting benefit from the using the 1 part, 2 part, three part formula in this regard?
4. Have you placed some color in your painting that contrasts with the main color balance in your painting but still with consideration to the balance formula? (Think red-green, yellow-purple, blue-orange.)
5. Are all your colors distributed equally or would your painting benefit from thinking 1 part, 2 part, three part?
6. Does your painting show color value ranges, temperature, intensity, various color planes, color textures and color shapes.
Color IS part of composition and especially in the landscape. One sure way to make a boring painting is to use your colors equally dispersed throughout your painting. As an example, if you use equal quantities of warm and cool colors there will be no dominance and no variety making your painting uninteresting.
You can study color theory and try to apply what you know but above all if you can remember to check your color balance then your chances of making a successful painting will be greater. Try this 1,2,3 formula checklist:
1. Does your painting colors lean more to cool, warm or an equal mix of color? If your painting leans more to cool, then you need to consider where you will use some warmer colors to give the painting zip. Or, if you painting shows mostly warm colors you need to consider where you could use some cool colors. A good rule is to use the 1 part, 2 part, three part formula to keep the painting from being boring.
2. Does your painting have mostly dark, mostly light or an equal mix? Again, use the 1 part, 2 part, 3 part formula to keep the painting interesting.
3. Does your painting carry mostly pure colors, tints, shades or tones? Would your painting benefit from the using the 1 part, 2 part, three part formula in this regard?
4. Have you placed some color in your painting that contrasts with the main color balance in your painting but still with consideration to the balance formula? (Think red-green, yellow-purple, blue-orange.)
5. Are all your colors distributed equally or would your painting benefit from thinking 1 part, 2 part, three part?
6. Does your painting show color value ranges, temperature, intensity, various color planes, color textures and color shapes.
Color notes
Color notes
http://artaction.resene.co.nz/color13.htm
http://www.color-wheel-artist.com/hue.html
Review what Complementary colors are
http://www.color-wheel-artist.com/color-schemes.html
Things to remember
1. Remember how our eye sees when looking through air. Value differences decrease with distance: the lights get darker and the darks get lighter. Values get closer together. You will not use pure white or pure black in distant areas of your painting.
2. All things have a basic color. This color (hue) does not change. We can only alter the basic color of objects. If we want to paint a red apple, then we will use variations of the red color. In other words, we will use red as our mother color and just add other colors to it to make variations we see in the apple which help us make the apple have volume instead of laying flat on the paper.
3. It helps to remember to use three values for our darks and three for our lights.
4. Colors in the light sides of objects are painted using warm colors.
5. Colors in the distant side of objects are painted with cool colors, but note that distant objects with light sides are painted with warms, but have cools mixed in too. The exception can be the light side of clouds. For clouds in the sun, you begin with ice cold white, tined with warms such as orange, cad red or cad yellow.
6. Colors in the dark side of objects are painted using cool colors.
When in doubt about a shadow color, use FUB.
&. Shadows are lighter as they move away from the object making the shadow.
Warm colors (light sides)
Cad Yellow Medium
Cadmium Orange (high value)
Burnt Sienna (Dark Value Orange)
Cadmium Red
Sap Green
Thalo Blue
Cool Colors (Dark sides)
Lemon yellow (Hansa yellow/Azo yellow or Yellow ochre
Yellow Ochre, Burnt Umber mixed with yellow Ochre
Burnt Umber
Alizarin Crimson
Thalo Green
Ultramarine Blue
http://artaction.resene.co.nz/color13.htm
http://www.color-wheel-artist.com/hue.html
Review what Complementary colors are
http://www.color-wheel-artist.com/color-schemes.html
Things to remember
1. Remember how our eye sees when looking through air. Value differences decrease with distance: the lights get darker and the darks get lighter. Values get closer together. You will not use pure white or pure black in distant areas of your painting.
2. All things have a basic color. This color (hue) does not change. We can only alter the basic color of objects. If we want to paint a red apple, then we will use variations of the red color. In other words, we will use red as our mother color and just add other colors to it to make variations we see in the apple which help us make the apple have volume instead of laying flat on the paper.
3. It helps to remember to use three values for our darks and three for our lights.
4. Colors in the light sides of objects are painted using warm colors.
5. Colors in the distant side of objects are painted with cool colors, but note that distant objects with light sides are painted with warms, but have cools mixed in too. The exception can be the light side of clouds. For clouds in the sun, you begin with ice cold white, tined with warms such as orange, cad red or cad yellow.
6. Colors in the dark side of objects are painted using cool colors.
When in doubt about a shadow color, use FUB.
&. Shadows are lighter as they move away from the object making the shadow.
Warm colors (light sides)
Cad Yellow Medium
Cadmium Orange (high value)
Burnt Sienna (Dark Value Orange)
Cadmium Red
Sap Green
Thalo Blue
Cool Colors (Dark sides)
Lemon yellow (Hansa yellow/Azo yellow or Yellow ochre
Yellow Ochre, Burnt Umber mixed with yellow Ochre
Burnt Umber
Alizarin Crimson
Thalo Green
Ultramarine Blue
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Always mix a puddle of the colors used in your painting together and see if it leans to the cool side or the warm side before adding white for your final gray and again... check your values. You may need a warm gray or cool gray, darker or lighter... you are the artist. You choose what is best for your painting, your inspiration, your view, your song.