I was REALLY trying to pay attention to the values here. I was going for accuracy of value, with sketchy strokes. I've said this, but I think I have a problem with not getting light enough on the light parts. So the next few paintings I will be specifically addressing that issue. I think what's happening is I start with the darkest parts, then I relate all the lighter bits to the dark bits. But I never get quite light enough. So this time I put in some dark bits - and then I put in some light bits - and then I put in the bits inbetween. :)
3 comments:
Hi, Carol. The lights look great on this one. I've been going through a similar "dark phase" with my own work. Right at the end of a painting, I can see it's too dark...and it's a real struggle (sometimes impossible) to add light. I follow your blog with interest.
Best wishes, Dean
If you have access to a computer with Photoshop, here's an exersize that you may or may not have tried:
Take a photo of your composition and import it into Photoshop. Run a posterize (sp?) filter on the image inputting "3" or "4" in for the posterizing value. You could do this in color or b/w. This will clip your image down to the very lightest, very darkest, and 1 or 2 medium values in your composition. Print this image out and use it as a reference. Since the printed photo will most likely be different in color from what your eyes see, the reference would be mostly for value. Still it may help a little to see the relationships of the masses of values.
Hope this helps!
-Sean
I see what you're saying. In Charles Soveks book he stresses that objects in shadow belong to the shadow family and those in light belong in the light family. So if your cup were black and white checker board patterned, the white in shadow would have to be darker than the black in the light. Reflected light (taken into account) might be too strong and stealing the strength of the light side. I just put the digicam on b&w and see how badly I missed the values. Then I wish for a local workshop for us Texans. HINT :)
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