This is the second installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Creating Dimension…. when to use color temperature or value to turn the form.
One of the more important questions we face in creating the illusion of form with a two-dimensional painting is the dilemma of whether to use value or color temperature within a simple shadow or light shape to turn form. As we survey the subject and clearly identify a form change, many times our default seems to be to use a value shift. Often this is the case and a value change is necessary, but we must be sure that this is what we visually perceive or the painting will lose the solidity of mass and the beautiful airy quality that we are seeing. Many times it is a color change that is defining the transition and it is so important to utilize the appropriate means to show the form.
The guideline I follow to best discern the transition is …. what am I seeing when I squint. Squinting forces me to see the value shifts more clearly, reducing the distractions of the reflected lights and darks and color changes. As I am squinting , the question going through my mind is, is it VALUE OR COLOR that is turning the form. If when I am squinting I see no visible value shift, then I must open my eyes to see the color transitions within the simple shape to describe the turning of form! See the painting below and notice the simplicity of values in the light side and shadow side of the girl’s face. We must keep the lights and shadows separate to maintain the strength of form. We can achieve this by using color temperature shifts and not value shifts. This is very obvious in the black and white. The light side of her forehead and cheek has no changes in value. But in the color photo, notice how the forms appear more dimensional because they are warmer on the top plane and cooler as they spin around the form. Notice also Bud’s collar, in the black and white, the shape seems very flat, but in color, we see a top and side plane. Again, what is very important here is clearly defining the light side and shadow sides of a form and keeping the two separate.
“A Moment to Reminisce 36″ x 48”
The beauty and true asset of this approach is that in doing so effectively, we conserve the values using color temperature to show variation in form within each specific light or shadow side without destroying the simplicity of the shape. Why is this so important? So in the end, our paintings have simpler masses and more graphic appeal, while still reading as fully dimensional. Keep Squinting! (We will address the proper squinting technique on the next post…stay tuned).
Other paintings in the book that illustrate this point clearly are… “Beginning” pg. 149,“Hind’s Feet Study” pg.52 and “Gentle” pg.70 among others.
Click Book for more info….ENJOY!