Painting Intermediate Day Two Color and Light
67
Color and “Light” Glenn Hirsch
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Transcript of Painting Intermediate Day Two Color and Light
Color and “Light”
Glenn Hirsch
‘light’ = ‘emotion’
the contrast of light and dark
the variety of warm and cool
Monet
Berthe
Morisot
Berthe Morisot “La Fable”
Rembrandt
John Singer Sargent
John Singer Sargent
John Singer Sargent
Maurice de Vlaminck
Alexei Jawlensky
Paul Gauguin
Emile Nolde
Peter Doig
R. B. Kitaj
Color theory to enhance the illusion of “light”
The contrast of warm and cool versions of each color
What’s the ‘true color’ of the house?
It depends on the time of day and the weather
The ‘real’ color doesn’t exist independently of the light
Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light
Colors
a "warm yellow" Cadmium Yellow Medium
a "cool yellow" Cadmium Yellow Light or Pale or Lemon
a "warm red" Cadmium Red Medium or Light
a "cool red" Quinacradone Crimson or Alizarin Crimson
a "warm blue" Ultramarine Blue
a "cool blue" Cobalt Blue or Cerulean Blue or Turquoise Blue
a "warm green" Sap Green or Chromium Oxide Green or Perm Green Light
a "cool green" Pthalocyanine Green or Viridian
a "warm brown" Burnt Sienna or burnt umber
a "cool brown" Raw Sienna or raw umber
a "black" Any black or mix your own: Alizarin Crimson + Pthalo Green
a white Titanium white or "Permalba" brand oil white
Chromatic scale to enhance the
illusion of “light”
Lighter b/w value in the light
Brighter intensity in the light
Warmer (orangey) red in the light (vs bluer purplish) in the shadow
Chromatic scale
• Light to dark• Bright to dull• Warm to cool
Chromatic scale
• Light to dark
• Bright to dull
• Warm to cool
Georgia O’Keefe
Dramatic light comes from the contrast of light and dark.
This is called “value” – the black-and-white version of the color.
Chromatic scale – light to dark, bright to dull, warm to cool
David Park, Portrait of S.C. Pepper, 1953
Elmer Bischoff
Paul Wonner
Assignment:a painting
emphasizing ‘light’
“Theatrical” light: spotlight, cast shadow, metallic glow
Paul Wonner
Melissa Miller
Elmer Bischoff
Paul Wonner
Elmer Bischoff
Paul Wonner
Elmer Bischoff
Max Oppenhiemer
Egon Schiele
Handiedan
What’s the procedure?
thumbnail sketch first – block-in light & shadow
No detail
Then paint (but the painting doesn’t have to follow the sketch)
Painting in Layers• Bright underneath
• Dull on top
• (or vice versa)
paint on a dark background
Dark green on a red background
• Step-by-Step
• Block in the whole composition, including the lighht
• Then let dry and clarify detail
The brush changes direction, following the contour of the shapes
Work from thin to thick, allow each layer to dry, block in the whole composition, including the light and shadow
Painting the background also redefines the edge of the shape
(e.g., behind the cheek)
• This isn’t a ‘rule,’ it’s a ‘recipe’ to enhance the illusion of ‘light’
Robert Haemmerling
