contrast and a small trick

oil, 12x12

Contrast draws the viewer's eye. That said, there are many different ways to achieve that contrast. You can use value, hue or temperature, or a combination of all three. Value contrast is the strongest worker of the lot, that is why I will check my paintings in photoshop. I simply change the mode to gray scale and I have a tonal check-up. If it looks good there, then I analyze the color.

This painting has gone through so many metamorphoses, finally making it to this. I know the contrast is not super high, but I hope I made it enough to attract the eye of the viewer. I think that there is the reduction of shape, vibration and sense of wanting to know more.
Maybe its next metamorphosis will be growing big. I can see this one 60x60.
It's snowing like crazy outside (yay!)...time to do some snow study.

another version of the slough and value

This is a much bigger version of the slough(18x18) which I have been working on for the past 6 months (granted 3 of which I just looked at it and grimaced.) After speaking with Deborah, on Wednesday, I have been thinking about value. Wondering about how my use of color and temperature that sometimes sacrifices value. So that is my next focus.

It's funny that what I know...I don't do. I realize that value directs the eye. Place the darkest dark and lightest light in the focal point. Have a dominant value.
Painting is continuous discovery and learning, so full of duh! moments.

making light and use of value

 7x10 pastel and watercolor on mounted wallis
When creating light (especially with fog) I find it best to stay away from dark values, except for accents. Today the lake was covered in a misty fog, meaning values 5-10, high key. I was painting on top of an old painting so I used a lot of Chinese White mixed into the pigment. I tried to keep in a very limited value range (5-10), similar to how Sanford Gifford makes light.
How many times will I paint this lake? hmmmmm I think I will never tire of it as it is always different.

value masses and oil underpainting for pastel

All this talk about underpainting and paper possibilities makes me branch out and rethink.  Here is an oil underpainting for my next pastel....on Uart paper.
And.......

8x8 pastel on bfk
With the time change sunrise is much later. It makes timing quite easy for stopping my the side of the road for a little quickie sunrise painting while on my way elsewhere. This little hill is down the street from me. I tried to focus on what was important and not fuss with details. You ask, what was important? It's the two masses of contrasting values. I tried not to break up the land mass too much even though the house was lighter. Just a study.

full moon rising

9x9 pastel on BFK

18x24 pastel on oil on marble dust board
The full moon was Wednesday night. Both Tuesday and last night were equally dramatic. The moonrise happened immediately after sunset. The sky was that wonderful green blue that it only can be in December when we near the winter solstice. A little sliver of pink appears like a surprise guest. I guess it's time to work on those December twilight scenes I wait all year to do. There's something different about it and I can only paint this special twilight in December/January when it is present...even when I work in the studio. Last year I created  the one on the bottom ...let's see what this year will bring.
It's my birthday today and I can't wait to go outside to paint. Sometimes morning is a long wait.

Towards the Sea

12x12 pastel on paper
I blogged this one (bottom, value painting) last night. I was thinking about soft and hard edges.  I quieted my mark in the distance and allowed it a little more activity in the foreground; still trying to keep this soft and moody. Last night in my dreams I added paint and pastel. So, of course, upon awakening I tried to paint it "for real." I sprayed it with my wonderful Spectra-Fix and began with paint.

Yesterday Paul walked the length of the street with his crutches (me by his side.) He is starting to get his pep back. Yay! thank you everyone for all your well wishes!

How much do you need?

My question today..how much can I take out and still leave enough?? Strip it down to the most fundamental aspects of the landscape. Can it still say landscape? Have a mood?
Lots of doctor, PT and tests today...busy. Hopefully I will get more done tonight. Paul is beginning to have some independence. Yay!

mystery in value

With limited time in the studio, I decided a value/ mystery study was in order. It always amazes me that value has so much power.
Now I am off to the hospital for the whole day. Thank you everyone for your well wishes. Paul is doing well and receives his first physical therapy today. You are all GREAT!!!!!
Till tomorrow.

New Opera, Same Diva / use of value at sunset

This is the larger painting that I began in the field on Monday at sunset. At that time of day a painter has only about 5 minutes to record what she (or he) sees. Even in paintings that are all about color, value is the most important thing. At sunset the values in the land are very close and the temperature changes make the song. The diva is once again the light coming through the trees, the back-up singers are the grasses. Neutrals are the key.

Evocative

12x 10.5 pastel on arches
Value is a strong tool for mood. I didn't realize this before. Being a colorist has made me always rely on beautiful hues and changes in chroma to create mood. I guess I have been missing a big piece. I always realized the importance of value to create space..... but it's even more important for mood. What do you think? 
I was trying to envision haunting. I think I need to go back to the reservoir. I keep feeling that the dark is not dark enough.....hmmm. Maybe do it again. Now I did it again darker...

George Inness and Sanford Gifford

george inness -view of the tiber
sanford gifford- siout egypt

After working on a concept for a bigger painting I was in need of some inspirational input. What better reason to venture downtown to the Corcoran Museum and the National Gallery of Art? I had specific painters in mind- George Inness and Sanford Gifford.
I first visited Gifford's Siout, Egypt (above) and his The Ruins of the Parthenon: these two paintings blew me away. How did Gifford create light? Have you ever noticed the darkest dark he uses is a value 5 (which is technically a mid value!) and that is only for accents? Most of the painting is between 5 and 10!!!! The Luminists, of which he was one, were part of the Hudson River School. The factor that united the Luminists was their use of aerial perspective, hazy, light filled canvases. Brushstrokes were limited.
Next to his work is a huge George Inness called Summer in the Woods which has a more full value spectrum, very dark foreground and neutral light pinkish distance. Both paintings are filled with light, but in different ways. Inness does it with dramatic contrast and value, Gifford does it with temperature and value. Gifford's whole painting is filled with a heaven-like, soft, suffuse light and Inness creates a dreamy light, yet still part of reality.
Each man paints with a firm concept.
It seems to me that Gifford rarely deviated from his original plan,meticulously and incrementally aiming for the target. While Inness worked with a firm vision, but yet more trial and error as to how he attained his vision. I don't believe he tip-toed.
Sanford Gifford is the inspiration for my newest big work. I am trying to stay between 5 and 10 on the value scale. Tiptoe; something that is a challenge for me!