Next triads

After studying with John Phillip Osborne at the Ridgewood Institute of Art in NJ for a length of time, I began to understand and see what was passed to John from his teacher Arthur Maynard and to him from Frank Vincent Dumond. 

 One student quotes DuMond as saying, “Silently glowing over this whole landscape is a rainbow. You must learn to see it. It is there always, and if you can get hold of that, you have something worth going after.”    

Once you've seen it cross over the sky, the land and even a face in a north light studio, you can't not look for it forever after. In my Color and Energy workshops we focus on the prismatic palette and how to capture the rainbow. 

First, knowing how to capture the first, second and third triads is invaluable. In my last blog we discussed the first triad - that initial Light, Medium and Dark value easily found when looking through red glass. Next, is the TRIAD IN THE DARKS. On the left of the DARK value on the nine step value scale is the High Dark and on the right is the Low Dark.  Look in the DARK value and see where is it a bit darker and establish those LOW DARKS. Where is it a bit lighter and establish those HIGH DARKS.                                                                  

 1. white  2. High Light  3. Light 4. Low Light 5. Medium 6. High Dark  7. Dark  8.Low Dark.  9 Black

1. white  2. High Light  3. Light 4. Low Light 5. Medium 6. High Dark  7. Dark  8.Low Dark.  9 Black

Look in the Dark shape on my painting below in the full color rendition. See where I made it slightly lighter (HIGH DARK) and slightly darker (LOW DARK) in the dark area? I've also changed the color up a bit too. 

Now look into the LIGHT areas and find where I made them slightly lighter (a HIGH LIGHT) and darker (LOW LIGHT). The medium value has hue changes but not value changes. You can also move the medium value toward the light or the dark to keep the painting more dramatic and reducing the values to 4 or 6 values only instead of 7.  

Illustrators often reduce a painting dramatically to make a story stronger and more easily read by their audience. 

The more you learn to control your values the stronger paintings are received. Then begin to focus on color. As you may have heard before... Value does all the work and color gets all the credit. 
 

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Notice how I also changed the amount of LIGHT in the sky making it the least amount. In the prior rendition, the LIGHT, MEDIUM and DARK shapes were all about the same. I made the Medium value more dominant to make the painting stronger. Something needs to be dominant, another shape a bit less and the last shape more of an accent. We don't want all three areas to fight for attention.  You must have one more dominant and reduce the amount of attention from there. 

In this case, the light gets the attention because it is the lightest, brightest and smallest and then there is Color to add to the mix- Mononchromatic, complementary, analogous, muted, prismatic, etc.

Learning to create fast color studies and working in a prismatic palette is the focus on my Color and Energy workshops in Sarasota, FL (aka paradise). Consider joining me in person and learn. For more information on workshops.

 So much to pass along to you including my new system for capturing the three values in a black and white study and then again quickly in a color study before tackling a larger painting.