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Tag: Monday Morning Art School

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Monday Morning Art School: questions for artists

Regrowth and regeneration (Borrow Pit #4), 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

Iā€™m finally heading home. Although Iā€™ve been in the west for almost a month, itā€™s in the Hudson Valley that Iā€™ve run into smoke from forest fires. Life can be odd at times.

Iā€™ve been on the road for a month, which has meant lots of driving and painting punctuated by intense social situations. There are certain questions for artists that are asked at every event. Artists should know how to answer them; theyā€™re the equivalent of our elevator pitch. Here are my answers; what are your answers to these questions for artists?

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

How did you become interested in art? 

Iā€™ve been drawing and painting since I could hold a crayon. Itā€™s hard for me to separate art as an ā€˜interestā€™. (Most people start life drawing intensively but give it up in later childhood. I donā€™t know why.)

Art history is really just the pictorial reflection of human history, and I spend almost as much time thinking about it as I do in creating art.

The Late Bus, oil on archival canvasboard, 6X8, $435.00 framed, includes shipping and handling in continental US.

What are your influences? 

As a young woman, I was influenced by the Northern European Renaissance, in particular, Albrecht DĆ¼rer. The Italian Renaissance was based on secular, classical ideals while the northerners emphasized realism and faith.

Today I think more about the Canadian Group of Seven and Australian Impressionism. Both have a passion for place, something shared with great American regional painters like Maynard Dixon, Edgar Payne and Grant Wood, among others.

What is your preferred medium? 

Whatever tool happens to be in my hand at the time. I carry a sketchbook around with me.

What are your goals? 

To continue to paint and teach as long as the body permits.

How do you define success? 

Being able to sleep at night.

What are your most valued skills?

An almost-indefatigable work ethic.

What is your favorite and least favorite aspect of being an artist? 

An art career indulges my independent spirit, but that same trait makes me sometimes work myself to exhaustion.

Iā€™m intrepid, but the flip side of risk is occasional insecurity.

What do you wish youā€™d learned in school?

How to run a business. Iā€™ve had to teach myself, and it was much more difficult than learning to paint.

What inspires you? 

The beauty of Creation. I used to be far more interested in humanity, but now I mostly think about how much weā€™re all gasping for untrammeled nature.

When is your favorite time to create? 

Morning.

How do you know when a piece is finished? 

I canā€™t stand thinking about it anymore.

What is the hardest part of creating a piece? 

Finding uninterrupted time. Itā€™s shocking how much of my day is taken up with the business of art. I always have more ideas than I can execute.

How has your style changed over time?

I am no longer interested in faithfully rendering reality.

What is your point of view? 

My work here, and whatever talent I have, is a gift from God, and my job is to use it to the best of my ability.

How do you handle negative criticism? 

Badly; who doesnā€™t?

What have you learned from criticism? 

On reflection, I often have to admit that it was at least partly justified. On the other hand, although I believe there are immutable elements of design, thereā€™s no reason to believe that the juror de jure has ever learned them. In the end, I take my own measure.

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Monday Morning Art School: plein air festival etiquette

Country Road, 14X18, oil on archival canvasboard, available through Sedona Arts Center.

There is something about Casey CheuvrontĀ and Upper Red Rock Loop Road. Last year, a woman parked herself in front of Casey and gave her clients a long spiel about the magnetic energy of the rocks, while rolling magnets around on a metal plate. Another guide occupied the same spot to talk about ley lines. Itā€™s distracting to have people looming in front of you, obscuring the view.

On Saturday evening, Casey, Ed Buonvecchio and I set up to paint the sun dropping over Sedona. We were careful to follow the etiquette of a plein air festival, which includes:

Snoopy in the shade, 8X10, oil on birch, available through Sedona Arts Center.
  • Respect the venue, and follow any rules;
  • Donā€™t disturb othersā€™ enjoyment of the natural surroundings;
  • Donā€™t plant yourself in the middle of a path;
  • Clean up after yourself;
  • Engage with interested passers-by;
  • Be considerate of other artists. This means giving fellow artists space to work, and not getting in their sightlines.

Casey was tucked into the shadow of a juniper, painting the sunset. A swarm of photographers suddenly surrounded her. It was a workshop. Despite there being tens of thousands of acres of open land around us, and paths leading in every direction, they were packed so tightly around Casey that she didnā€™t have room to move.

Hailstorm over Coxcomb, 9X12, oil on archival canvasboard, available through Sedona Arts Center.

ā€œDo you mind?ā€ the instructor asked. ā€œWeā€™ll only be a few minutes.ā€ Forty minutes later, they finally shoved off, but the light, and the moment, had passed.

It all starts with drawing

ā€œYou donā€™t always do a value drawing, do you?ā€ Ed asked me. On the rare occasions when I skip one, I regret it.

Unfinished painting of dawn. I spent a morning sketching options, a morning transferring my best sketch by grid. I’ll start adding color this morning.

Iā€™ve been going out at 6 AM to paint the dawn. In two days, Iā€™ve done several sketches and gotten my final idea transferred to canvas. (I still have some foreground issues to work out.) My canvas is gridded because, yes, I do a value drawing and then transfer it to my canvas.

That proved very handy last evening as the shadows changed by the minute. I was able to reference my drawing when the light had gone. When you think you donā€™t have time for a value drawing is when you need it most.

Painted at the speed of light, 11X14, oil on birch. I haven’t decided if it’s finished.

Show ponies

Hadley Rampton and I were sitting on a fence watching the scrum at our first quick-draw. ā€œI think plein air festivals are like the rodeo,ā€ I mused. ā€œWe all know each other, we all go around the same circuit, we compete for the same prizes.ā€

ā€œIā€™ve thought about that,ā€ she responded, ā€œbut I think weā€™re more like show ponies.ā€

And on that note, Iā€™m off to paint the dawn again. Iā€™m sorry these missives are so brief, but plein air festivals mean long days of painting.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: setting up a still life

I start teaching my Rockport Immersive workshop tomorrow morning, and our forecast is for 100% chance of precipitation. I have a backup plan. Yesterday, in my amble through the woods, I cut various blossoms and berries.

Setting up a still life is great fun, but when youā€™re doing it for a roomful of artists, different rules apply. You treat it more like a still-life-scape, from which each painter can pull bits and pieces.

Whether youā€™re doing it for one or ten people, setting up a still life is excellent training. There was a period in my life where I painted a still life every morning, before I got on to my ā€˜seriousā€™ work. Itā€™s how I learned to paint with assurance.

Choose Your Objects

My theme for this still life was autumn, ā€œseason of mists and mellow fruitfulness.ā€ Formerly, Iā€™ve done still lives based on internet memes, nonsense my kids wandered around singing, or things I like to do. Even a simple book of matches can be an arresting still life.

Get in the mood

In autumn, the mood is lush; easy, peasy. Other still lives may not be so simple. They may be austere, luxurious, absurd or romantic.

The color scheme is an extension of mood. In this case, itā€™s purple and gold, reds, russets and yellow. If I were doing something romantic, it would be lighter and more ethereal. If Iā€™m being snarky, all bets are off.

A variety of shapes, sizes, and textures is more important than content. Thatā€™s why I threw in the pewter and aluminum. In this instance a drape would be overkill, but donā€™t discount fabric as a shape- and pattern-maker.

Two closely analogous items.

There are times when Iā€™m looking for contrast, and times Iā€™m looking for closely analogous objects.

Composition is key

I spent as much time gathering and arranging this still life as I would spend painting it. True, itā€™s massive, but in some ways, that makes it easier.

  • Do you have clearly articulated focal points?
  • Have you layered objects to create depth?
  • Is there a good pattern of lights and darks? Warm and cools? A good color pattern?

Donā€™t be afraid to keep fiddling right through your compositional sketch. You may find better ways of looking at the objects.

Lighting

I prefer natural light when possible, as it gives livelier color and a softer shadow pattern. Positioning your still life near a north window will give you the most stable light, but there are times when strong raking light is appropriateā€”but you must work faster.

Natural light is not always possible. If you set up artificial lights, donā€™t put them too close to the subject. Make sure there is fill light in the shadows, and think of the composition mainly in terms of the cast shadows.

Negative space

Negative space is the area surrounding and between the subjects. These interstices define and highlight the main elements, creating balance. Effective use of negative space creates interesting shapes and patterns, draws attention to the main subject, and adds depth to the overall piece.

Some artists use still life shadow boxes. I donā€™t because they excessively control light and composition. When I paint still life, I just ignore what’s behind it. That gives me the opportunity to create what I want in the interstices. Itā€™s good practice in not being excessively driven by what you see.

Be inventive

Iā€™ve painted pretty absurd still lives, including toilet paper, bubble wrap, bacon and a tin-foil hat. Still life is only as boring as you make it. Donā€™t be afraid to be weird.

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Monday Morning Art School: what is fine art?

High Surf, 12X16, oil on prepared birch painting surface, $1159 includes shipping and handling in continental US.

What is fine art?

Fine art serves no practical purpose. Itā€™s created for its aesthetic value and emotional impact rather than to do anything useful.

Calling something ā€˜fine artā€™ is not an assessment of quality. Something can be utter dreck and still fall under the heading of fine art, and fine craft is frequently better-executed than fine art.

The line between fine art and other disciplines is blurry. For example, Norman Rockwell and N.C. Wyeth were primarily illustrators, but theyā€™re also considered among the best painters of their generation. And by any narrow definition of purpose, most pre-Renaissance painters would be lumped in with illustrators, since one of their main goals was to explain and amplify the Bible. What is fine art, then, is a difficult question to answer.

Sunset over Cadillac Mountain, oil on archival canvasboard, $869 includes shipping and handling.

What is the difference between fine art and commercial art?

The primary difference between fine art and commercial art is intent.

While fine and commercial art are both tools of communication, fine artā€™s focus is emotional, visual, and intellectual. Commercial art is made to sell a product, service, or idea. It is functional.

Fine art generally seeks to speak to its audience one-on-one, whereas commercial art is directed towards markets.

Fine art is judged on creativity, expression, technical skill, and its intellectual underpinnings. The individual artist and his or her vision is paramount. That means fine artists have the freedom to produce work that nobody cares about (although thatā€™s likely to result in penury) whereas commercial artists generally work under another personā€™s guidelines and requirements.

Camden Harbor from Curtis Island, oil on canvas, $2782 unframed includes shipping and handling in continental United States.

Do fine art and commercial art use the same media?

There is no distinction between what is used in fine art and what is used in commercial art, although certain media (for example oil painting or lost wax casting) are more suited towards fine art. Other media (for example, neon or digital imaging) are more suited toward commercial art.

Belfast Harbor, oil on archival canvasboard, 14X18, $1,275 unframed includes shipping and handling in continental United States.

What is the difference between fine art and fine craft?

The line between fine art and fine craft is even squishier. Traditionally, fine craft creates functional objects, although that has never been absolute. Grinling Gibbons was Britainā€™s most celebrated woodcarver. He was an excellent businessman and much of his work falls firmly in the area of fine craft. However, he also produced amazing confections in lime wood that transcend any purpose.

Since both fine art and fine craft can create decorative objects, the distinction is usually a matter of focus.  Fine craft is said to emphasize skill and technique, whereas fine art emphasizes ideas.

The most comfortable distinction is in media. Fine craft includes ceramics, glasswork, textiles, woodworking, goldsmithing and other disciplines where the materials are critical to the results.

Which is best?

Since the 18th century, critics and gallerists have tried to rebrand fine art as an intellectual discipline, (although its practitioners generally remain stubbornly practical). Because of this, fine craft, illustration and commercial art have been perceived as lower art forms. This is an absurd distinction, and one that has led us to the worst excesses of conceptual art.

I’ve been both a commercial and fine artist, and I pursue some crafts. None is inherently better than another; it’s all a question of what you’re called to do.

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Monday Morning Art School: How long does it take to get good at drawing?

Yesterday’s outdoor church service and picnic, drawing by Carol L. Douglas. I knew I didn’t have time to draw each figure, so I made them a single mass.

On Sundays, I have between 35 and 40 minutes to draw, because thatā€™s how long Quinton Self will preach. After decades of drawing in church, I can tell you exactly where the pastor is in his or her sermon; I almost always wind up at the same time.

Itā€™s helpful to know how long you have to draw, because you can choose your level of finish in advance. A 30-second gesture drawing and a three-hour portrait can both be stylish, finished drawings that tells the viewer something about the subject. But for either to work, they must be planned.

A preparatory drawing for a painting.

Whatā€™s the difference?

Gesture drawing captures the essence and movement of a subject quickly, focusing on flow and rhythm. A finished drawing involves refining details and form for a polished representation. The technique in gesture drawing is loose and spontaneous, whereas finished drawings require precision. Gesture drawings may take just a few seconds, while finished drawings can take hours or even days, depending on complexity and detail.

A quick sketch, not more than ten minutes.

Why draw in the first place?

I primarily draw as the first step in designing a painting. Itā€™s far faster than sketching out the idea in paint, only to realize that the composition I had in mind is weak. Iā€™ll draw when I donā€™t have time to paint or itā€™s not appropriate (as in church). But all that implies that drawing is somehow lesser than painting. Drawing is a powerful form of expression on its own.

Sometimes I’m the only one who’s amused. From a poem by John Betjeman.

How long does it take to get good at drawing?

Itā€™s a disservice to beginning painters to not insist that they first learn to draw. Itā€™s also a disservice to let them think that drawing is a magic trick or something weā€™re born knowing innately. Anyone of normal intelligence and vision can draw; they just need to learn how.

It doesnā€™t take long at all to learn. I taught my friend Amy Vail to draw in one short session; a week later, she was drawing like an old pro.

And sometimes I’ll work out something I don’t plan to paint.

From sketch to realized work

Sometimes you need to sketch before you can draw. Finished drawings require composition, proportion, lighting and perspective, just as finished paintings do. Andrew Wyeth created many drawings before he dragged out his paint kit, and many others just for the sheer joy of drawing.

Knowing how long you have to draw is your best tool to finish strong. Thatā€™s not always possible; for example, you will never know how long you have to wait at the doctorā€™s office. But when you do, you can direct your pencil to what matters in a sensible way.

I donā€™t have a drawing class scheduled, but if you want to take it next time itā€™s offered, email me here and Iā€™ll put you on a list.

An apology

Right before I left to teach aboard American Eagle last week, my laptop converted itself to a brick. (That happens to me frequently, and I canā€™t really explain why.) Fridayā€™s blog post was written on my phone, and it reads like it. Sorry about that.

When I got home, I told my daughter I needed to order a replacement. ā€œDonā€™t do that!ā€ she said. ā€œYour new one is already there!ā€ Iā€™m typing on it now, using remote desktop. Any bumps in the road going forward are just from reinstalling software and restoring my last backup. I hope this one lasts longer than 29 months I got out of the last one. Sigh.

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Is the ocean a reflection of the sky?

Brigantine Swift in Camden Harbor, 24X30, oil on canvas, framed, $3478 includes shipping and handling in continental US.

If youā€™re looking for me this weekend, Iā€™ll be out on Penobsot Bay, teaching my Art and Adventure at Sea workshop aboard American Eagle. That means no connectivity and therefore no blog post on Wednesday. One of the most common questions Iā€™m asked is, how do you paint water. Water is so immense, slippery, and mercurial, that it is impossible to nail it down into a schtick. Instead, the painter must rely on observation.

Heavy Weather (Ketch Angelique), 24X36, oil on canvas, framed, $3985 includes shipping and handling in continental US.

Is the ocean a reflection of the sky?

Reflections are a distortion of the surrounding environment. Thatā€™s true whether youā€™re painting them on the ocean or in a glass of water. These reflections are never going to be consistent but they will follow the laws of physics.

Imagine an ocean that is perfectly flat, and that you can walk on water. Looking at your feet, you can see straight down into the water. Itā€™s not reflecting anything. Looking at a rubber ducky floating ten feet away, youā€™re looking at the surface at about a 26Ā° angle. Youā€™ll see a reflection of the ducky, the sky, and a glimpse of whatā€™s under the surface. As you look farther away, the angle gets smaller and smaller, and all you see is the reflected sky.

Reflection involves two rays ā€“ an incoming (incident) ray and an outgoing (reflected) ray. Physics tells us that the angles are identical but on opposite sides of a tangent. This is why the reflection of a boat needs to be directly below the real object in your painting. You can add other colors into that area, but the reflection canā€™t be wider than the object itā€™s reflecting.

Breaking Storm, oil on linen, 30X48, $5579 framed includes shipping and handling in continental US.

Water is transparent, but it has a shiny surface. Some rays of light make it through and bounce back at us from the sea floor. Reflections in glass work the same way. You can see through the glass in the surface thatā€™s facing you, but the curving sides reflect light from around the room. Because glass is imperfect, these reflections will be distorted.

The ocean complicates matters by being bouncy. Even on the calmest day, the surface of water is never perfectly flat; itā€™s wavy or worse, just like a fun-house mirror. Waves are a series of irregular curves. How they reflect light depends on what plane youā€™re seeing at that nano-second. It seems like the easiest thing to do is to capture it in a photo and paint from that, but what we see in photos is sometimes very different from what we perceive in life.

Instead, sit a moment with and watch how patterns seem to repeat. Theyā€™re never exactly the same, since waves are a stochastic process (think random but repeating). But theyā€™re close enough to discern general patterns.

Beautiful Dream, oil on archival canvasboard, $1449 framed includes shipping and handling in continental US.

Solid objects can also trip you up in their reflections. Consider the humble spoon. Itā€™s concave. That distorts its reflections. Thereā€™s no point in trying to predict what you might see; itā€™s best to just look. Likewise, a mirror only reflects straight back at you if youā€™re in front of it.

There are times when the ocean makes no reflection at all. Only smooth surfaces reflect light coherently enough to make reflections. Thatā€™s why burlap has no reflections. Sometimes, when water is being wind-whipped, it doesnā€™t have reflections either. To paint such a sea, keep the contrast low. A grey, windy day, or a turbulent sea will have a surface too broken up to reflect anything but the most general light.

Some people say that reflections should be lower in chroma than their objects, but I donā€™t think thatā€™s true. Often, the ocean seems to concentrate color. Sometimes, the water will be lightest at the horizon; other days there will be a deep band there. However, the farther away, the more its colors shift toward blue-violet.

Paintings by Ray Roberts, courtesy the Page Gallery.

If youā€™re in town this weekend

Colin Page tells me thereā€™s still room in Oil Painting On Location in Camden, Maine with well-known western artist Ray Roberts. Thatā€™s next Saturday and Sunday, September 21-22 from 9-4, and the fee is $300

This workshop will be in oils, but all media are welcome.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: do you see what I see?

Marshes along the Ottawa River, Plaisance, 8X10, oil on archival canvasboard, $522 includes shipping and handling in continental US.

There is a young maple tree that I watch from my living room. This morning, itā€™s green overlaid with bronze. The maple behind it has a golden hue where itā€™s hit by the sun, but the part in shadow is a very dull blue. Closer to my house, the neighborā€™s tree is developing dull violet overtones.

We old-timers say that maple trees start turning color before the kids go back to school. Thatā€™s not strictly true, because maple trees change their color throughout the season, starting with the brilliant red buds that we recognize as one of the first signs of springs. New leaves are chartreuse and mature into the full-throated, deep, dull ā€œwall of greenā€ thatā€™s the undoing of many painters. There summer sits for a few hot weeks before it begins to slide inexorably into the cooler air and warmer tones of fall. By autumnā€™s end, all the deciduous leaves will be gone except those of the young beeches and oaks, which will dry yellow and bronze on their stems and create a quiet susurration in the winter woods.

The Pine Tree State, 6X8, oil on archival canvasboard, $435.

But ask us what color a treeā€™s leaves are, and weā€™ll invariably say, ā€œgreen.ā€ We wonā€™t specify the glossy dark green of summer oak leaves, or the delicate light green of the katsura tree. (I have one in my back yard, and as the leaves dry and fall, they smell like apple pie.)

The green that many painters use for foliage bears about the same relationship to the natural worldā€™s green as Gatorade does to juice.

The Vineyard, oil on linen, 30X40, $5072 framed, includes shipping and handling in continental US.

Do you see what I see?

Sometimes I paint with sunglasses on, because I like painting contre jour and the light hurts my eyes. As much as people tell you not to do that, I never notice much problem matching values; my glasses are limiting the light reflecting from my paint and canvas as much as they are the light bouncing off the ocean. (Where they make a difference is in specular highlights, but forewarned is forearmed.)

Visual perception varies from person to person, but within our own brain, we make consistent adjustments. If you always see things as pinker than I do, youā€™ll see your paints that way, too, and unconsciously make the correction. Not that we really know what anyone else sees; how could we measure that?

Are you looking or thinking?

We humans are too smart for painting. We paint with our reason rather than our eyes. For example, we ā€˜knowā€™ that the irises of the eye are round. We paint that without noticing that for most of us, our top lids cut off a wedge of this pie shape. We know that barns are red, so we donā€™t notice that the bright red barn on a far hill is in fact objectively brown; our minds interpolate the color for us.

“Eastern Manitoba Forest,” Sandilands National Forest, Manitoba

What do you really look like to others?

ā€œWho is this old woman looking at me in the mirror?ā€ my mother once asked me. Most of us carry around a mental snapshot of ourselves thatā€™s a combination of all our prior selves, real or imagined. That can make a candid photo or unexpected compliment tough to take.

Thatā€™s, I think, the same phenomenon as described above. Our inner selves know us rather than see us objectively.

Whatā€™s the solution?

Time and practice are the great healers for this problem. Meanwhile:

ā€¢ Consciously look at things as if you were seeing them for the first time.Ā 
ā€¢ Take the time to measure; that forces you to be objective.
ā€¢ Draw or paint the same subject from different angles.
ā€¢ Look for subtle color shifts and patterns.
ā€¢ Observe light and shadow without thinking about what object youā€™re drawing.

Mark next Friday on your calendar

Grand opening
Carol L. Douglas Gallery at Richards Hill
Friday, September 13, 5-7 PM
394 Commercial Street, Rockport, ME 04856

For more details, see here.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: what is alla prima painting?

Cinnamon Fern, 9X12, oil on archival canvasboard, $869 framed includes shipping and handling in continental US.

Occasionally, Iā€™ll hear someone fumble for a description of a painting and come up with plein air style. Plein air isnā€™t a style or technique; it simply means painting outdoors instead of in a studio. Plein air allows an artist to capture natural light and colors from direct observation, and itā€™s a very important movement in art history, starting with John Constable and still popular today.

What these people are groping for is the term alla prima. The confusion lies in the fact that most (although not all) plein air painters also use alla prima technique.

American Eagle in Drydock, 12X16, $1159 unframed includes shipping and handling in continental US.

What is alla prima?

Alla prima (also called au premier coup, wet-on-wet, or direct painting) is a technique where the artist applies paint directly onto the canvas without letting earlier layers dry. This contrasts with indirect painting, which I describe below.

Alla prima is used mostly in oil painting, but it has its equivalent in wet-on-wet watercolor. In alla prima painting, the artist strives for fast, incisive brushwork. It requires skill to avoid making mud, and the artist must work with confidence and speed.

Alla prima has been in use since the Early Netherlandish painters. It became popularized with the rise of Impressionism, but painters as disparate as Frans Hals, Claude Monet, Vincent van Gogh,Ā John Singer Sargent, ChaĆÆm SoutineĀ andĀ Willem de KooningĀ have all painted directly. Rembrandt van Rijn painted indirectly for the most part, but pointed up his work with alla prima passages.

Skylarking, 24X36, oil on canvas, $3985 framed includes shipping and handling in continental US.

Alla prima paintings are not necessarily completed in one session, although the goal is to not let the bottom layers dry before adding more paint. There is minimal layering, and the focus is on capturing the essence of the subject with bold, confident strokes. It prioritizes expression and immediacy over meticulous detail.

This lends itself to a more expressive, loose style, with visible brushstrokes and a sense of movement. In fact, when people tell me their goal is to ā€˜get looser,ā€™ what they generally mean is that they want to master alla prima painting.

Indirect painting

Before we had oil painting, we had egg tempera, encaustic, fresco and distemper, none of which lend themselves to bravura brushwork. Itā€™s no surprise, then, that meticulous, detailed painting was the first form oil painting took. Just as tempera is layered, so was early oil painting.  

In indirect painting, the artist builds up the image with transparent layers. Each layer dries completely before the next one is applied. Indirect painting allows for a high level of control and detail. Artists can build up subtle transitions of color and light, creating a realistic, highly polished finish. Indirect paintingā€™s great virtue is that it creates luminosity thatā€™s impossible to achieve with direct painting. That comes, however, at the expense of brilliant color and brushwork.

Belfast Harbor, oil on archival canvasboard, 14X18, $1,275 unframed includes shipping and handling in continental United States.

Indirect paintings start with a monochromatic underpainting or grisaille: While most direct painters do this as well, the grisaille in an indirect painting is intended to show through subsequent layers. This establishes the composition and tonal values retained throughout the piece.

This base layer is allowed to dry and is followed with diluted, transparent layers of paint (called glazes). These are applied over the underpainting to modify the color. Each glaze layer dries before the next is added. White is lousy for glazing, so in a well-painted indirect painting, the light is reflecting through the paint from the grisaille layer.

Indirect painting was widely used during the Renaissance and Baroque periods. (Itā€™s the only way to achieve true chiaroscuro.) There are artists using it today, but theyā€™re doing so almost self-consciously, as a throwback to earlier periods in painting history.

Back in the last millennium, I learned indirect painting first, alla prima second. (Rembrandtā€™s style was undergoing a miniature renaissance then.) Today, there are far more modern painters pursuing alla prima than indirect painting, but one isnā€™t inherently better than the other. In fact, with new materials solving the age-old problems of chroma and cracking, who knows if indirect painting is due for a rebirth? Ā Ā 

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Monday Morning Art School: the color of light

Is the light warm or cool in this painting? Two Peppers, oil on archival canvasboard, 6X8, $435.00

Additive and subtractive light refer to two different color systems, each operating under different rules. The difference between the two is fundamental in color theory. They both affect painting, as one influences what we see, and the other influences what we put down on our paper or canvas.

Is the light warm or cool in this painting? Tricky Mary in a Pea-Soup Fog, oil on canvas, Carol L. Douglas, courtesy private collection.

Additive Light

Additive color mixing involves combining different colors of light to create new colors. The more colors you add, the closer you get to white light.

The primary colors of additive mixing are Red, Green, and Blue (RGB). When you mix these three primary colors of light at full intensity, you get white. By varying the intensity of these lights, you can produce a wide range of colors.

This is the light system of computer screens, televisions, and stage lighting. More importantly, itā€™s the light system of the world that surrounds us, thanks to our sun.

Subtractive Light

Subtractive color is what happens in printing, painting, and any medium that relies on reflected light. In them, mixing means absorbing (removing) certain wavelengths of light to produce color. Pigments, dyes, and inks all absorb certain colors and reflect others.

The primary colors of subtractive mixing are, more or less, those you learned in kindergarten: cyan (blue), magenta (red), and yellow. In printing, black is added, creating the CMYK model.

Is the light warm or cool in this painting? Michelle Reading, oil on linen, 24X30, $3,478.00 framed, includes shipping and handling in continental US.

Color temperature

Color temperature is a measure of the color of light, expressed in degrees Kelvin (K). It describes the appearance of light and how warm or cool it looks to the human eye. Understanding color temperature is essential in painting.

At lower temperatures, the light appears red or orange (warm colors). As the temperature rises, the light shifts to yellow, white, and eventually blue (cool colors). Yes, thatā€™s counterintuitive, because what we call warm or cool is influenced culturally, not by science.

Now that lightbulbs are tunable for color temperature, we may change how we feel about this, but historically, weā€™ve said:

-Warm light appears yellow/orange, and creates a cozy or sunlit atmosphere.

-Cool light appears blue/white, and creates a crisp and focused atmosphere.

-Neutral light: doesnā€™t have a colorā€¦ and neither does its shadow.

Manipulating these in painting gives paintings an overall mood, which is why photographers covet the golden hours of early morning and late afternoon.

Is the light warm or cool in this painting? View from Bald Mountain, 24X36, oil on canvas, Carol L. Douglas, private collection.

The color of shadows

Shadows being the absence of light, they are also the complement of the light source (whatā€™s left when the light is blocked). However, theyā€™re not the complement within the subtractive light system, but the additive light system. Itā€™s not as simple as saying ā€œitā€™s gold light, so the shadow is purple,ā€ although most people wouldnā€™t quibble about that.

Every color of light has RGB values, which are a system for representing colors on digital displays. We could find the complement, or shadow color, by subtracting the RGB values of the light from 255, which would give us a blue-violet. However, that would be an absolutely insane solution to the question. Instead, use your eyes, which will tell you that the shadows of evening are blue or violet. Or, better yet, use your imagination along with your eyes.

Bouncy, bouncy light

There are some surroundings where reflected color is so strong that it blows out this kind of light structure. The greens of the deep forest are one, sitting under an awning is another, and my studio with its natural wood paneling is a third. In these instances, the dominant color influences everything.

Learn more

I got home to find that I only have one more seat left in Applied Color Theory, which starts tomorrow. But there are always my workshops, below.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: human vision and color theory

Rachel’s Garden, ~24×35, watercolor on Yupo, museum-grade plexiglass, $3985 includes shipping and handling in continental US.

Is human vision subjective? Absolutely; so are cameras (although they cheat less than our eyes). We donā€™t perceive things as they really are, and the gap between what we do perceive and what is ā€˜realā€™ is probably unmeasurable. Itā€™s no surprise that witnesses often report wildly different events.

Bunker Hill overlook, watercolor on Yupo, approx. 24X36, $3985 framed includes shipping and handling in continental US.

How our eyes work

No other organ is quite like our eyes; theyā€™re really an extension of our brains. The retina and optic nerve develop from the same tissue as the brain and that direct connection is maintained through life. The eyes are not merely sensors; theyā€™re processing information before sending it up to the brain. They use the same neurotransmitters and signalling mechanisms as the brain. No wonder theyā€™re so good at fooling us!

The primary visual cortex processes and interprets the signals received from the retina. That gives us the interpretive part of vision, where we sort color, motion, and depth. Itā€™s there that we integrate and interpret visual data into coherent images and meaningful information.

Clary Hill Blueberry Barrens, watercolor on Yupo, ~24X36, $3985 framed includes shipping and handling in continental US.

How our eyes trick us

All humans have tunnel vision, some of us more than others. We focus on whatā€™s in the center of our vision. Whatā€™s peripheral falls off, to various degrees depending on the person. One of the great lies of painting and photography is that they smooth out this tunnel vision.

Thereā€™s also wide variation in the distribution and density of rods and cones, which affect how we perceive color. Then thereā€™s the condition of our lenses and corneas. (Thatā€™s why I keep hoping Iā€™ll qualify for cataract surgery, but it never happens.)

Once the eyes send their signals to our brain, the relationship to ā€˜realityā€™ becomes even more tenuous. It appears that different individuals process various aspects of vision differently in their visual cortex. Our interpretation of what we see is also influenced by our experiences, our mood, and the degree to which weā€™re attending. And of course, lighting affects how we see (and how we fill in whatā€™s missing).

Context affects how we see color

Certain visual patterns can trick our brains into seeing things that are not there or misinterpreting what we think we see. This is the basis of optical illusion, and itā€™s helpful for the painter to understand. Colors look different depending on whatā€™s around them. Prolonged exposure to a particular color can create afterimages that affect how we see subsequent colors.

Most importantly, our expectations alter our color perception. For example, knowing that a distant roof is red can mislead painters into painting it brilliant scarlet, even when the atmospheric color shift has made it a far softer tone.

Path to the Lake, ~24X36, watercolor on Yupo, framed in museum-grade plexiglass, $2985 includes shipping and handling in continental US.

How do we sort all this out?

If we could separate what we see from what we ā€˜know,ā€™ weā€™d be left with simple patches of light and color, because thatā€™s all vision is. Itā€™s very hard to do that, but the more we strive for that, the better our representation is.

After all, in our field of vision, things are not inherently large or small, close or near; our brain sorts the data and makes these comparisons.

Why am I thinking about this stuff?

Iā€™m swotting to teach a new class, Applied Color Theory, on Tuesday evenings, starting on August 20. And it all starts with the brain, so thatā€™s what Iā€™m thinking about first.

There are just a few seats left, so if youā€™re interested you should enroll as soon as possible.

Reserve your spot now for a workshop in 2025: