Spa Creek in Black and White, oils on canvasboard, 8" x 10"This is one of yesterday's paintings done in Lee Boynton's class. His approach to teaching is that to understand landscape painting it's easier to start with value studies in black and white, but that doing these value studies in charcoal, pencil, or pen and ink (which is what most of us have done before) doesn't necessarily translate into oil painting: the student must use oil paint in order to understand how to work with it. So for this first session, we painted only with black and white paint.
I like the way he breaks down the process of bringing order to the painting. First, he subdivides the painting into three basic values: light, middle and dark grays to create the composition. Each value represents an area of the landscape, with the sky generally the lightest value, the ground the middle value and the trees the darkest. Once we have the shapes of those three areas established, the composition is in place and it should "read" as a representation of reality as well as an abstract composition.
Now to begin to articulate what we are trying to represent, each value is subdivided into three more values within that range. Within each subdivision, we can begin to define the sky as generally lightest at the horizon and darkening toward the zenith. The ground plane (in our case the water in the creek) again has subtle variations, while the variation in trees gives an idea of the distance from the viewer and their shapes.
The title of my post is intended to be amusing--contrary to what I once imagined, people with total color blindness (achromatopsia) do not see the world as we would on an old black and white TV set. They actually are quite impaired, unable perceive critical visual information in bright daylight. The neurologist Oliver Sacks writes brilliantly about this unusual condition in his book "The Island of the Colorblind," about an island in the Pacific where this rare genetic condition has a high incidence. In a chapter in another of his books called "The Case of the Colorblind Painter," he writes about a painter who becomes colorblind as a result of brain damage, and the fascinating ways he adjusts to his new life in the absence of color.
It's amazing how seeing in color informs us about distinctions between objects, distances and spatial configurations, not to mention how lovely it is in and of itself. Now that we have a better understanding of the underlying order in a painting, next week our class will start dealing with the complexities of color.
