From Black and White to Living Color

College Creek on a Cloudy Day, B & W study, oils on canvasboard, 8" x 10"

College Creek on a Cloudy Day, color study, oils on gessobord, 8" x 10"

For this week's class (same location as last week) we painted a black and white value study before we started our painting in color. It was a cloudy day, and at times a light drizzle fell, but we were lucky and didn't have to run for cover.

We followed the same proceedure as last week for our B&W study, analyzing the relationship of our three main values. With very different light, the sky and water values were markedly darker than last week, as well as the trees, with much less difference or contrast between the three values.

The fun starts as we go from B&W to full color. On a cloudy day the colors become very muted; though the sky may look gray there are shades of soft yellow and even orange coming through the clouds. Shadows are so soft it's hard to see them. Lee reminded us about Monet's saying that he wasn't painting fields and trees, but the veils of atmosphere between him and the fields and trees. That is the essence of impressionism.

I was very happy to hear my teacher comment he thought my painting was looking Monet-like. At this stage my painting is not fully developed yet, giving an impression of a much foggier day, but we were out of time. With a few more variations of color and detail it could look more realistic, but I have the color key down, which is the essence of the scene. Another breakthrough for me: I'm gaining a better sense of brushstroke texture and the rhythm this can give to a painting.

In A Softer Light

Fourth week of class: Belvoir, oils on canvas board, 9" x 12"

The dawn's light was soft, presage to an overcast day. Driving to class the clouds hovered over distant Baltimore and the Chesapeake Bay in amazing formations: long, flat layers with torn edges. The light from the sun filtered through the violet clouds giving soft orange hues in places. The planes of trees at different distances were perfect for atmospheric studies. I almost drove off the road while looking. How I wished I could snap away with my camera while driving! Around here it's only on the highways that we seem to get those wide panoramic views.

The class met at Belvoir again, same as last week, but the light was so different. I wondered how we would render the difference, and Lee's demo was a great explanation of how the change in light affected the colors to soften and make them earthier. After all, that is what we are concerned with as painters: the light, how it affects objects. My awareness continues to expand, and here's my painting to prove it.