Learn about Values! Step by Step! Class #2

The Magic of Values in the Acrylic Landscape. Class #2

by Karen Ilari 

Develop your 5 Value Block In to Full Value

After our last class, we now have our large shapes of solid value in the right locations on our canvas. Yours should look something like this:

Now we want to further develop this sketch. How do I do that?!
Keep these things in mind:

• All you need to do is break the LARGE shapes into SMALLER shapes.
• Maintain the same overall VALUE in the area.
• Just refine the shapes to more accurately match your reference. 
• Think about SIZE, SHAPE, and PLACEMENT of each spot of value
• Still using the same 1/2" flat brush.
• Don't think about DETAIL, just breaking down the large shapes into smaller ones.
•  Pay attention to the EDGES of your shapes. Should they be soft and blended or hard and crisp?
• Take your time. Study what you really see in your reference. Don't assume anything. Really look at what is there paint it the way you see it.

This is how you TRAIN YOUR EYE to focus on value. It takes practice. Just knowing what you should do is no substitute for picking up your brush and laying down the paint. You need to develop those pathways from your eye to your mind to your hand until it feels like the mind is no longer even involved. Straight from your eye to your hand. It becomes automatic. But ONLY after you spend the time practicing your craft!

EDGES           
What does that mean?
Instead of thinking about the image you are painting as THINGS - trees, bushes, flowers. I want you to think of them as SHAPES with a certain VALUE, COLOR, EDGE, SIZE and PLACEMENT.

We've been learning about Value, and the others are pretty easy to understand. But what do I mean by EDGES? Let's take a minute to talk about this some more: Here is a close up from our reference photo:

Now. SQUINT YOUR EYES as you look at this.
Do you see the hard edge between the tree trunk and the background field? You can clearly SEE the edge. It is crisp and distinct.
Look at the foliage in the tree. Do you see how these edges are less distinct - the blend together more.
Look at the edges of the shadow of the trunk lying on the ground. Do you see how the edges of this shape are softer? Compare that edge to the bottom edge of the trunk just above it
Here is another example:

Look at the edges of the shapes in the background mountain. They are soft and blended. Do you see as you come forward in space, your edges become more distinct, but not as sharp as the edges in our foreground.

Now. That is what we see in our reference photo. 
Now we have to USE this reference and EDIT it to tell OUR STORY. 
Edges can be a powerful tool to:

• create emphasis in your focal point with crisp, distinct edges
• lead the eye through your painting with strategically placed crisp edges
• de-emphasize a less important area by softening the edges
• create a stronger sense of distance by softening edges even more than you see
• Create subtle gradations of value and color by softening the edges between the shapes
• describe the texture of an object- how hard or soft it is. Hard objects create crisper edges

So you can have a strong change in VALUE from one shape to the next. But you will get a different effect depending on whether that shape has a SOFT EDGE or a :HARD EDGE. 

Exercise #1
EDGES

Supplies: Mars Black and Titanium White Heavy Body Acrylic Paint.

                flat synthetic brush - about 1/2" wide

                water container, paper towels, palette

                watercolor paper                   

How do I do get a soft edge with Acrylics?
Using your watercolor paper, and your black and white paint. Let's practice some edges
The key to soft or blended edges in acrylics is understanding how much wet time you have before the paint dries. This is something you will get a feel for the more you paint. 
In general: 

• Work Quickly, in small areas
• For Larger areas - like a sky - Use larger brushes.
• Lay down a shape, adjust the edges right away.
• Be sure to work over at least one layer of paint - your block in
• Use a good quantity of paint
• Rinse your brush often 
• Use a light touch
• Adjust the wetness of your brush with a paper towel

So on your paper. Make some rectangles of different shapes like this. Let them dry. 
Now lets make some blended edges between these. There are three  ways:
One Value (or color)
1.  Lay down a shape of just one value - blend the edge RIGHT AWAY 
2.  Rinse your brush thoroughly. Blot on a paper towel.
3.  Use a scrubbing motion from the dry side into the wet side to soften the edge

 Two Values (or colors)
1.  Mix up the two values that you want to blend
2.  Paint in your two shapes. If the shapes are large, just do a smaller section at a time.
2.  QUICKLY rinse your brush and blot it to damp.
3. Use a sweeping motion to blend the still wet patches

Three Values (or colors) 
1. Mix up a shade between the two values you are trying to blend
2. Lay it down on the blending area
3. Rinse your brush thoroughly. Blot to damp. 
4. Use the scrubbing motion as before to blend each side of the new patch.

In all methods. Finish off by cleaning your brush thoroughly, blotting to damp, and very lightly sweeping across the area to blend. Wiping often on a towel to remove excess paint picked up.

Click here for a short video demo of blending edges
 
So now let's practice those different edges as we finish our full value block in of our painting
 When you are done, you should have something like this:

  You may notice that I've made further refinements to my 5 value block in:

• The field behind the tree is lighter to add more contrast to the dark tree form and draw more attention to my focal point.
• The shape of the tree and shadow have been developed and refined.
• The value shift between the field and wildflowers have been blended and minimized.

These are the kind of changes you make as you spend more time with your reference, and with the way the image is developing on the canvas. You are adding your own interpretation. What feels and looks right to you. Everyone see and paints differently. You can't help your own individual style coming through. It's not something you decide on or make up. It's just what happens after you paint for a while.

Click Here for Lesson #3- How do we translate this to COLOR?!

And please feel free to share your progress and comments!

Learn about Values! Step by Step! Class #1

The Magic of Values in the Acrylic Landscape
Class #1

by Karen Ilari

Join me in this step by step class - learn to see and match values. 

First let's talk about values, what they are and how they help make better paintings...

There is a lot to think about when you are painting. And a lot to learn! Let's start with this - there are four main concepts to master in painting:

• Values
• Drawing
• Edges
• Color

The first and most important, especially for landscape painting, is VALUE

It is also the area that most painters struggle with, especially at the beginning.

What is Value? Simply how light or dark something is.

To illustrate, we use a Value Scale. This is a gradation of 9 values from Black to White

You can hold it up against your work and your reference to compare.

The challenge is to train your eye to see value, whether in a reference photo or in real life. Our natural tendency is to see color and form over value. We will notice first that something is red, or blue and paint it that way. Or that is an object we recognize, and what shape it is. You have to learn to stop and REALLY SEE WHAT IS THERE! In reality red in light and shadow are very different in value and color. In fact black in light can be lighter than pink or yellow in shadow. Sometimes an object and its background will be the same value! Creating lost edges - where you can't see where one thing stops and the next starts.

As an example, let's take a look at this painting of mine "In the Morning Light" :

You can see that his dark grey T shirt in sunlight is a lighter value than the light brown  and white of the sign in shadow, or the white lettering on the awning in shadow.

So we have to learn to see the values first, before color, and then to match them. 

EXERCISE #1

Supplies: Mars Black and Titanium White Heavy Body Acrylic Paint.

                watercolor paper

                flat synthetic brush - about 1/2" wide

                water container, paper towels, palette

Copy the value scale above and print it out. Preferable on photo paper. 

Now match these values and paint your own 9 value scale! Easy! You might be surprised!

This gives you practice in focusing on seeing and matching a value. And if you are new to acrylics, some time to get used to how they feel. Don't use any mediums, just paint and water. Keep the paint thick and try to create thoroughly mixed squares of even value. You can punch a small hole through the middle of each value on your printed scale. This way you can hold it right on top of your work to isolate the value and see if you have a match.

And remember - ACRYLICS DRY DARKER! So don't be surprised if your perfect wet value is too dark when it dries! This is just something you learn to compensate for in painting with acrylics, so this exercise is good practice for that too!

Okay, Now that you have done that.... 

What do Values do for us? 

• Distance - as things recede into the distance, they get lighter. They also lose some of the contrast. In other words - the lights get darker, the darks get lighter. The value range is higher on the value scale and closer together.

 Here is another of my paintings to illustrate - "Summer Pond"

Take a look at the trees - compare the value on the sunlit side and shadow side of the tree in the foreground and those in the middle and background. Do you see how the lights get darker and the darks lighter progressively as you move back in space? This - along with size, color and detail, creates the illusion of distance.

You can watch me paint this in my video here   (it's a long one, you might want to do that later :)

• Light - the contrast from sunlight to shade. A sunny day will have strong value contrasts. An overcast day will have values that are darker and with less contrast - closer on the value scale. In fact you can "push" the values - make the lights lighter and the darks darker - in your reference to create a more sunny day! Magic!

•  Form -  In a dark room you can't see form at all. It is the light as it strikes the surfaces of an object that describe its shape to us. On the other extreme a very bright light setting, with light hitting all the surfaces, will wash out an object so we can't see its form. Correct placement of values on an object are key to it looking real.

•  Composition - The patterns formed by light and dark in a painting are key not only to realism, but to its visual impact. We draw the eye and lead it around our painting by using contrast. Reducing your image to a simple design of 3 or 5 values will reveal its essence. The abstract pattern that is at the core. Once reduced in this way you can manipulate the forms to best tell your story.

So - now let's do a little painting - and practice seeing and matching values some more:

Exercise #2 
Supplies: Same as exercise #1, but this time use a 9" x 12" stretched canvas or canvas panel.  

Step One: Choose a photo

We start with a simple reference photo like this one. I chose this for it's simple large shapes, forms progressing into the distance and the obvious effects of light and shadow.

I've already cropped it to the size and placement I wanted - 12" wide by 9" tall. I've even added some to the left hand side in photoshop because I wanted my tree to be about a third of the way from the side. These are compositional ideas that we will talk more about in another lesson. I used the "Rule of Thirds" which means dividing your canvas into a tic-tac-toe and then putting main elements on the intersections of the lines, and main divisions - like the horizon or edge of the field on the thirds.

Step Two: Change your photo to Black and White:

You can use any photo program to change your color photo reference to a black and white version. I use Photo Shop Elements. Then choose Enhance -> Adjust Color -> Remove Color.

 

Step Three: Paint your image with only 5 Values

The key tool for seeing values is to squint your eyes - or blur them - soften your focus.  

The idea is to make a decision in each area as to which of your five values its closest to and then simplify the forms, removing the detail. Keep your forms simple - big geometric shapes with no detail at all. Mix your color on your palette so you get a nice even tone. Clearly defining the value of each shape. You will end up with something like this:

It looks simple but it isn't! Don't be discouraged if this takes you a long time! I find I have to keep stepping back and reminding myself to look at the LARGE shapes, not the details! Though there are lighter and darker areas in each shape, you want to look for the overall value you see when you squint your eyes. Remember - NO DETAIL - LARGE SHAPES - SOLID EVEN TONES

But that doesn't look real! You're right! We are starting at the most basic building blocks. The foundation for our painting. We are using our creativity to tell the story from our own unique perspective. Once you have blocked in what you see, Ask yourself some questions...

How Can I Improve this Image?

Are there areas that are confusing in the photo? Not enough value shift to really see the distance? CHANGE THEM! At this point you can clearly see those shapes. are they working?  Use your artistic license and tell your own story.

Do the forms create an interesting, appealing pattern?

• Avoid half dark, half light. Thirds are always nice. I've chosen about 1/3 dark, with the rest medium or light
• Is the focal point shape clear and placed in the best spot? The large tree is our focal point.
• Use big shapes, connect your shapes, avoid polka dots - isolated spots
• Look at the form shapes - are they appealing? I changed my tree shape so it wasn't quite so square, and had branches come down to connect with the shadow.

Are you Leading the Eye?

• Provide an entrance into your painting. Here I've altered and emphasized the area of light wildflowers in the photo to use it as a path for the viewer to follow into the painting.
• Define your focal point. The area with the highest contrast will draw the eye first. I have chosen the tree as my focal point and am using the light value and form of the fallen log, the light value of the flowers, the spots of sky peaking through and darkening the value of the tree itself to really define it as the center of interest. It is the area with the darkest darks and lightest lights
• Create movement and rhythm. Once you have led the eye in and to your focal point, be aware of the lines that the eye will follow next. Don't have lines that lead them directly out of your painting. In mine the eye will go from the tree to the mid ground trees whose shape leads the eye up and around in circular motions that bring it back to the foreground.
• Leading Lines. The large shapes in your painting will create lines. Be sure they are supporting your focal point, and not leading the eye out of the picture.

Here you can see the lines that invite the viewer in and to the focal point, then around and back in. Without the forms of the mid ground trees "stopping" the eye, it would just travel right out of your painting. You want to keep your viewer engaged and directed back into your painting.

 You can also see how all the other lines formed by the shapes lead to the focal point.

WOW! That's a lot to think about for this simple little design!

Yes! It is!

But remember, this is your foundation! There is a lot of design and planning that goes into this stage. Each step builds on the next. If your foundation is strong, your painting will be strong. It will catch the viewer's eye from across the room and draw them right in.

Remember, as you train your eye and hand, this stage will take less and less time. In time you will not need to physically go through this step, but will visualize it in your mind before you start.

And you will be soooo happy when this concept falls into place. Your paintings will take a huge leap!

Exercise # 3

Find some images to practice with. Magazines, online, any will do. Look for the elements described above. Distance, Simple shapes, clear light and shadow.

Use your 5 values of paint on some watercolor paper

Paint a bunch of small 5 value studies of these images. Just 3" x 4" or so.

 Remember: 
       No detail

 Large shapes

 Define the focal point

 Show the distance

Create appealing design

Click here to go on to Class #2!

And don't forget to share your progress in the comments....

The 5 W's of Painting

BEFORE YOU START PAINTING  - A FEW THINGS TO CONSIDER

In the world of journalism, a reporter will often use "The 5 W's" in order to get his story straight.
Who, What, Where, When and Why.

I think they apply as well to painting, we are telling a story - after all - "A picture is worth a thousand words"...

The Five W's of Painting
by Karen Ilari

 WHO - is painting this?
Well, you of course! But by this I mean, when you step in front of that easel, who is showing up? Is it the you that is arguing with your kids or spouse? The you that got cut off on the freeway and is still steaming? The you that is guilty about the dusty house or dirty clothes? The you that doesn't believe in your ability to make this painting happen? The Critic? Well, you can paint, but none of those other you's can! So let them all take a nap and show up at the easel as the real you. Take a moment and put yourself back into the scene you are about to paint. Smells, sounds, sensations, feel them all. Now, this person can paint!

 WHAT - am I going to paint?
Make it personal. You want to enjoy this process, so choose a scene you LOVE! Something that moves you. You don't have to know why, it just needs to be something that makes you go Ahhhh, or ooooh, or hmmm, or... well you get the point! :) Carry a camera with you, take walks, take bike rides and car rides. Wherever you go and whatever you are doing, even to the grocery store, keep your artists eyes on. Be open to what is really going on in front of you. Open your eyes and see the world for the first time every day. Be aware. If something catches your eye, check it out. The groceries can wait 10 minutes, a beautiful painting may be just around that corner!
 WHERE - am I going to paint?
Painting on location is lovely. Back at home, in your painting place, make it your own. Even if it's a corner of the dining room. Claim some space where you can set up your easel and supplies and leave them there. Where you can pin up inspirational quotes and images.  As you walk by when you can't be painting you are reminded of your current project on the easel. It's amazing what you spot when you are just passing, or first thing on the way to the coffee pot. This is your creative space. When you are here, you paint.

 WHEN- am I going to paint?
As often as humanly possible. Your greatest teacher is the easel. There is no magic gift that you have or don't have. It's about showing up at the easel and painting. You will learn more by painting 30 paintings than you will reading 30 painting books or watching 30 videos - though they are great when you can't be painting! There is no substitute. If you want to be a painter, paint. The more you paint, the better the painter you become.
  
WHY - am I painting this?
Clarify to yourself right away what captured you about the scene you want to paint. It's not enough that it is pretty, or a landmark, or it looks like a painting. What does it mean to you? What caught your eye? The color of the light? The shapes of the trees, the shadow patterns, a feeling of solitude or joy or peace, the reflections in the water, the towering snowy mountains, the bright spring blossoms? Choose one! This is the hardest part. If there are 12 things you love about this scene, then paint 12 paintings!

What is sometimes added is the H. The how.That's what my videos, classes and teaching website are all about!

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