Value and depth and Composition



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                                 Colley Whiston webinar

5 MISTAKES TO AVOID TO CREATE BETTER DEPTH IN YOUR PAINTINGS AND WHAT TO DO INSTEAD!




  Use of range of blues






Overlapping shapes create depth

Creates perspective also

fence posts / shadows


eg  telegraph pole pushes things back






Difficult DOF -

 because little depth to work with 

so foreground must be worked on

to achieve depth







Tonal control


Cools and warms


Underpainted with dark blue visible on far shore

Blues and purples marked 

Depth in shadows is so important
"If I get depth in my shadows I get depth in the overall painting"
Thats where the magic happens

We can see into his shadows




Cools and warms again  

 Foreground brickwork contrasting with the distant brickwork

Foreground water  against the distant water

Make the brights strong enough





Manage colours

Front boat was green and back one was red

He switched colours

to help perspective












Diminish your shapes as you go backwards











Smaller tree on right  and background trees
help promote the idea that the main tree is very large





                              Background / middle ground  /  Foreground

Brushwork 

Simplify the background

Midground more detail

Foreground Pile it on ......

   Thick paint in the foreground not in the sky or distance


Smoothen the brush strokes in background


Warmer colours in foreground


Overlapping shapes in foreground





Same idea here

Background is smooth  very little detail work

Mid area Bottle has more detail


Foreground  "Go for broke"






                 *****************************************************************







     








 Strong compositions don't happen by accident
   Paintings need to be magnetic to draw the viewer in
  >>  Composition / colour / Light / Focus point / perspective
         Contrast / Emphasis - visual weight area
Contrast in value
Focal point at circled area = high contrast area
(Repeat that in two other areas!)

Use Intensity to create contrast = contrasting areas of strong colour with areas of dull colour
Create contrast with temperatures
eg brown warm shadows below contrasting with the cool water
and also the warm brown of the tree tops with the cool sky


LIGHT
We are not attracted to 50/50 light dark
Go either predominantly dark or bright
Above strong emphasis on dark

Paint only on the days that you eat!!!
Practice creates inspiration .........

1 Design first
2 Put value to work

Notan sketch
3-5 values

Patterns of light  
and darkness 
and colour

Looking for strong value relationships - if you have that it will work regardless of colours used.

                           ID the colour masses
Mix the colours ahead connecting with the 3-5 values you have already established.


If it looks bad on the 

palette it will be bad 

on the canvas


Here is the painting 
got from those colours






Block in the main shapes first








One colour for each 

shape

for all 5 notans





Now break those shapes up above




 Series 1 Episode 27   Flowers      Kathwren Jenkins

A   Geraniums
A little medium on the canvas and brush
1)  Base tone >flat 1/2in brush Lay in Background looks like this with ragged edges

Base colour is CRIMSON
Filbert rounded brush
Bright RED
Start along outside
Stroke = push down and lift up
2 petals bottom right






 Go around the outside
start the strokes outside the
crimson

Mix some Orange with the
 RED to go lighter
(Not white)






                                                         

Above showing the 3 stroke EDGE
and right the 3 added petals    >>>>>>>>



Add a little white and more petals
This is the MIDDLE tone                                                 A petal on the outside  of flower
                                                                                          3 edge strokes + 3 petals


Stems                                                           Small filbert brush with RED and GREEN on the tip















This is how the BUDS are created with the
double loaded small filbert


Highlights are next with ORANGE and a touch of WHITE  >>>


Leave the outer edge dark
Yellow and Green centre


               *******************************************************
LILAC
Ultramarine blue  + Mauve
Block in the cylinder shape                         Add edges with the Filbert brush

                           

                                                                                               This is the flower straight on
                                                   and from the side Push and Lift
                                                           Mauve and White

 Stem added                                                       









Avoid separate stars  OVERLAP the flowers full and part flowers
                                                                               Two colours on the brush

                             

Buds added with Sable round brush                              Mauve + White for HIGHLIGHTS
                              

Keep the highlights in the centre and
 away from the edges
Helps 3D shape.
 PUSH down and LIFT

Add some green/yellow centre and leaves.

 
               ********************************************************
Pink Carnation
Showing the two brush strokes                                                          The stem  > One brush stroke


With highlight on Bud      Strokes for the petals

                           
                            
Highlights                                                   
                   

                    ********************************************************
WHITE DAISY
Start with base tone GREY  Filbert brush       DONT make a star like below     Centre
                      

White petals                                   Inside petals added                  Bud on top and stem added
                    
           
                    ************************************************************
                                                                   FOLIAGE



COLOURS    Green and Sienna or Crimson make a base colour 
Brush has a sharp leading edge   Press LIGHTLY for stem
Right we see leaves Wiggle left and right and lift out lightly

   
Push down all the way to the ferrel WIGGLE back and fort   Up to tip and out.

                                          For a longer leaf Push and TRAVEL


                         Long Leaf   -  Start on edge - turn to flat side and end with edge
     

Start of BIG broad leaf  -  a system to make it easy
Could sketch in a group
           

Press at top and wiggle to tip                   Angle the strokes
                                

The stroke  Push down and lift up
   



Leaving a space in the leaf                                  Highlight strokes 
                
                                                   Overlap the leaves

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FERNS
Paint LOOSE to avoid conformity                                                     Small (8) filbert brush
                           

Double loading the Brush - two colours                                           Rigger Brush (Script) Thin paint

  
                                                                                                Push down and lift up
Sable round brush


                            ********************************************
HIBISCUS
Pull the dark up into the pertal    >>>>>>>>>>
   

  

Pull the darks up into veins                                       Lower leaf
  

Another petal added  also CADIUM light red                   

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