If any of the great painters of light - J.M.W. So clever, in fact, that they can produce paintings that, although never matching the luminosity of natural light, may evoke similar sensations. To create an illusion of light, painters learn to manipulate value and color in clever ways. Value can exist independent of color, as in a drawing, but color cannot exist independent of value, because value is one of the attributes of a color. Color includes attributes like hue, temperature, intensity, and value. Value is the relative lightness or darkness of a color. There are only two means at our disposal for creating an illusion of light - value and color. The Painter’s Light - a Function of Value and Color Gold as a Metaphor of Light – Sue Charles.White as a Stand-In for Light – Kim English.Color and Value Priority Transitional – Robin Weiss.Light Through Value Alone – Kris Ekstrand.In this post, I’d like to explore approaches to capturing light used by six different painters. ![]() We have to be very clever about how we handle the balance between value and color. It isn’t simply a matter of copying what we see. However, “capturing” light, as we often call it, can be quite challenging. The qualities of natural light - its luminosity, its range, its brilliance - are what draws many painters to landscape in the first place. Just about everyone’s answer includes the word “ light.” In every landscape painting workshop I teach, I ask everyone, “What is the painting about?” I want them to describe the aesthetic qualities they are most interested in, such as movement, depth, or color. Works by Ben Aronson, Sue Charles, Kris Ekstrand, Kim English, Robin Weiss, and Mitchell Albala demonstrate that the key to “capturing” light is a delicate balance between value and color.
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