The Form Principle Part III
September 5, 2009
When new students come to my class I usually start them out painting a simple white, ceramic water pitcher. The initial reaction is almost always the same. There is the audible sigh and the noticeable effort to resist rolling the eyes. “I know, it seems painfully boring, but it’ll be fun, trust me”, I say. Realizing it’s too late to turn back they give it try and are usually glad they did.
Here’s why I start them with such a simple set-up:
Often times new students have read a few books and taken a few classes. They have experience painting from, or more accurately put, copying from, photographs . Usually they have very little experience painting from life. Painting from life requires learning to use their powers of observation. The simple white pitcher is perfect. I use it to introduce the Form Principle as a basis of approach. I convey the Form Principle using a sort of visual language called the Five Types of Light. Each of the five types of light must be evaluated with regard to its shape, value, color and edges.
In case you are new to this series of posts here are the five types of light:
- Light
- Shadow
- Midtone
- Accents (both light and dark)
- Reflected Light
In the previous post, The Form Principle Part II, we discussed The Five Types of Light regarding how they relate to each other in terms of value. Here we will discuss them regarding how they relate to each other in terms of color. Evaluating color in The Five Types of Light is more subjective than evaluating value. That’s because an object’s local color has some level of influence on the color of each type of light. Still they can be studied in a universal context. That’s where the “white” pitcher comes in handy. Because it is white the student is able to focus on the color of light without the distraction of local color. Most students have little trouble seeing the “pink orange” color of an incandescent light when it is shining on a white object. But the task becomes more challenging when the same light is shining on a multi-colored subject like an apple or a peach. A lot of variation in local color can cause even seasoned artists to loose sight of form and get bogged down in the modeling of detail.
Cool light-warm shadows in Sargents portrait of Henry James
Understanding the color temperature of your light source is an important part of evaluating color in your five types of light. The relatively warm temperature of an incandescent bulb is evidenced by the “pink orange” color it lends to the light side of the white pitcher. If you have a warm light your shadows will be relatively cool. In the case of the white pitcher the shadows are noticeably blue gray. Conversely, if you have a cool light your shadows will be relatively warm. Thus, the well known axiom: Warm light, cool shadows – Cool light, warm shadows. A good example of cool light would be the natural light from a north facing window.
The above axiom explains the color of light and shadow but how does that effect the other types of light? Midtone is where you will notice the most local color. Although it is part of the light and is illuminated by the light source, midtone does not receive direct light and is therefore less influenced by the color of the light source than those areas in direct light. In short the source washes out local color in the areas it hits directly but not so much in areas not directly in its path. So, you will see the most pure local color in the midtone.
Light Accents in Sorolla's Children on the Seashore
Accents also depend on the color of the light. Light accents (highlights) are usually a washed out version of the color of the light. Many artists, including Sorolla, have taken liberties with light accents painting them the complement of the local color of the object on which they appear. This strategy may add an extra level of contrast and vibrancy to the picture. Dark accents tend to obey the above axiom within a narrow range. I tend to see most dark accents in dark purple range. Cool purple in warm light and warm purple in cool light.
Relative to the shadow, Reflected light is similar to the light. If the light is warm, reflected light will also be warm. However, relative to the same warm light, the reflected light is slightly cooler. The converse is true given a cool light and warm shadows.
It is usually during the explanation of reflected light that my mind drifts to thoughts of Snook fishing. For those of you not familiar with recreational fishing in Florida, the Snook is a highly prized inshore game fish. It is extremely fast and powerful. Pound for pound one of the best tackle-busters around. As table-fare it’s hard to beat. State fishing regulations give Snook what is known as a slot size. To be a keeper it has to measure between 28″-33″ (some parts of the state its 28″-32″). Reflected light is like that too. In terms of value it has to be darker than the midtone but lighter than the shadow. In terms of color it has to be cooler than a warm light but warmer than a cool shadow.
As my weekly discussion of the Form Principle progresses we will eventually take a look at how it applies to landscape painting. Things get a little more complex when we have to think of the Five Types of Light in the context of distance and outdoor space. Next week I will post a step by step still life which I think demonstrates the concepts we have discussed so far.
Meanwhile don’t forget to check out my classes and workshops. I may be coming to a city or country near you soon.
art pics courtesy of art renewal center.
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5 Responses to “The Form Principle Part III”
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Hey Robert,
Checking in on your BLOG COMMENT feature. I love your site and am learning from it!. Thank you! Hope you plan to keep it going for I know there are many of us who can benefit by your excellent teaching skills
Hello to Penny!
Tom
Well Robert, this blog certainly lives up to the quality of the previous ones! Thank you for working hard at being such a good writer and teacher.
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