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Why Should I Bother To Use A Gray Scale?

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TONAL VALUES (tones) refer to how light or dark something is. Tones have nothing to do with color, although each color does have a tonal value. For an artist, value is seemingly the most important aspect of color. Color and value usually work together to give each picture its impact.

Colors (hues) themselves each have their own tonal value. Yellow, for instance, has a relatively light tonal value, whereas red has a darker tonal value. Some blues appear almost black, having a very dark value.

Gray scale--.jpg

The VALUE RANGE of colors refers to the number of values an artist can mix between a color’s darkest value (straight from the tube) and lightest value (When mixed with water in watercolor). Yellow, which has a light value, has a short value range. That is, not as many variations of tone are possible as with some other colors. In contrast, red has a long value range, with many variations of light and dark red possible.

Value range.jpg

Value is important in painting because changes in value are used to describe an object’s shape and form, as well as suggesting space and depth, thus creating the illusion of three dimensions on the paper. It is the contrast between light, medium and dark values which creates the illusion of light falling on an object.

Every object has a RELATIVE VALUE; its value is compared to its surroundings. In nature, as light falls on different objects it affects their relative value. A light colored object in deep shadow may appear darker (in color and value) than it actually is. On the other hand, a dark object in bright sunlight may appear lighter (in color and value) than it is in reality. In this way, tone/value describes the relative amount of light an object is receiving. A light value suggests something is lit, while a dark value shows an object in shadow.

As painters, we strive to have a convincing balance of light, dark and mid tones in a painting. But, sometimes our eyes can fool us. We’ve all been deceived by optical illusions. We know that sometimes we shouldn’t believe our eyes.

How, as artists, do we judge these light and dark values as we attempt to accurately capture details in a scene? A GRAY SCALE (or value scale) can help to measure and replicate lights and darks. The absolute value of objects needn’t always be measured and reproduced exactly, but the relative value is extremely important to approximate correctly! By comparing the values in our paintings with values on the gray scale, we can insure consistent value relationships within in our pictures.

The gray scale (or value scale) is most often comprised of five to ten sections of even, gradual gradations of gray, progressing from white (value 1) to black (value 10, in a ten section scale).

                Rankin's value scale.jpg

Without color, that is, using just variations of black and white, it is easier to see and focus on value.

Color often distracts the less experienced painter from the importance of value/tone. By using the gray scale, you can determine the values of colors (or colored objects). To use a gray scale, you generally look at your colors while squinting your eyes. Squinting makes the hue less dominant and value more obvious. As the hues of the color diminish, you gain the information you need about value. The highlights and darks are still visible, while ares of similar value unite and non-essential details fade. With practice, discerning the value of each color without being distracted by the color itself becomes easier.

Rankin's values of colors.jpg

(Above) Location of some palette colors arranged along a gray scale.

Since value is relative, rather than absolute, we try to think in terms of ‘lighter than’ and ‘darker than’. In a painting, the lightest tone may not be white and the darkest value may not be black. Therefore, use the gray scale (value scale) to determine the strength of one value in relation to another and in relation to the whole.

Another way to evaluate light and dark values is to use a black and white photocopy. Print out a copy of your reference template in black and white, and compare its values to the values in your own painting. You could also photocopy your own painting in black and white to help you judge how well it approximates the desired values. Or use a sheet of red acetate (which sometimes is included in value finder kits such as Don Rankin’s Magic Value and View Finder, available at cheapjoes.com or at Lee Muir-Haman Watercolors, 30 Main Street, Ayer, MA, 01432, 978-772-2001). Hold the red plastic over a scene and look through it. The red color will eliminate other colors, leaving visible a range of values.

Jan Kunz explains that the shadow side of objects is a full 40% darker than the sunlit side (Painting Watercolor Florals That Glow (1993), p. 68, Watercolor Basics (1999), p. 30, and Watercolor Techniques (1994), p. 3, and cast shadows are somewhat darker still. Even the shadow side of clouds is 40% darker than the cloud areas in sunlight.

If our gray scale (value scale) has ten sections, we count up or down four values (on a gray scale with 10 sections) to arrive at the 40% difference in desired values. When local color (the actual, true color of an object) is darker, the shadow color will also be darker, yet the 40% difference in value will still be accurate. So, to paint the illusion of sunlight, first determine the value of your subject in sunlight. Kunz suggests counting four values down to get the value of the same object in shadow. Then, simply match the value of your colors to the gray scale and you will have a reasonably accurate illusion of sunlight and shadow. Since values are relative to their surroundings, you can relate all values in your painting to each other in a similar way.

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Those Troublesome Greens!

Green is one of those colors, along with gray and brown, that create problems for painters, which may be one reason that beginners seek out ready-mixed colors.  After all, color mixing can be confusing and unpredictable.  While the ready-mixed greens sold in tubes are convenient, the colors available for sale are generally NOT the greens found in nature.  And even if you can find some greens that look reasonably convincing, who can afford to buy even a dozen tubes of different convenience greens?

Foliage varies greatly in color and value, with each plant producing its own variation of green.  Color and value also change with distance, weather, time of day, and season.  In reality, the greens of nature show infinite variety.  Therefore, realistic, natural greens require the painter to be able to mix many suitable variations of green from a limited number of paints.  But where do you start?

The color green is made of blue plus yellow plus a small amount of red to tone the color down and naturalize it.  Take every yellow on your palette, and combine each with every blue.  Note that mixing a cool yellow with a COOL blue creates a bright and vibrant green (for example, Hansa Yellow Light with Winsor or Phthalo Blue).  By mixing a WARM and a COOL or two WARM colors, you get a duller, less intense green – because both the warm yellow and blue have some red in their pigment.

green from Ultramarine Blue, Phthalo Blue, Cerulean, Cobalt.jpg

green from Payne's Gray, Manganese Blue, Blue Apatite.jpg

Greens Mixed With Various Combinations of Blue and Yellow.

Another way to create natural greens is to use ready-mixed tube green as a starting point but then to add other pigments to it.  DaVinci Sap Green, for instance, can be the principal ingredient in a whole range of mixtures.

greens from Sap.jpg

green from Viridian, Chrome Oxide Green, Green Gold..jpg

green from Phthalo Green.jpg

Greens Mixed With Pre-mixed Tube Greens.

You can create even more mixtures by changing proportions of each color in the mix.  Catherine Gill in Powerful Watercolor Landscapes (2011) describes a very effective technique for mixing numerous related colors by changing proportions in a mixture.  She makes a “mixing trail” (p. 122), using two colors on her palette.  Instead of mixing two colors together in the beginning, she puts the two colors on her palette, leaving a space between them.  She suggests you take a little of the first color and mix it with the second.  Then, take successive amounts of the second color, and mix with the first until you have several distinct hues.  The space between the two colors is the area where you make the “trail.”  The colors will all be close in value because you haven’t picked up any water.

Catherine Gill also describes a “mixing hub” (p. 123), which is a collection of mixing trails laid like spokes around a central pigment.  The hub allows you to create a variety of related colors.  The hub pigment is in all the mixes of the hub, ensuring color harmony.  And again, since you add no water as you create the mixes, values remain constant.

To simplify mixing greens somewhat, you can think of five basic green mixtures, as suggested by Bruce MacEvoy (on handprint.com).  A BRIGHT green could combine Phthalo Green Yellow Shade (PG 36) and Hansa Yellow (PY 97).  A COOL green could combine Prussian Blue (PB 27) and Phthalo Green Yellow Shade (PG 36).  Combining Prussian Blue (PB 27) and Hansa Yellow (PY 97) produces a LIGHT green.  WARM green comes from combining Phthalo Green Yellow Shade (PY 36) and Burnt Sienna (PBr 7).  Finally, put together a DULL, DARK green with Phthalo Green Yellow Shade (PG 36) and Quinacridone Rose (PV 19).

Five Basic Green Mixtures.jpg

Five Basic Green Mixtures.

With experimentation, you will find many mixtures that work for you.  Make a chart, for handy reference, of your favorite mixtures.

Condensed Chart of Favorite Green Mixes.jpg

Condensed Chart of Favorite Green Mixes.

Finally, the way you apply your pigments to paper can alter the appearance of your greens and foliage.  The first option you have is to mix your color ON THE PALETTE before you apply it to paper.  A second option is to apply separate colors TO YOUR PAPER, allowing them to mingle on your paper.  This technique creates a more varied, dynamic color mix.  Third, you could GLAZE one color over a DRY wash of another color.  Glazing and layering are similar processes.  They both change value.  Glazing uses a very thin, transparent wash of one color over another color.  When warm colors lie below a cool glaze, the resulting color mix is luminous, vibrant, and glowing.  Starting with a cool color and putting the warm color on top gives a heavier, denser glaze.

Finding a variety of natural greens to paint convincing foliage can be confusing and frustrating.  As painters, we know that ready-mixed greens are not sufficient.  Therefore, you should take some time to experiment with all the yellows, blues, and greens on your palette, adding touches of red to some of your mixtures.  Make a chart of your favorite blends for handy reference.  Experiment, and have some fun!

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Avoid Painting Lollipop Trees! (Part III.)

Tree color is dependent on several factors.  Never depict trees in your paintings as all the same color – a strong, unvaried green – because you “know” what color trees are.  Tree color varies with the type of tree (species), the season, and the distance from the viewer. You should look for blue/greens, yellow/greens, and red/greens.  Your work will be far more interesting if you include and even exaggerate these variations in color, paying special attention to the cooler, darker hues of the shadowed areas which appear on the side of the tree away from the source of light and on the undersides of the branches.

Spring trees display fresh, bright foliage.  Make the foliage translucent by mixing your colors with plenty of water, and try to keep your shapes well defined.  Leave lots of white paper showing between foliage shapes to suggest sparse, new growth.  Lemon yellow or Hansa yellow light with sap green would work well for creating bright greens and yellows.  Remember to paint foliage in at least two layers (light and dark).  For spring trees in the distance, strive for cooler greens by adding blue to your mixtures; the blue will complement the warm, bright colors of nearer trees.  A good reference for seasonal paint colors is my blog of 11/27/2018, entitled “Spring, Summer, Autumn, and Winter Palettes.”, https://leemuirhaman.com/2018/11/27/spring-summer-autumn-and-winter-palettes/.

Summer trees look more solid and richer in color than spring trees.  The foliage is fuller.  Build up the summer tree in two or three layers, starting with the outline of the canopy.  DaVinci Sap Green and Ultramarine Blue work well for summer foliage, with perhaps Payne’s Gray added for the darkest parts.  Remember to leave a gap or two for sky holes.

Autumn trees have somewhat less foliage than summer trees, and as the season progresses, the trees will, of course, drop more and more leaves, and foliage will become sparse.  Autumn colors are rich and warm:  siennas, reds, and yellows develop, and a few greens linger.  More branches are visible.  In bright sunlight, your autumn tree will appear somewhat paler than you might expect.  Try to mix your colors on the paper, dropping in several colors next to each other and allowing them to blend softly into each other on their own.  Trees are seldom a single color.  A variegated wash of Cadmium Yellow and Light Red with a touch of DaVinci Sap Green could be used to make a range of fall colors.

 

Golden Beech copy.jpg

Conifers have a somewhat different structure and shape than deciduous trees.  To paint conifers convincingly, you must take notice of their structure.  You don’t want to paint Christmas trees!  Conifers develop around a single central trunk.  Look closely to get the angle of the branches correct.  In general, limbs grow up and out.  More specifically, branches at the top of a conifer head upward, those in the midsection go outward, then head upward, and those near the bottom head downward, then upward.  Remember: all the branches are heading for sunlight.  Coniferous branches tend to be shorter and most branch out flatter than deciduous branches.  Try to leave space between many of the branches.

mt.top 8:11 # 69.jpg

White paper birches are tall, thin trees found in the Northeastern United States, growing singly or in clusters.  The trunks tend to be thinner than those of many large trees, with only a few large limbs but many smaller horizontal branches and flexible twigs.  The bark of the birch tree is paper-like and chalky white, sometimes peeling, broken with irregular horizontal textures and dark scars.  Larger branches are white, but the smallest branches appear black.  When you are painting birch trunks, brush strokes, shadows, and bark texture should follow circumferential lines, using blacks and grays (mixed by combining Ultramarine Blue with Burnt Sienna) and a brownish orange (made from Burnt Sienna).

Pheasant in Fog.jpg

You should paint distant trees as simple masses of shapes with minimal detail.  Squint your eyes to observe shapes and groupings of light and dark areas.  The farther away the trees, the paler and less detailed they become.  Distant trees also have a cooler (bluer) color.  As you move from the horizon to the middle ground, you can very gradually warm up your colors by putting more yellow and less water in them.  However, you still need to reserve your richest greens and strong contrasts for foreground trees.

Dynamic skies - summer river 2.jpg

Many of the previously mentioned details about trees may seem obvious or overly simplistic, but a lot of beginning painters do not paint with these many small details in mind.  Attention to such details helps you paint convincingly and accurately.  Details are important!

Spring, Summer, Autumn, and Winter Palettes.

Nature’s colors can vary considerably depending on the time of day, the weather conditions, and the season. The effects of the time of day and the weather on color changes and atmosphere seem more obvious and easier to observe than the effects of the season. Nevertheless, each season has its own characteristic feel and look, which an artist’s choice of paint colors can convey.

SPRING colors tend to be cool. Spring is a time of fresh growth, when buds and flowers burst forth. Forest floors are becoming free of frost and snow, and bright green shoots begin to appear.

spring palette.jpg

Hansa Light, Cad. Yellow, Winsor Blue, Sap Green, Permanent Mauve, Raw Umber.

Cadmium Yellow can be a bright spring color, especially when a little Hansa Yellow Light ( or Lemon Yellow or Cadmium Yellow) is mixed in. The cooler blues to use are Cobalt and Winsor (or Pthalo) blue. DaVinci Sap Green has a strong blue (cool) tinge. Other possible colors for a spring painting include Permanent Mauve or Raw Umber.

Spring pictures:

mulpus.jpg

white primroses.jpg

Sunny days of SUMMER are filled with golden warmth and numerous, lush greens. The summer palette includes warmer colors than the spring palette.

summer palette.jpg

Cad. Yellow, Raw Sienna, Burnt Umber, Ultramarine, Sap Green, Perm. Aliz. Crimson.

Raw Sienna is a warm yellow. Cadmium Yellow mixed with DaVinci Sap Green is an excellent mix to use for summer foliage. The sharp, cold light of spring has been replaced by softer summer light, creating softer-edged rather than crisp shadows. Create a softer edge by painting summer shadows on damp paper or lightly blotting the shadow edge. Ultramarine Blue and a touch of Permanent Alizarin Crimson make a warm summer shadow. (Another possible color combination for a warm shadow mixture is Ultramarine Blue with a touch of Burnt Umber.)

Summer pictures:

mucillo.jpg

river shoes.jpg

AUTUMN is the season of reds, oranges, golds, and browns.

fall palette.jpg

Cad. Red, Cad. Yellow, Raw Sienna, Ultramarine, Burnt Sienna, Burnt Umber.

Rich, warm colors can be created with warm golds and siennas, such as Raw Sienna, Burnt Sienna, and Burnt Umber. Fiery reds made with Cadmium Red and golden yellows made with Cadmium Yellow light up the foliage. When the leaves fall, stark and skeletal trees are revealed in deep browns, which can be approximated with various combinations of Burnt Umber and Ultramarine Blue.

Autumn pictures:

autumn road.jpg

golden beech.jpg

 

A WINTER palette would be composed of cool colors and more neutral pigments, mixed to produce slightly muted tones, often tinged in gray.

winter palette.jpg

Perylene Green, Sap Green, Winsor Blue, Payne’s Gray, Perm. Mauve, Raw Umber.

DaVinci Sap Green and Perylene Green (or Holbein Shadow Green) can be used as a base for any greenery. Alternatively, try blending Winsor Blue (or Pthalo Blue) with Payne’s Gray and mixing in some DaVinci Sap Green. For snow, leave the paper white and paint around it. Snow does have some color, depending on the strength of the steely winter daylight. Snow shadows could be blended from Cobalt Blue and Permanent Alizarin Crimson into a cool, blue-violet. Another blue-violet snow shadow combination might be Winsor Blue (or Pthalo Blue) and Permanent Mauve. Raw Umber can be useful to tone down trees, branches, and ground covers.

Winter pictures:

 

eliades.jpg

Barn.jpg

The main tool that any painter has to work with is color, and by choosing pigments with different temperatures, tones, and intensities, an artist can suggest both warm and cold environments throughout the seasons.

A Baker’s Dozen of My Favorite Watercolor Books…(Part 1)

I LOVE books! And I really love watercolor painting books!! I wanted to share my favorite watercolor books with you. While looking through my collection and trying to choose the best, I realized that I wanted books that offered specifics and clear instruction while also being useful and practical. I chose some books appropriate for beginners, some for more experienced painters, and others appropriate for both groups and all painters in between. After much deliberation, I share these personal favorites, which are listed alphabetically, by author’s last name:

 

Making Color Sing, 25th Anniversary Edition: Practical Lessons in Color and Design (2011, originally published in 1986) by Jeanne Dobie.                              Color, color, color! Don’t buy lots of tubes of paint – just read this book to see how a few basic colors can create almost any color there is. Dobie’s book may change the way you paint with watercolor.

In the 25th anniversary edition of Making Color Sing, Jeanne Dobie teaches you new ways to think about color and make it work for you, through 31 clear, easy-to-follow exercises. No color exists in isolation; colors are always interacting with one another. As the author explains, understanding color relationships is the key to successful painting.

The lessons on color lead into another essential painting consideration: composition and design. Painting is much more than copying what you see. It involves finding a structure that allows you to organize and thus communicate your impressions and reactions. Dobie encourages artists to experiment with different arrangements of shapes and values to build a dynamic foundation in their paintings. This book stimulates new ways to think about color, generating responses that unlock personal creativity and allow artists to express themselves with paint.

I recommend Making Color Sing to those who have some experience in watercolor as well as to more advanced watercolor artists.

 

Powerful Watercolor Landscapes (2011) by Catherine Gill.                                    This book gives you the “power tools” you need to transform dull, flat landscapes into robust, colorful expressions of your artistic vision. Each chapter focuses on a specific strategy for tackling tough challenges, complete with inspiring examples, hands-on demonstrations, and instructional diagrams to make these strategies easy and fun to learn. Following Gill’s masterful visual instruction, you’ll learn how to:

  • See beyond “what you see” to develop strong foundations in every composition

  • Avoid repainting, overworking, and frustration by focusing on a composition’s unifying elements

  • Become decisive with your values for heightened interest and impact

  • Quickly and easily mix a huge range of clean, rich colors—including vibrant grays and greens—with no more mud!

  • Put it all together, following detailed step-by-step demonstrations of complete paintings from start to finish

The author wants you to get beyond replicating a scene, but instead to start infusing your art with impressions and feeling. Gill can tell you WHY a piece of art catches your eye and HOW to create art with that kind of impact.

Powerful Watercolor Landscapes is NOT a book for someone who wishes to paint exactly what they see before them, but for a painter who wants to create expressive art with impact.

gill.jpg

 

Texture Techniques For Winning Watercolors (1999, 2014) by Ray Hendershot. (First edition better reproduces Hendershot’s artwork; reprinted edition is reportedly of poor quality.)                                                                                                      Filling in the gaps where other books fall short, Hendershot elaborates on the fine details that distinguish a good painting from an excellent painting. With his guidance you can learn about a range of effective methods to create texture, such as spattering and spritzing, scraping and blotting. If you have previously learned the basic watercolor techniques, Hendershot offers step-by-step demonstrations and hands-on exercises to build your repertoire. This book would be an asset for advanced beginners.

hendershot.jpg

 

Painting Nature’s Details In Watercolor (1987, 1991) by Cathy Johnson.                  Johnson offers practical advice on portraying light and shadow, texture, water patterns, plants and flowers, wildlife, and still life. She is a prolific and knowledgeable artist, with a knack for simplifying her images to include the most salient details of her subjects. Johnson helps an artist observe and take note of the natural world’s subtle detail. My favorite chapter in this book is called Painting The Light and offers numerous tips on how to capture the glow of light in your paintings.

Johnson has written many other books (Creating Textures In Watercolor, Painting Watercolors, Artist’s Journal Workshop, Painting In Nature, and others) as well as many magazine articles. She offers mini-classes on her website (cathyjohnson.info). All of her work is appropriate for beginners and more experienced painters.

 

Ways With Watercolor (originally 1949, Second Edition, Enlarged 1963) by Ted Kautzky.                                                                                                                                            Ted Kautzky was a master watercolorist. His book discusses pigments, washes, composition, contrast, and the use of accessories for special effects. In simple direct language, Kautzky shares his extensive knowledge of watercolor. At times you may have to re-read portions of each page to truly grasp all the information he has packed into each sentence. In addition to many demonstrations, he also includes challenging practice material. Many illustrations are in black and white, and color reproductions are somewhat muted, but this limitation should not detract from the valuable information presented in Kautzky’s book.

Kautzky has also written other excellent books, including Painting Trees and Landscapes In Watercolor and The Ted Kautzky Pencil Book.

 

Perspective, Depth and Distance (2004) by Geoff Kersey. (Newer 2017 edition – Painting Perspective, Depth and Distance In Watercolour – is expanded and updated.)                                                                                                                                          Kersey is a good explainer, and in this book he is concise when teaching the theory of perspective, both linear and atmospheric. Then he illustrates perspective with a number of demonstrations, thus making the learning of perspective enjoyable and relevant. He shows how to create depth and distance while painting objects in perspective and allowing them to recede naturally. I recommend using this book to make your watercolors look more realistic. Perspective, Depth and Distance is suitable for beginners and experienced watercolorists alike.

Here ends the first installment of my favorite watercolor books. Check back next week for the rest of the list.