Painting Light and Shadow Shapes

Painting Light and Shadow Shapes

I love to paint in only two values - the value of the light and the value of the shadow. I discovered this technique about 20 years ago as a way to learn to make and paint shapes. Anyone who has ever taken a course from me knows that I always emphasize the importance of making good shapes in a painting. Shapes are one of the core building blocks of painting.

My main goal in doing this type of painting is to try and create a single, connected, continuous shadow shape and a single, connected, continuous light shape. In essence I am trying to paint two shapes with one value per shape. That sounds easy, right? It’s not - not at all. It takes thought and planning to develop the shapes before hand, so that when you get to the surface you have some idea of what you’re doing.

This composition is one I developed in 2005 for a Frank Webb workshop I was taking. The night before the workshop began I sketched it out from a picture of a local Bed and Breakfast. I love the look and feel of this old structure, and it has some great shapes that can be used to make an interesting painting. Below is the painting from the workshop.

I painted this composition in watercolor again a couple years later. This time I painted it using only two values, and I was stunned by the finished painting and my understanding of shapes once completed. Below is the second painting. It’s the only painting I have ever sold that I wish I had back - one of my favorites from 30 years of painting.

In today’s demo, I first drew the composition onto the 300lb Fabriano Artistico watercolor paper (the paper is coated with gesso). My color intent was to use violet and yellow. The yellow representing the light and the violet representing the shadow. I tried to compose the shapes so that they were interesting and linked together, interlocking with neighboring shapes.

I mixed several different violets using Cobalt Blue Hue, Ultramarine Blue, Teal, Quinacridone Magenta and Medium Magenta. I reduced the intensity of each by adding Yellow Ochre. I then added some Light Violet and Titanium White to Benzimidazolone Yellow Light, Diarylide Yellow, Naples Yellow Hue and Yellow Ochre to reduce the intensity of the yellows and lighten the value of each.

The rest is in the video. I think it’s fun to see the image gradually develop until you finally see some building shapes come into focus. I tried to keep it loose and vary the edges of the shapes a bit. This is the first time I have painted this in acrylic and the first time I have painted it since 2007. Granted, I’m a little rusty, but I like the finished product.

If any of you are interested in getting better at developing the shapes in your paintings (and who isn’t, right?) then I highly recommend this exercise. Make it about the shapes, not about making the scene look realistic. Try to distance the painting as far as possible from reality. Have fun with it!

If you'd like to learn about abstract painting and making your own authentic work, then please join me for a painting workshop: (You can view a list of workshops HERE)

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As always, thanks for your support!

David

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