Light Dark Pattern as a Visual Approach - Continued

This past week we continued our study of light - dark pattern as a visual approach.  See the prior blog for an explanation see my blog post from last week.  We practiced painting something from life and then an abstract.  I threw my keys on the table as the subject for the first painting.  As usual, we are just using black and white house paint and cardboard for our ground.  We're off for 2 weeks but have homework to keep things fresh.

To purchase contact Carol at carolhein@sbcglobal.net Visit my website carolhein.com

Dark - Light Pattern as a Visual Approach

It was good to be back in class this week.  We began to study dark-light pattern as a visual
approach and will continue to do so for 2 more sessions.  The morning lecture focused on
Motherwell's "Elegy to the Spanish Republic #34", Wyeth's "Wolf Moon" and Levine's "Birmingham 1963".

This visual approach relies on two strong value groups.  The artist must promote a pattern in one of the groups because it is the pattern that draws the eye into the painting.  The whole painting is reduced to two shapes, one dark, one light that can be seen by squinting.  Value shifts are ok as long as they belong to one of the two value groups.  The shapes still have to be unique, specific and have gradation. The artist must avoid equal weight of the dark, light shapes or the result will be a checkerboard effect.  The pattern should touch or have a visual connection.  Edges may be varied to make the paintings less static ( Motherwell vs. Levine).

Not easy!  We did two studies in the afternoon - one abstract and one from life using vine charcoal on newsprint.  My life study was the water bottle depicted above.

To purchase contact Carol at carolhein@sbcglobal.net Visit my website carolhein.com