Painting light and shadow, speech itself

From the day the sun set its eyes on earth there was light. I consider light as something created by the sun illuminating the earth's atmosphere filter and falling gently to surface. Therefore we as artists need light to paint. Light comes in many forms. Light has colour and differing intensities; it can be direct or reflected; it can define local colour, obscure and alter local colour. Becoming acutely aware of specific lighting conditions can make you a better painter. We are out in that glorious light of the world where we experience nature in all its moods from early morning until the hour when only man made light are left. Depending on the nature of the day, reflected light can be either a very important part of your painting.

Pattern of shade

The most dramatic and instructive approach to the idea of "designing with light" is to begin by exaggerating the contrast of light and shade. Seeing the shape of shade is not as easy as it sounds. Several hurdles must be cleared before patterns of shade can be accurately observed and subsequently useful when painting. The first is to disengage the brain. This is not something I suggest you do to in excess, but it is helpful when the objective is to observe clearly. The brain has too many options as to what you should see and often overrides what your eyes actually see. The second hurdle is to disregard local colour and surfaces that absorb light, making it difficult to observe light. The perception of colour is directly related to the reflection of light waves. Dark surfaces absorb much more light than do light surfaces, which makes it hard to see them as light-struck. Surfaces such as roof shingles, grass, foliage and sweat eaters also absorb light and can look dark in direct sunlight. On the other hand shiny surfaces can fool you because they reflect values from other surfaces. Water often appears dark when reflecting shaded surfaces even though is in direct light. The beauty of seeing the patterns of light and shade is the compositional possibilities provided. There will be times when you elect to ignore the effect of light on a colour - times when it is compositionately advantageous to paint the sunlit roof black and times when it is best to paint the black roof light. The point is, you do have the choice.

Clear goals

Great paintings are the result of great shapes and great colour arranged in an honest and expressive way. Designing with light lets you create beautiful shapes by simplifying complex subjects into patterns. The last hurdle is to shake off some of the erroneous concepts which stand in the way of this goal. To improve your painting, throw off the old concepts and dedicate yourself to new goals. Ask your self how many objects can be joined into a generous shape. Seek to design your painting with three or four shapes rather than ten or twelve. Paint at arm's length and spend as much time and looking at your decisions as applying paint.

Power of light

Depending on the nature of the day, the reflected light can be either a very important part of your painting. The strong colour is the most expressive element in the artist's vocabulary. To relegate colour to a secondary role is to communicate with half a vocabulary. Observe the differences I have applied on this painting. I have expressed the colours what I felt and understood of the entire landscape. I have titled, the painting 'Evening shadows'.

You will observe a blush yellow light appear on the sky, with wash of light orange. Notice the lake with a very light yellow and earth also lit with same colour. The whole picture appears to sparkle with light and colour. A grove of trees and a bush along the bank cast dark shadows. The colours and tones on the trees of a dark texture give strength and stability to the painting. Notice how I have used rugged dry brush strokes on trees.

The painting is also composed of grey raging from palest tint to the deepest grey-browns and greens, giving an impression of consistent harmonious light. One of the most attractive qualities about water colour is the ability to express even the most transient effects of light, colour and atmosphere found in nature. The appeal of this painting lies in the delicate transition from pale delicate washes to strong dark colours. Shadows play an important role in conveying an impression of bright light. Tones and colours are much effective in the foreground than in the background. To get more expressive power into your painting its vital to put more energy into your brush strokes. To achieve this energy without losing control of the medium requires skill and this can only be gained through constant practice.

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