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Author: Johannes_Vloothuis, Contributing Editor
| Fig. 61. Observe the green added to the shadow side of the wall. This avoids the house from looking pasted on. If anybody asks him why that area is green he can say the foliage in front is casting green light into that area. |  |
 | Fig. 62. Purple and ochre are complements on the color wheel. They enhance each other and help separate the background from the foreground. Observe that the mountain in the middle ground is warmer because it contains more red than the very far one, which is bluer. The cooler (and lighter) the color, the more it pushes the subject into the distance. |
| 38. One way to make a color even brighter is to apply it thick (called impasto). This blob of paint will receive more light from the gallery light making it even brighter than if it had been applied thinly. |
 | Fig. 63. Harvey is a master at depicting light emanating from street lights. The paint in the light area is applied on very thickly. By contrasting it with darks you get a strong contrast thus the illusion of light. You need the darks to get the lights. |
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