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Old 09-30-2011, 11:43 PM
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DAK723 DAK723 is offline
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The Spotlight - October 2011 - Contrast

Welcome artists!

Here is a quick recap of what The Spotlight is all about!

The Spotlight is an activity thread for pastel artists of all experience levels working from photos chosen by a monthly host. Most months, the host will choose photos from only one subject, putting that subject into “the spotlight,” so to speak! For example, one month the subject will be painting water, another month will spotlight flowers, etc.

Some months, rather than spotlight a subject, the focus will be on a challenge of some sort. In those cases, we might have a wider variety of photo references, but “the spotlight” will be on the challenge itself.

Since this is a group activity, we can pool our knowledge and resources, and grow as artists in a fun, “no-pressure” atmosphere. And no critiques unless specifically asked for. The intent is to have fun, try new things, experiment, and perhaps most of all, to see what our friends and colleagues are painting from the same reference material!

Please note: The photos this month are taken by me, or are from the Reference Image Library. You have permission to use the photos as reference to create your artwork and to sell them and/or exhibit them. The actual photos still retain the copyright of the photographer. So you cannot copy the photo to your blog, for example, without the permission of the photographer, or digitally alter or reproduce the photo for any purpose other than for your personal use, with the exception of crops, digital alterations and posts of these photos within "The Spotlight" thread.

This month’s Spotlight is on…Contrast!

The use of contrast is certainly one of the most important “tools” in the artist’s toolbox, so I hope you don’t mind if we study the topic a little more in-depth in this month’s Spotlight! I’d like to share some things that I have learned about using contrast over the years. Keep in mind that I will be giving my observations and opinions, but hopefully your observations will be similar!

When artists discuss contrast, it is usually value contrast that first comes to mind. Value being the degree of light to dark something appears. Here are a couple examples of paintings that primarily use value contrast to define shapes, objects, etc.

Monet (left) uses dark shapes – almost silhouettes – to make things stand out against the lighter water and sky values. Renoir (right) makes the girl’s face and blouse stand out against the background by using light values against dark. If we turn the paintings into grayscale, we see the values better and the paintings do not change that much.

Notice that in the Renoir, the face is the lightest value and the area around the face is the darkest. This area of high contrast helps draw our attention to her face. Notice also that her hair is very close in value to the background, so we don’t notice the hair very much. By manipulating contrast, however, we can change what parts of our paintings are emphasized. In the Renoirs below, we see some different value contrast strategies. On the left, the face is still light and the hair is still dark, but the background is more of a middle value which allows the hair to be a bit more noticeable. On the right, the dark hair is contrasted by the light face and a light value background making the hair very noticeable. The value contrasts help dictate what is emphasized and what is not in your painting.

A couple more examples – again, Monet and Renoir (Gee, can you guess who two of my favorite painters are?):

One thing I notice about the Monet landscape is that the highest value contrast is the middle ground trees against the water and sky. The foreground, even though there are some detailed grasses there, has almost no value contrast. So my eye goes right over those grasses with barely a notice.

In the Renoir, I notice the woman's face/profile right away – that is the center of interest. It is also an area of very high contrast. The back of her head/hair/neck and her hat, on the other hand, have very little contrast with the background making those areas very un-noticeable. In fact, using adjacent areas of little or no contrast is a way to create lost and soft edges.

So, when it comes to manipulating contrast in our paintings, we can generally conclude that:

Greater contrast = greater emphasis.
Less contrast = less emphasis.
Little or no contrast = one way to create soft or lost edges with little emphasis.

But value contrast isn’t the only contrast in out toolbox! Another major area where we can use contrast is color! In fact, there are two types of contrasts that have to do with color – contrast in hue and contrast in intensity.

Hue contrast is often achieved using complimentary colors – or near compliments (colors that are opposite each other on the color wheel, such as red-green, orange-blue, yellow-purple. These colors are also combinations of warm and cool colors, so hue contrast is also usually warm/cool color contrast).

Intense or bright colors would have lots of contrast with dull or neutralized (grayed) colors.

These types of color contrast can be used in the same way as value contrast – to create areas of emphasis and attract the eye. Contrast also is used, of course, to add “punch” and visual excitement to drawings and paintings.

Let’s look at some color contrast!

The Renoir (top) uses complimentary color contrast between the boat and the water. Both the orange and blue are quite intense, so the contrast is mainly one of hue – and since orange is warm and blue is cool it is also a warm/cool contrast. But it seems to work well - the boat is clearly seen and attracts our attention. In the Monet (below) there is both hue and intensity contrast. The warm orange and yellow colors of the land contrast with the cool greens and blues of the water. The land colors are also brighter and more intense compared to the water which is duller and grayer. Let’s take a look at the grayscale version of these:

Without color contrast, Renoir’s boat almost disappears! It is primarily hue contrast that makes it stand out in the original. Please note that Renoir is still using value contrast in many places, including the very light valued women’s dresses against the darker valued water. Monet’s painting is very low in value contrast. His painting primarily uses color contrast – both hue and intensity – to accomplish its goals.

Another example:

This photo has both types of color contrast, hue and intensity. This makes the orange leaves about as vibrant as possible. Let’s remove the hue contrast (orange-blue) and see what happens.

Now we only have intense/dull contrast, but the leaves are still emphasized, but not as vibrant.

What if we reduce the intensity contrast?

With less contrast, the leaves stand out even less. Where the background has the most color intensity, the leaves almost blend in.

So, we can see that the manipulation of color contrast, as well as value contrast, can change the nature of our paintings.

Note about using grayscale images to critique your paintings:

As we saw in our first examples, using a grayscale image can make it easier to judge the values and the value contrast. Many people recommend them for self-critique. In fact, I have used grayscales when critiquing numerous times here on WC. But as we have just seen, grayscale images do not show any types of color contrast. So, while grayscales can be very beneficial to judge value contrast in a painting, they have serious limitations for paintings using a lot of color contrast. I think it is important to realize these limitations and not change your paintings bases solely on what you see in the grayscale version.

That concludes my observations and opinions about value and color contrast!

The references:

Photo by Jemgold

Photo by she-she

Photo by aznugget

Photo by our very own Merethe T

Photo by stalksthedawn

Photo by me

Also feel free to use my "orange leaves" photo from above as a ref pic.

Please post your paintings, sketches, questions, observations here in this thread as we explore Contrast!


Don Ketchek, WC Guide - Pastels

My Blog My Art Gallery My Photo Gallery
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Old 10-01-2011, 12:20 AM
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Davkin Davkin is online now
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Re: The Spotlight - October 2011 - Contrast

Some good fodder for my 30 minutes paintings here, I'm sure I'll do at least a couple.

C&C's Welcome

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Old 10-01-2011, 12:58 AM
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Turpintine45 Turpintine45 is online now
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Re: The Spotlight - October 2011 - Contrast

Well I think Robert might like one of these! Thanks for putting this Spotlight together Don. I may not have a lot of time this month but hope to do one.

C & c's always welcome
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Old 10-01-2011, 04:27 AM
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Colorix Colorix is offline
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Re: The Spotlight - October 2011 - Contrast

Great info, Don! All the properties of colour taken into consideration (hue, chroma, value), in a nutshell. Brilliant lesson!

Charlie's Site/Blog, and Pastel Guild of Europe
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Old 10-01-2011, 05:02 AM
mij mij is offline
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Re: The Spotlight - October 2011 - Contrast

WOT? No anatomy of trees? Only distant ones (thank goodness!)

This explains a lot, especially that we do not necessarily have to have a value contrast.....thanks I learned something today. A goodly selection this month. Something to really get our sticks into.
Watch & pray, time hastes away.
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Old 10-01-2011, 06:53 AM
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Re: The Spotlight - October 2011 - Contrast

Thanks for hosting. Great lesson.

I tried to paint achieve contrast in this quick 1-hour sketch in a couple ways.

First, by value, I tried to create contrast--and thus a focal area--by painting a strong value contrast at / around the base of the hay bales. I especially liked the darker side of the bales, and how in the photo that side contrasts with its surroundings.

I also tried to achieve contrast with color...pitting turquoise against orange...especially on the hay bales--the obvious choice for a focal point in the photo. The most intense orange (reds) and turquoise (or blues) meet each other near the bales.

I tried to pull the warmth from the field into the sky and hills using warmer yellow undertones.

I realize the whole painting reads intense, which is considered garish by some. But, I am drawn to intense paintings and these colors could be toned down to suit other viewers.

This is a fun start to the month and I look forward to the group's work, as always.

Dave (Greenbrier33)

NeoFauve | Pastel | Sketch

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Old 10-01-2011, 11:27 AM
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chuas2 chuas2 is offline
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Re: The Spotlight - October 2011 - Contrast

Thanks Don! Great info, outstanding selection of references. I'm going to make time to do a couple of these!

Wow David, fantastic painting! Makes my eyes hurt a little, but in a good way. I love the sureness of your marks. Very adventurous (read: good!).
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Old 10-01-2011, 12:08 PM
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robertsloan2 robertsloan2 is offline
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Re: The Spotlight - October 2011 - Contrast

David, congratulations on going first! Especially with such a grand, eye-popping painting. It's gorgeous! I wouldn't have thought of putting the hay bales in turquoise but the wild color choices made this shine. I like it, that'd make an incredible poster.

I didn't host though. Don wrote the great lesson! Thank you for hosting and giving me two great lessons - a perfect example of how to write a good lesson as well as the lesson itself! Thank you!

And thanks for putting in the cat. You know I've got to do at least one of these since you included the cat. The references are all wonderful but that cat's really got my attention.

Robert A. Sloan, proud member of the Oil Pastel Society
Site owner, artist and writer of http://www.explore-oil-pastels-with-robert-sloan.com
blogs: Rob's Art Lessons and Rob's Daily Painting
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Old 10-01-2011, 01:43 PM
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tvandeb tvandeb is offline
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Smile Re: The Spotlight - October 2011 - Contrast

Great lessons Don!! really like the refs too!!

Wow, david you are quick, gorgeous vibrant colors!!!
"Create what you see and feel; in all the beauty
that surrounds you"!
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Old 10-01-2011, 02:16 PM
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cristiona cristiona is offline
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Re: The Spotlight - October 2011 - Contrast

Great great lesson on contrast. Just had to applaud the write up. Thank you for doing it!
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Old 10-01-2011, 02:26 PM
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spirothet spirothet is offline
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Re: The Spotlight - October 2011 - Contrast

WOW, I thought last month was a challenge! I hope I can accomplish something from these great photos! Thanks for these wonderful pix. Cali
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Old 10-01-2011, 03:45 PM
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Ruthie57 Ruthie57 is offline
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Re: The Spotlight - October 2011 - Contrast

Thank you so much Don for another great lesson! I really appreciate the time you freely put into this each month!
Of course I will be doing one....some once I'm properly back from vacation!
My website http://ruthmannpastelart.com/

check out the Pastel Guild of Europe http://www.pastelguild.org/
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Old 10-01-2011, 04:02 PM
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Re: The Spotlight - October 2011 - Contrast

Dave, yay for 'garish'! Love it!

Baleful at a glance... (Lousy joke, I know... )

Charlie's Site/Blog, and Pastel Guild of Europe
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Old 10-01-2011, 04:11 PM
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DAK723 DAK723 is offline
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Re: The Spotlight - October 2011 - Contrast

Thank you all for the nice comments! And thanks to the photographers who contribute their photos to the reference library! What would we do without them!

David, thanks for starting us off with such a bold painting! Yes, value contrast on the haybales within a very strong warm/cool hue contrast painting!

Don Ketchek, WC Guide - Pastels

My Blog My Art Gallery My Photo Gallery
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Old 10-01-2011, 04:17 PM
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Some of Everything Some of Everything is offline
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Re: The Spotlight - October 2011 - Contrast

Hi all!

I'd love to join this spotlight this month! I am really not an expert with pastel but I have completed a very successfull (IMO) pastel portrait of my 6 month old baby long ago (She is now 10 already). Haven't really been working with pastels that much lately, so I think I need to do this to brush up on my skills!

Dave: Very bold choice of colour - I like, I like!

Thanks for hosting this Don

Looking forward to this one

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