Light and Shadows
Let's go on to lighten shadows. So we were talking about this before shadows. They're not just gray. If you take a look at the shadows on these pairs, the shadow the pair next to the other pair that it's reflecting a shadow off of the color of that pair moves into the shadow. So there's reflective color that bounces back and forth between off up objects all the time. And so shadows really always have the color of the object that's bouncing the shadow and the color of the object that's receiving the shadow and take a look at the shadow of this teapot. I mean, there are about three. There's a sort of a pinky purple in there, and it moves to sort of a cerulean blue and then down into a yellow green, Uh, shadows is, and they're infinitely more interesting when they have lots of color. In the Now there's a wonderful painter named Elizabeth Kincaid, and she avoids graze altogether, and she'll look for a temperature bias in the object that's capturing, casting the shadow. So like if if the te...
mperature bias in that pair is really, really green, as opposed to maybe having that side. Be very orange or red than that. Shadow will have a lot of green in it and shield work. Create her shadows from the temperature bias of the object that's casting it. Grazer usually warm or cool. And if you're if the light that's casting the shadow is a cool light, the shadow will be tend to be warm. If the lights light that's creating the shadow is a warm light. The shadow will tend to be cool. If you can't discern that difference. Shadows tend to be more on the warm side. They just tend to be more warm than cool. Those both look like photographs. They were. You are realistic here. I was thinking, Okay, now this isn't This is one of my paintings, but it certainly looks like a painting. Um, if you take a look at the shadows behind the plums here, they definitely have color in them. And I think that that's what makes him so striking. You're always painting the effects of light, so an objects environment, the color, the temperature, all of that effect shadow color. So if you have a cool light, then you have a warm shadow. I just said that vice versa, and mornings are usually cooler, and late day is usually warmer, so keep those things in mind, too. But the shadows look like they belong to those plums because they have color in there, not just flat graze cast shadows. Now here's what I'm talking about That is a flat grey shadow. Look at how that pair in that shadow, they don't even relieved. They don't look like they belong together, that para just looks like it's floating. That's a shadow that had that I literally painted while the pair was still wet and the colors from the pair literally bled down into the shadow. It's a much more interesting shadow.