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Chris,
I'm really curious about the natural phenomenon that makes this happen. I know that the sky is always more blue overhead than near the horizon, so my inclination would have been to make these "sky holes" light, since they are exposing a part of the sky that's low (near the horizon). The darkness, or blueness (is there such a term?), to which you refer, does it occur because of the surrounding vegetation? Would it be the same if it wasn't vegetation, if one was seeing sky through fence holes, say? Is it because a smaller amount of light is coming through? Does darker equal bluer? I want to know because this is a very important concept. I'm sure this won't be the only time in my life I'll be confronted with this situation, and I never would have known to make the sky darker/bluer in those sky holes. Thanks again, Chris, and I'm really dying to know the reason. |
Gisele,
I am definitely not a landscape painter. However, I can offer some information from John E. Carlson, "Carlson's Guide to Landscape Painting", page 57: Quote:
I have used this same principle in painting hair, where bits of background show through. The "holes" in the hair get a darker, greyed-down version of the surrounding background color. Although Carlson's book is on landscape, every portrait painter should read it too, since it is overall, a book about observation. |
As to the optics involved, I will attempt the rationale behind the deepening of the color, not much, but, a shade or two darker. The suns rays striking the particles in the air causes the atmospheric disturbance which changes the color of what you are visualizing. Those images in the distance are dim and blurred. Those images that are closer to the viewer are more sharp and colorful. So, when the tree shades those air particles between the viewer and the object being viewed, there is less atmospheric disturbance to distort what is being seen. Therefore, it will appear a shade or two more pronounced than that which is seen on the perimeter of the object being viewed. This is pretty general but does it make any sense?
Chris, thanks for the tip on the book. I'll have to spend my life's savings and get one. ;) |
This is fascinating stuff! I never cease to marvel that life keeps presenting one with new opportunities for learning. I never knew this! And it seems like a kind of important thing for an artist to know!
Before sitting down to write a response I ordered "Carlson's Book of Landscape Painting," as well as your book, Chris. So many people have raved about it, that I intended to do so for some time anyway. I thank you for this important information. Thank you, also, Tom, for your insights. You've both been very helpful. |
The books have arrived, and I've spent hours perusing them. There is no doubt that "Carlson's Guide to Landscape Painting" will serve to enlighten me for many years. Thank you for recommending it, Chris. And, I think I've read your book, "Painting Beautiful Skin Tones with Color & Light" twice by now. After reading it once through, I keep going back and forth for specific information.
The painting workshops I attended in Woodstock, NY recently, had already introduced me to a complementary palette; your book supports and confirms what I learned. On the whole, there is so much excellent information, and many useful demonstrations, that I would advise any portrait painter to have a copy of it in their library. |
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