Composition of Outdoor Painting | Chapter 2, Part 2

Upper Yosemite Falls - Abstract Value and Brushwork Study by Mary Highstreet

We are currently reading,

"Composition of Outdoor Painting" by Edgar Payne

(Go HERE for the full reading plan.)

Chapter 2 (Part 2)

(pp. 79-104)

. . . . . . .

In this section, Edgar Payne continues to discuss good composition and ends with some of the more physical aspects of painting like color mixing and brush work.

. . .

Summary of Main Points:

16.  There are three value "keys" in a painting:  high key (bright), low key (dark), or middle key (grays).  Painters often limit the tonal scale to create harmony. 

18. Payne suggests the best way to create harmony of color is to use a saturated color with a modified color (a tint or shade); and often suggests using complimentary colors.

19.  The student should try a variety of limited palettes in order to find his particular taste and style.

20a.  Rhythm encompasses harmony, activity, energy and movement,  and it must be balanced with stabilizing elements in order to create artistic visual unity.

20b.  Developing skill with a brush takes time and is comparable to the development of handwriting.

21.  Repetition must be balanced by variety.

. . .

More Details:

16. Values

Value can aid perspective; atmospheric perspective suggests colors diminish in vibrancy and value as they recede in space. Give objects dimension by using value: dark, light, halfway shade or half-tone. Looking at full color paintings in black and white reveals value and is beneficial in that it makes obvious the masses and the composition. Another consideration in values are whether they are contrasting (agitated feeling) or close values (restful feeling); the same feelings are evoked with contrasting colors.  There are three value "keys" in a painting:  high key (bright), low key (dark), or middle key (grays).  Painters often limit the tonal scale to create harmony.  Three or four primary values can lead to a good composition.  Color must be considered at the same time as value.  There are two color saturations useful for painters:  grayed values (harmony) vs. pure colors (contrast and vibration).

17.  Interchange

Interchange is the movement of one value into the space of another.  The employment of this principal creates vitality and charm and should be used frequently.

18.  Color

While not necessary for unity or composition, color is necessary to complete the unification of a painting.  Payne discusses basic color theory.  The challenge of using a Color Spectrum Theory for painting is that they are based on light rays, while pigment is an opaque material.  Payne discusses primaries and the mixing of secondary and tertiary colors.  Mixing compliments on the color wheel result in muted neutral grays.  Creating a color mixed chart is useful; the artist can learn about the mixing and balancing of analogous and complementary colors.  Payne suggests the best way to create harmony of color is to use a saturated color with a modified color (a tint or shade).  The "soup" method of unity is mixing a dominant shade and injecting it in every color used.  Payne prefers the use of a mixed neutral shade (warm gray) instead of black pigment, since black doesn't do well with color; to mix this he suggests equal proportions of Indian Red, Ultramarine Blue, and Yellow.  Mixing grays can be achieved by a mixture of three primary colors with either a dark or light.  Payne doesn't go into detail, but suggests that we read a variety of books on Color Theory.  Two important notes on color:  1. Not much pure color exists outdoors.  2.  When there does exist pure color, no pigment we mix can ever come close to it's intensity.  When focusing on color, don't forget the importance of values and drawing.  Color is something that must be studied to be mastered; with much needed experimentation and experience.  Consider all the following qualities when deriving unity of composition:  harmony of color, color brilliance and modification; overall quality, rhythm, and picturesqueness.

19.  The Palette

Payne suggests the spectrum principal for choosing colors on the palette, but mentions that colors used will ultimately be a reflection of each individual's taste.   The next step is limiting the palette, or simplifying it; the fewer colors used, the easier it is to harmonize the canvas.  Clarity of color is achieved by steering clear of drab shades, such as siennas and umbers.  Payne suggests a good set of colors: Light Cadmium Yellow, Orange Cadmium Yellow, Light and Deep Cadmium Red, Viridian, Ultramarine Blue, Indian Red; and Zinc White.  He suggests that the student try a variety of palettes in order to find his particular taste.

20.  Rhythm

"To feel the spirit of nature is to feel the rhythmic, spiritual flow which encircles animate and inanimate nature - the rhythm of life and the universe." (p. 96)  Form, line, color, and movement all appear in nature and create a visual rhythm.  Rhythm encompasses harmony, activity, energy and movement,  and it must be balanced with stabilizing elements in order to create artistic visual unity.  We all have a natural inclination for discerning rhythm in nature.  Payne compares painting to handwriting, a skillful hand is necessary but developing confidence and grace takes time and practice.

21.  Repetition

Repetition in painting is: a consistency of line work (parallel lines), similar proportions of masses, and uniformity of value and color.  Repetition must be balanced by variety: overall, sizes must be varied, color and values modified, repeated brushwork balanced by contrasting strokes (in various directions).