As artists, we need light to see color, it's as simple as that!

'No light' equals no color. Why? Color is reflected light. Have you ever thought about what makes a strawberry red? The pigment in the strawberry's skin absorbs all the wavelengths of light except those which produce red. The red wavelength in the light is reflected back at our eyes and we see this as red.

What makes the strawberry red?

Light contains all the colors of the spectrum, as the light hits an object, some of the colors are absorbed and some are reflected back at us. That is the color that we see. Our eyes were created is such a way that they 'read' light and our brain re-interprets the light into the color we see.

In both of these images above, we can see that the light quality is bright. On the left it is bright, but on the right it is even stronger and the color of the rose appears fully saturated or intense. That is, the color is not viewed as dull. Look at the example of the tropical fish, can you see the difference in color intensity where the light is strongest?

Below is a good example of what happens to color when the light is lost. The underside of the plant in the photograph on the left (below) is in full darkness, so the color intensity and value of the leaves is reduced and the intensity of the red flowers and some leaves are dramatically reduced or lost. Quite the opposite effect when one compares to the photograph on the right.

'No light' equals 'No Color'

"When color achieves richness, form attains fullness." ~ Paul Cezann

The Color Spectrum Light and RGB...Light is made up of many colors that produce the spectrum. However, we see light as white. If we use a prism, we can separate the different light rays like a rainbow. It is interesting to see what happens when we add all three RGB (red, green, blue) wave lengths to get white light and then remove each one to read the resulting effects. If we remove all three at the same time and we have no light, which means no color. Visit this link to see what additive color mixing is all about!

What is a Lightsource? - Rays of light traveling directly from the sun, or indirectly through a window, from a lamp, a fireplace, a flashlight or any other source of light are all referred to by the artist as the lightsource.

Light comes from many sources, but mostly from a natural source such as sunlight. As we can see in the simple diagram on the left, the position of the sun will determine the direction that the light affects the elements in any composition. Artists who paint still life compositions will often illuminate their subjects with a light source from a studio lamp; however the same rules apply regarding the direction of the light and how the artist reads it. The artist must consider the height of the light source as this will affect how the natural 'form' of the objects or elements are interpreted.

The photograph of the window box above shows us the power of brighter colors contrasting against a neutral background (the faded and weathered wood). This photograph is a great example of the effects of directional light. We can see that the 'lightsource' is entering the photograph from the right. The brightest part of the window box is receiving the light and the plants look as if they are embracing the light. The amount of light that the green plants are receiving is greater on the top frontal parts of the plants, the rest are in shadow and the color greens are toned or slightly cooler and duller.

In contrast to the neutral color of the wooden window frame and shutters, the greens and the reds (complementary color scheme) energize the composition. When this kind of reference material is reinterpreted into the final painting, the artist will play on the light to create strong contrast between the values, intensities and the texture of the wood and the foliage. This would create a great composition and a very happy one too!

A 'cloudy' day versus a 'sunny' day show how colors intensify with light

Artists will use light to their advantage. Flowers painted in dull light can create a dreary mood. If the artist wishes to use a brighter palette to create a happy and upbeat mood, the illusion of bright sunshine will help intensify colors.

Light rays pouring from the sky create drama

Nothing is more dramatic that seeing the rays of light burst through the clouds like giant search lights on a stage. The landscape artist is always fascinated by the effects of light coming from the sky in this manner. An interesting observation is that the same conditions found in 'atmospheric perspective' present themselves through rays of light. Note the light rays seem to dull the colors we see through the rays of light. The dust particles floating in the air refract light and cause this phenomena.

The direction of the Lightsource - which lightsource to select?

Whenever we paint we need to consider the direction of the lightsource. This determines the amount of detail we will see, the shadows and the best way to create the form of the objects. Most importantly the artist will have to decide the best way to showcase the most interesting focal area of the composition. The following photographs are examples of a few of the popular types of lightsource used by artists.

	This lightsource comes from the upper left side. This is a lateral light source.
	This lightsource comes from above and is central. We can see how the shadows fall.
	This lightsource is from the upper right side of the composition. It is also lateral.
	This lightsource comes from behind. It is considered from the rear or that the elements are 'back- lit'

The color, direction, and quantity of light is key for the artist's final rendition. In the slide show below, one can see how the color and direction of light affects the images.

 

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  In this kitchen still life arrangement the light streaming in from the kitchen window is 'golden' like late afternoon just before the sunset. The light is a warm temperature light.
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  The light has changed to a warm pink glow. In the early morning hours just before the sunrise, the light warms after the cool night.
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  Moonlight will affect the still life in a different way. Though this is not true moonlight, the temperature of the light does cool to take on a bluish hue and this affects the colors of the elements in this image.
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  The light source is now coming in from the upper left corner, this is only one of many different light source directions that the artist can use.
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  Here we see a 'high-key' composition. The light source is strong and fills the whole composition. It is still stronger on the left side.
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  In a 'mid-key' composition, the amount of light is lower than the 'high key' composition and a full range of values can be seen.
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  In a 'low-key' composition, the light source is quite reduced. Though this is an overly dramatic example, it shows the obvious, that the light source is very low and all values and intensities of color are lowered to match.

 

We need light to see all the color around us. Artists use light all the time, they control the amount or quantity of light in a painting to help create the 'mood' of the painting. They control the 'color' of light to help tell the story, for example the light's color will help determine the time of day, bluish light will suggest night time, while 'golden' light will suggest evening or sunset, or even perhaps the glow from a fireplace or candlelight.

How the artist uses light will also determine the overall depth of the painting. Light plays a very important role in creating a painting. Here the deep shadow (lack of light) contrasts strongly with the bright light coming from behind. The mood of the photograph is welcoming and embracing.

Here is an example of a backlit scene. Note that the brightest and warmest greens are in the 'sunny' areas of the photograph. The foreground is in shadow, so the greens that are used to paint this area will be darker and cooler.

Lack of light creates cool shadows

For landscape painting, the artist will often try to use light to set the stage or help tell the time of day. This interesting photograph shows the viewer that the sun was very bright and it was probably around mid day. The drama created by strong shadows on the grass help fill the composition with texture and pattern. Pay close attention to the strong contrast between light and dark (values) in the composition. The shadows that fall onto the buildings are actually quite blue. This photograph presents the artist with a number of challenges, however it would provide a great exercise in painting shadows.

What is a 'Silhouette' and what has light got to do with this?

A silhouette occurs when the object is back- lit, in other words when the light source appears to be coming from the back or behind the elements. When the light source is strong, the outline of the object is sharply contrasted against its background. This obliterates color and the object appears to be filled in with only one value and one color. The object often appears to have no form as values are diminished. (In order to show 'form' there must be a minimum of three values shown within the object).

The Silhouette - A Short History...

The silhouette or 'shade' as they were sometimes referred to, was a type of art form made popular during the eighteenth century, however some earlier appearances of the art form have been documented. Drawings of the shadows of individuals were used to record their image. It was a quick and somewhat easy way to get an accurate profile of an individual. Ordinary 'soot' from oil lamps was often used as a media to record the blackened image on paper, or sometimes black paper was used and the profile cut out from it. First the drawing was made (captured) and then the profile cut out and adhered to lighter paper. The sitter would sit behind a back- lit screen, then the artist would trace the outline of their shadow from the other side. The famous English artist John Miers, born in 1758 and died in 1821 was amongst popular artists who made the art form of Silhouettes well known.

How can artists use the concept of 'Silhouettes' today?

Study the images offered below and see how we modern day artists can use the same basic concept to create interesting compositions with silhouettes. All objects can be painted in silhouette, the human figure was the most popular during the eighteenth century, but today we can see that landscapes and simple elements such as an aged tree trunk and a bird can lend great interest and drama to a modern composition.

The Silhouette
	A beautiful sunset 'silhouettes' the trees and the foreground. The contrast between brilliant sky and dark textural details of the trees helps to draw attention to the setting sun. The focal area of the image is well established with this contrast.
	The sailing vessel sits quietly 'silhouetted' against the horizon. The strength of the tall vertical masts against the horizontal line of the ocean plane create a harmonic composition full of restfulness.
	An Alaskan Raven silhouetted against a stormy moon light sky creates an erie yet quiet profile and a composition full of true drama.
	The clouds are 'silhouetted' against the sky. The storm at sunset helps to create the drama between light and dark contrasts from the back-lit sky. Here the clouds perform as 'silhouettes'.

How does the amount of Light affect the perceived surface Texture?

The surface of an object can either reflect light or absorb it. All objects will have a natural surface that falls somewhere between these two extremes of matte to glossy; Either completely matte, where no light is reflected from it, or semi-glossy or highly glossy like glass or water. The artist has to interpret the surface and create the illusion or the degree of the reflective quality as well as show the quantity (amount) of light falling on the objects.

Compare the differences between the following surfaces...

• Soft down feathers and the surface of the cherries.
• A flower petal like the lily compared to the waxy Anthurium Lily.
• Glass bottles against straw hats.

	The light falling on these yellow ducks is reduced as they are sitting in shadow. the surface of the ducks is very soft and the feathers absorb light. Hardly anything is reflected off the surface giving the illusion that the surface is matte and by default as soft as velvet.
Matte
	The surface of the lily is not quite as matte as the ducks, as a little more light is reflected off the petals edges making them appear less matte but not glossy. The image shows the face of the flower in shadow, that area appears more matte than the outer edges of the petals.
Matte
	Straw hats appear matte overall, but on closer examination we can see that they show some reflective quality in a few small areas. The pattern created by the woven straw does not create high shines. The pattern (texture) causes the light to be broken or scattered.
Pattern scatters light
	The surface of the cherries is quite glossy and receives a large amount of light. This surface is smooth and does not scatter light like the straw hat does. The light is bounced off the skin of the cherry creating a high shine on the surface.
Smooth surface reflects light
	The Anthurium lily receives a lot of light in this image. The waxy surface causes the light to bounce off the surface in certain areas. The deeply welled surface creates many shadows as light is blocked in some areas. The result is a heavily textural surface. The degree of texture is a result of the amount of light.
Waxy surface reflects light
	These rocks reveal colored material on their surface. The minerals are highly reflective. Jewelry is made from reflective surface such as this. It is their ability to react to light and show a 'glittering' texture.
Shimmering surface reflects light
	Antique glass bottles sitting in front of an open window receive and reflect a lot of light, telling the viewer that the surface is hard and highly reflective. It is important to measure the amount of light as well as the surface texture as combined, this creates the degree of the reflections.
Hard glass surface reflects light
	A bright light source falling on highly reflective surfaces tells the viewer what the surface feels like. Compared to the cloth tablecloth in the image on the left, the cloth absorbs light and does not reflect it back at us in the same manner as the highly reflective glass ones. Sometimes the artist has to use a little caution as these busy reflections can create unwanted distractions in a composition.
Light and surface textures found around the home In this kitchen setting, the surfaces react to the amount of light in the room. There is light from the window, and incandescent lighting hangs above the table surface. The white ceramic tile back splash is reflective, the granite countertop is reflective, the glass and ceramic containers on the kitchen island are reflective. By nature these surfaces are shiny or glossy, so when they receive a large amount of light they react accordingly. The cotton fabric on the chair covers is not naturally a reflective one, yet if we compare one chair seat to the other we can see quite a difference between the amount of light they seem to reflect. One chair cover on the right is in shadow (no light) and the other is receiving the sunlight from the open window (more light). Look at the difference between the two. The surface of the cabinets are matte, yet the one nearest the open window appears to be more reflective. Why? This is a direct result of the amount and degree of the light source. However, the light on this cabinet is not reflected in the same manner as the light off the ceramic tiles or the glassware, where the highlights are more concentrated in one or more areas and the value (dark to light) changes from medium to light are very sudden.

Light passes through water and refracts (it bends) this is why objects under-water appear larger than they actually are. Light after it passes through water weakens and colors become less intense. The photo above shows how the corals in the background appears to have a blue-green cast over them and their true colors are distorted and changed. Less refraction will take place when light moves through water than through glass.

In these two images above, natural light (on the left) has been changed and a figure with a cool green filter (on the right) shows how an object's color is affected by the color and the temperature of the light. Look at the figure on the left compared to the one on the right - Can you see the green influence on the right? The same thing happens to color under water.

Underwater Creatures like the seahorse show the effects of the Light's temperature on the body colors.

This beautiful Seahorse swims by a warm light. His colors intensify as he comes into the path of light. The rest of his body that is away from the direct light is affected by the greenish cast of the water.

Artist Neadeen Masters, CDA takes you through an indepth painting lesson. The lesson includes instruction for painting reflections and transparency of water. This garden waterscape is created with wet in wet blending techniques.The foliage is created using a limited palette that provides a range of color choices for the artist. Most elements are painted with brush mixed colors. The extensive notes cover several topics; leaves, grasses, water lilies, flowers, water, reflections, submerging objects in water, transparency etc. Visit the link below to purchase this DVD now...

The passage of light and transparency...

The artist must keep in mind that we always want to facilitate the passage of light when trying to achieve transparency. That is the goal. Transparency is about seeing through layers to see what is below.  Watercolors are based on this principle. Watercolor techniques facilitate the passage of light through thin layers (washes and/or glazes) and we are forced to maintain a level of transparency.  The goal in watercolors is to see the earlier applications of color OR the white of the paper below.
Most students who get into trouble with transparency do so either because they don't understand or perhaps misunderstand the real goal of a transparent exercise. What is not understood is that we want to preserve degrees of what was previously done. Applications of color that are too opaque cover up whatever was done before and defeat the whole purpose of the transparency.

Water is a transparent media - the feather floating on the water's surface is the only indicator that the rocks are under water. Light passes through the water to reveal the color and details of the rocks below.

When we refer to facilitating the passage of light, as was previously said, the goal of the transparent applications is usually to add a thin filter of color, not to hinder the path of light. If the application is too opaque it will restrict the path of light (going in) and the light bouncing back off the lower layers (coming out) and this reduces depth. Some artists paint with white or lighter grounds or lighter layers to facilitate the light bouncing back through the layers. In other words, allowing light in and allowing it to pass back out. Result - increased depth and luminosity.

Many if not all of the Old Masters techniques were based on transparency or degrees of transparency. Almost everything that they did from the prepared ground layer up through the imprimatura layer and up through the thin glazes of color was based on transparency or semi-transparency to some degree. They were after the luminosity that gave their work that special rich character.
 
Practicing different degrees of transparency to learn to control color applications from thin sheer layers to more opaque applications will be very helpful. There are many different uses for transparent techniques, each rendering their own unique results.

• Refer to the Design Showcase section of this website to see many painting lessons that utilize transparent techniques. These all focus on teaching the srt student how to create depth and dimension in their painting.

  Heritage Artist Gaby Hunter teaches how to use an opaque pigment in a semi-transparent manner. The goal of this exercise is to actually build values and form through transparency, facilitate the passage of light through transparent colored layers and to create the luminous depth that the Chippendale style is known for. Visit the link below to purchase this DVD now...

Light, transparency and painting glass...

When painting transparent objects (glass) the artist needs to think about the passage of light and transparency. Transparency is something artists have to think about for so many different things. If you are fascinated with the illusion of painting glass, water drops, water, and anything that is transparent you will need to understand transparency.  When teaching students about glass, students often want to apply too much paint during the beginning stages while building the foundation of the object. Perhaps they do not understand that each application or layer of paint needs to stay transparent in order to make the object appear transparent until the final glint/hard shine is applied. 

The goal when painting glass is to ‘see through’ each and every layer of the light and dark values.  It is important to keep the transparency of the paint applications by applying less paint to the surface.  This illusion is painted by thinning with an extender or water. This sheer application of paint creates the illusion that what you are viewing is actually transparent. Look at the photo above, light passes through the transparent vase, but not through the opaque candle.
 
Something else that needs to be pointed out is that the artist can tell the viewer how thin or thick the glass is by how transparent the glass appears.  Thin glass appears more transparent than thick glass. Cut glass is harder to see through than smooth glass without any cuts or decorations applied to it. The texture on the glass distorts the light and captures the light as it passes through and makes it look thicker. 
 
So with this all said, a better understanding of glazing techniques for transparent applications will also help when the artist goes to paint colored glass.  After developing the form with the light and dark values of the glass then transparent color (glazes) can be applied at another stage. These glazes are applied over the under layers to add color without covering up what is inside or behind the transparent object.  Painting glass is based on the same principles of light passage. We have to think about applying the paint in a way that we create the illusion of being able to see through it.

Join artist Sue Pruett, MDA on this 2 hr. instructional DVD, as one of the topics she discusses is painting a clear glass container. Visit the link below to purchase this DVD now...