Seeing the pattern of shade

by Tissa Hewavitharane

Seeing the shape of shade is not as easy as it sounds. Several hurdles must be cleared before patterns of shade can be accurately observed and subsequently useful when designing. The most dramatic and instructive approach to the idea of designing with light' is to begin by exaggerating the contrast of light and shade.

The perception of colour is directly related to the reflection of light waves. Dark surfaces absorb much more light than do light surfaces, which makes it hard to see as the light-struck.

Roof shingles, grass, foliages and sweaters also absorb light and can look dark in direct sunlight. On the other hand, shiny surfaces can give you a foolish impression because they reflect values from other surfaces.

Water often appears dark when reflecting shaded surfaces even though it is in direct light. Identify the source of light, can be it the sun or lamp, and remember that anything perpendicular to it is in light.

Look for cast shadows. Any surface that has cast shadows on it is in light. Dark surfaces are difficult to read. Look for their angle to the source of light and for cast shadows.

A shadow identifies the directions of the light and whether the surface in in light. These will be times when the white of a house in shadow is a darker value than the black of its roof in sunlight.

The beauty of seeing the patterns of light and shade is the compositional possibilities provided. Armed with the idea of designing with light and shade, there are infinite possibilities as to the relationship of one to the other.

Seeing sunlight as white

Begin by leaving every shape that is in light as white untouched paper. A black surface receiving sunlight is left white. A red, yellow, blue or green surface in light is left white. Be committed to this idea. A clear blue sky, without clouds, should be interpreted as white paper. The flat planes of a lawn remain white.

There will be times when 90 percent of the watercolour page is untouched. It depends on the light source. On other occasions 90 percent of the paper will be painted. The trick is to remain consistent in identifying and painting only the shape of shade, and in not painting the shape of light.

Value contrasts

Much of the exercises covered before was based on the ideas of shape, shade and light.

Let's begin with the contrasts of value. In each exercise the shape and light will be left as white paper with the value of shade being adjusted to create changing light and atmospheric condition. As the contrasts of value get farther apart, moving to black, the light is expected as stronger and the atmospheric clearer.

By experimenting with these contrasts you will see how important it is to nail down the contrasts of value to achieve the desired light effect. It is eye-opening to experiment with the complete range of value contrasts. See how dark you can make the value of light and still make the shape of shade visible.

You will notice that as the value relationship changes, different lighting conditions are expressed, running the range from high noon sunlight to midnight moonlight.

Much has been written on using value or tone in the design of paintings. First identify the values that are before you and then categorise the ranges of values into light, middle or dark shapes.

The value pattern proves to be an invaluable in the process of picture making. What evolved over the years of making value patterns was a slight variation in approach.

If you were to look at two value patterns of the same subject, one done in the traditional way and a second using this variation you might not notice a great visual difference. The advantage of the two against one approach is in the concept of the painting. There is also the advantage of allocating a greater range of values for the more important shapes of the painting. Having a wider range of values allows for greater definition, variety and nuance.

Keep clear goals

It is important to know where were going as painters. Thus us important for several reasons. One is that we want to be able to evaluate progress. Without a goal it is impossible to make a evaluation of success or failure.

It is important to be specific concerning a goal. Vague generalisations are as worthless as no goals. The person who says his goal is to do a good painting is really only hoping to do a good painting. The elements that make up a painting are too numerous for us to consider simultaneously while in the process of painting. The elements we choose to feature in a painting basically come from one or two sources; formal design elements or expressive goals.

Formal elements are line, value, colour, texture, shape, size and direction. These are the elements that no matter what the source, ultimately must be used for painting. It would take a lifetime to explore the possibilities provided by these formal elements alone.

Avoid thinking of yourself ad a watercolourist. Your objective is not to become the best technician of the medium of watercolour, but to be the best painter you can be.

Think of yourself as the painter who uses watercolour pigments on paper.

Great paintings are the result of shapes and colour arranged in an honest and expressive way. To improve your painting, throw away old concepts and dedicate yourself to new goals.

Keep your goals clear. And keep in mind that "not to decide is to decide." Use big shapes ideas and expectations and remember practice makes you perfect.