tag:blogger.com,1999:blog-2999230124118604245.post420820264487874006..comments2024-03-28T09:25:25.716-04:00Comments on Gurney Journey: Deal with variable light on your paintingJames Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2999230124118604245.post-49163783527170773462022-03-26T03:09:25.415-04:002022-03-26T03:09:25.415-04:00Huge thanks for this post! It was just what I was ...Huge thanks for this post! It was just what I was looking for!NGUYEN KIM THANH PHONGhttps://www.blogger.com/profile/07191768665395962130noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-87913707674924184412021-06-19T22:58:55.264-04:002021-06-19T22:58:55.264-04:00Thank you for your wonderful article it helps me a...Thank you for your wonderful article it helps me a lot.Century Drywall and Paintinghttps://www.blogger.com/profile/03601032963907936710noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-7100520778505014152018-05-19T17:58:51.533-04:002018-05-19T17:58:51.533-04:00I have a light that came with filters to adjust co...I have a light that came with filters to adjust color temperature and try to illuminate my work halfway between the lighting in the scene and the lighting the work will eventually be viewed in. If you have an overwhelmingly warm lit scene and illuminate your work with that same warmth won't it end up too cool? Or if your painting a nocturn and keep your work dark won't it end up too light? The reason I think the middle ground is best is that our eyes will compensate for temperature unless there's contrasting temperatures. Those are special circumstances and I can see matching illumination as a good general rule. Thanks James for giving so much, your my hero.Ianhttps://www.blogger.com/profile/17670004787526821957noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-59898887018500764492018-05-15T10:58:58.705-04:002018-05-15T10:58:58.705-04:00Broker, I understand what Daniel Greene is saying:...Broker, I understand what Daniel Greene is saying: dim light forces you to grasp and state the essentials. What I would recommend however is to work under good, diffuse white light of a high Color Rendering Index, and then check your work from time to time with a Lorraine (or dark) mirror to see what it would look like in dim light. <br /><br />That relates to what you're saying, too, Judy. Even though your painting may be seen in poor light, you want it to look good under strong white light, because if it looks good under good light, it should look good under any light—and what if your painting ends up in an art museum with excellent natural lighting?James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-26092209770941326222018-05-15T10:17:29.757-04:002018-05-15T10:17:29.757-04:00Also I just re-read your Middle Value Mumbling pos...Also I just re-read your Middle Value Mumbling post- I must follow that more diligently. I tend towards Dark Value mumbling, a much more grievous problem! This also sounds like Sorolla's approach, from Thomas Jefferson Kitts' study of his works; as a student it's reinforcing to read similar advice from different sources.Judy P.https://www.blogger.com/profile/09176284042670900772noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-5447991082297094272018-05-15T09:59:12.342-04:002018-05-15T09:59:12.342-04:00I was so surprised to see my question as your late...I was so surprised to see my question as your latest topic James, thank you! My main focus concerned your second point, great to read. But I am still perplexed by your first point- that the illumination on canvas and palette should be the same as on the scene (preferably without glare). But isn't the real problem being you create a painting that can look great outdoors, then you bring it into your dining room. Then the blue colors get washed out, the contrast dims, because no indoor light is as bright as outdoors. I've heard painters complain about poor gallery lighting making their work look drab. I've taken to using quite dim light in my studio, because I have problems with values and keeping contrast anyway. But wouldn't plein air in shade be better than diffused lighting, because that would be closer to typical room lighting?Judy P.https://www.blogger.com/profile/09176284042670900772noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-14603570507989808992018-05-15T08:49:46.676-04:002018-05-15T08:49:46.676-04:00Years ago I studied with Daniel Greene and I remem...Years ago I studied with Daniel Greene and I remember him saying words to the effect that strong light creates a weak painting, and weak light creates a strong painting. I don't paint outside so I've never had these problems . . . I like my studio, especially on very hot and very cold days.broker12https://www.blogger.com/profile/06847087732827334328noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-26213750309499788072018-05-14T16:09:38.134-04:002018-05-14T16:09:38.134-04:00Does this apply: our visual system making an inter...Does this apply: our visual system making an interpretation for each context, i.e. the outdoor context and the indoor context? So however accurate you may perceive and render in one, it's going to appear different when viewed in the other.<br /><br />Tim<br /><br />bollent@wwu.eduTimothy Bollenbaughhttps://www.blogger.com/profile/08493798661089822651noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-31779933375720875132018-05-14T12:41:39.221-04:002018-05-14T12:41:39.221-04:00René, Yes, if the light level is too bright, sungl...René, Yes, if the light level is too bright, sunglasses are OK as long as they are 1) neutral density and 2) not polarized, and 3) that they cover the whole visual field.James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-38744689486204469982018-05-14T11:06:43.044-04:002018-05-14T11:06:43.044-04:00What about painting with sunglasses, I seen it don...What about painting with sunglasses, I seen it done by lots of English painters and it works quiete well is my experience although you might loose some colours. René PleinAirhttps://www.blogger.com/profile/03368603005553165550noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-37150182858825891932018-05-14T10:15:14.383-04:002018-05-14T10:15:14.383-04:00I understand this as value skewing. First I try to...I understand this as value skewing. First I try to grasp light/dark biases my canvas is reflecting before I commit to a scene, and remember to work (nose up to the canvas sometimes) more attentively to chroma/value changes. Is it really that dark/light/warm/cool? I’ve also discoverd its easier to establish key darkest spots and work my values away from then. Later on then I can really see if I’m off a bit and where to place value accents as a result. madillstudiohttps://www.blogger.com/profile/18094820218774581048noreply@blogger.com