Values -408

00:48:56
https://www.youtube.com/watch?v=CONpNSa8bAk

概要

TLDRA videóban megvitatják az értékek fontosságát a festészet kezdőinek. Az értékek a festmény tónusainak világosságát és sötétségét jelentik. Az előadó hangsúlyozza, hogy az értékek megértése alapvető a festészeti készségek fejlesztéséhez, mivel a megfelelő értékek nélkül nem lehet látni. Részletesen ismerteti az értékek meghatározását és alkalmazását, beleértve az árnyalatok skáláját, a kontrasztok fontosságát, valamint az egyes festészeti technikák, például a "lost and found" és a "fumado" alkalmazását. Az értékek megértése segít a művészeknek abban, hogy kielégítő vizuális hatásokat érjenek el munkájukban.

収穫

  • 🎨 Az értékek a festmény tónusainak világosságát és sötétségét képezik.
  • 📚 Sok szerző beszél a festészeti értékek fontosságáról.
  • 🖼️ Az értékek megértésével a művészek erőteljesebb vizuális hatásokat érhetnek el.
  • 🔢 Az értékeket gyakran 1-10 skálán értékelik a tanulmányozás során.
  • 🖍️ A "spotting" segít a festmény értékrendszerének kialakításában.
  • 🧊 Az elmosódás segíti a kép értékviszonyainak megértését.
  • 🔍 A kontraszt kulcsfontosságú az érdekes vizuális kompozíciók létrehozásához.
  • 👥 A "lost and found" technika az objektumok értékeinek meghatározására szolgál.
  • 📏 A festmények "laposan" való látása segíti a pontos értékalkotást.
  • 🌫️ A "fumado" technikája fokozatos tónusváltásokat hoz létre.

タイムライン

  • 00:00:00 - 00:05:00

    A festészetben az értékek megértése és használata fontos kezdő festők számára. Az értékek a szín világosságát és sötétségét mutatják, amelyeket skálán mérhetünk, például 1-től 10-ig. Ezeket az értékeket a képeinkben lévő elemek közötti viszony alapján kell meghatározni. A festőknek meg kell tanulniuk az értékviszonyokat felismerni.

  • 00:05:00 - 00:10:00

    A képen lévő legvilágosabb és legsötétebb pontok meghatározása alapvető feladat a festészet során. A festők folyamatosan összehasonlítják a különböző értékeket, hogy megtudják, melyik árnyalat közelít a világosabbhoz vagy sötétebbhez. Az értékelsődleges szerepet tölt be a kontraszt létrehozásában, ami a láthatóság szempontjából fontos.

  • 00:10:00 - 00:15:00

    A képek általános tónusának meghatározása segít az értékek helyes megválasztásában. Ez lehet sötét tónusú vagy középtónusú kép, ami meghatározza, milyen erősségű kontrasztok alakulhatnak ki. A kép általános tónusa meghatározza, hogy a világos és sötét területek milyen „spottalakozási” mintázatot hoznak létre.

  • 00:15:00 - 00:20:00

    A színek értékének meghatározása során fontos, hogy az értékeket „lebegtetve” szemléljük, hogy észrevegyük, melyik szín sötétebb vagy világosabb a másiknál. Az értékkapcsolatok folyamatos összevetésével optimalizálható a kép kontrasztja és összhangja.

  • 00:20:00 - 00:25:00

    A festmények készítése során a figyelem az egyszerűsített értékstruktúrákra koncentrál, hogy az összetett képelemek közötti helyes viszonyokat létesítsen. A kezdő festők számára fontos, hogy a képet síknak lássák, és ne próbálják azonnal részletesen megérteni az űrlapokat.

  • 00:25:00 - 00:30:00

    A mesterképek tanulmányozása során a tanulók megérthetik, hogy a képek általában egy fő értékskálán belül vannak megszerkesztve. A különböző értékkategóriák közötti mozgások felismerése segít a kép formájának és a helyes világítási hatások megteremtésében.

  • 00:30:00 - 00:35:00

    Az értékfokozatok a képrészletek között szükségesek ahhoz, hogy a kép különböző elemei összhangban legyenek egymással. Az egyes részletek finomhangolása a színek megfelelő elhelyezésével és az élek kezelésével biztosítja a kívánt fényeffektusok megjelenését.

  • 00:35:00 - 00:40:00

    A kontrasztokkal dolgozó festők a „foltokkal történő rajzolás” gyakorlata révén alakítják ki a képelemző képességeiket. Ez az eljárás lehetővé teszi a számukra, hogy érzékeljék azokat a finom eltéréseket, amelyeket az árnyalatok közötti fokozatok hoznak létre.

  • 00:40:00 - 00:48:56

    A végső képelemzés során fontos az egyes értékek szabályozása és összekapcsolása, hogy a teljes kép felismerhető és harmonikus legyen. Az értékviszonyok kezelése lehetővé teszi a kezdő festők számára, hogy az absztrakcióból kiindulva a valósághoz közelítő ábrázolásokat hozzanak létre.

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マインドマップ

ビデオQ&A

  • Milyen könyveket ajánlasz a festészeti értékek megértésére?

    Számos szerző beszél a festészeti értékekről, mint például Harold Speed, Solomon, Burge Harrison és Arthur Wesley.

  • Mi az a festészeti érték?

    A festészeti érték a tónus világosságát vagy sötétségét jelenti, ami lehetővé teszi a kép részeinek összefüggéseinek megítélését.

  • Miért fontosak a festészeti értékek?

    Ha nincsenek megfelelően meghatározva az értékek, nem tudunk látni; a festmény világos és sötét részei alkotják a látvány lényegét.

  • Hogyan oszthatók fel a festészeti értékek?

    Általában egy 1-től 10-ig terjedő skálán határozzák meg a tónusok világosságát vagy sötétségét.

  • Mit jelent a "spotting" a festészetben?

    A "spotting" az értékfoltok elhelyezését jelenti a képen, legyenek azok világos vagy sötét foltok.

  • Hogyan segít az értékek elmosása a látvány értelmezésében?

    A szem elhomályosításával könnyebb látni, hogy az egyes értékek inkább világosak vagy sötétek.

  • Mi a szerepe a kontrasztnak a festményeknél?

    A festmények kontrasztja segíti a nézőt az egyes részek felbukkanásában és a kép jelentőségének megértésében.

  • Mit jelent a "lost and found" technika?

    Ez egy módszer, amely segít meghatározni az objektumok értékét azáltal, hogy megvizsgálja, hol folyik össze a tónus más tónusokkal.

  • Miért fontos, hogy a festők "laposan" lássák a világot?

    A "lapos" nézet segít a festőknek elsősorban az értékekre és formákra koncentrálni anélkül, hogy belevesznének a részletekbe.

  • Mi az a "fumado" Leonardo da Vinci tolmácsolásában?

    Egy technika, ahol az árnyék- és fényhatárok fokozatosan, füst-szerűen olvadnak össze, így tompítva a kontúrokat.

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  • 00:00:00
    okay welcome back Lauren K thank you for
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    that for continuing to hang in there
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    with us thank you for this donation
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    again uh so much appreciated and
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    especially uh with a video like today
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    where I'm trying to U bring sort of
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    clarifying information to people who are
  • 00:00:21
    truly beginners what I'm going to talk
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    about today which is values is um you
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    know is
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    uh it's something you'll have to deal
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    with and deal with pretty well if you
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    want to be a good
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    painter um and
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    um but CH Chomper um so someone who
  • 00:00:38
    calls himself Chompers with a number
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    behind it I know that's your just your
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    handle there um any books you can
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    recommend for understanding value in
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    paint value in painting specifically I
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    think I could spend years thinking about
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    how values work well the answer to that
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    question I sent him a sort of an answer
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    that you can you can places where you
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    can
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    you know dig in a little bit he had
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    already talked about landscape and so I
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    mentioned some landscape painters but
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    everybody talks about values you know
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    from Harold speed and Solomon those guys
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    to uh I think Burge Harrison uh da
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    Arthur U Wesley da is said his name
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    um
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    oh there are a lot of resources almost
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    anybody who talks about painting in a
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    book on paint we talk about
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    values but I'm going to talk about it
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    today the way um just using pictures
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    just in terms of the the practical ways
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    that I that I know to deal with values
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    but I'm guessing that maybe one or two
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    of you are new enough to have not
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    thought through the idea what values is
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    in the first place so we'll just start
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    right into images and this one is one of
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    many available
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    online um values is just the lightness
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    or darkness of a note and uh like all
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    the way from black to white and us
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    people usually give it like a 1 to 10
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    you can whatever you can just give it
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    some sort of a rating for
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    yourself but you need to be able to
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    judge in your pictures um where things
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    land in value relationships to each
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    other and that's so that's and so this
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    was something we did in high school
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    actually and I think a number of you
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    might have done it it's just a thing
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    that can easily be turned into a you
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    know a little class time uh High School
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    teachers are always looking for things
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    like this I recommend this have what you
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    do is you have students paint a strip
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    like that on the right then you have
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    them cut it up into little squares or
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    whatever and presented so that you can
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    isolate those squares and number them
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    and all that I forget how all that we
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    did but it it matters values is a huge
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    thing remembering one thing that values
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    if you don't have values you can't see
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    you need dark and light you know and so
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    some people think when they say values
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    they mean light and Shadow and that's
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    not that's you see how problematical
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    that is is light and light and dark is
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    all we mean how dark is it all the way
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    to and all the way to
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    U well let's put it this way in the in
  • 00:03:09
    the world of painting you can
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    only you know the you you have you can
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    only go so dark you can't go as dark as
  • 00:03:18
    nature um oddly enough I mean it's a
  • 00:03:20
    funny thing to say but the surface is
  • 00:03:22
    another reason for that you're painting
  • 00:03:23
    on a surface and there's going to be Li
  • 00:03:25
    hitting so on and so forth so you know
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    that if you look at a black note you
  • 00:03:29
    just put down in your canvas and you're
  • 00:03:30
    looking into a sinkhole of Dark Shadows
  • 00:03:33
    that's you know all black over there on
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    the side you'll see that they don't
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    match so you're saying in values we
  • 00:03:39
    always trying to set up a range of
  • 00:03:41
    values you're saying and the first thing
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    I'll ever learn in painting is what's my
  • 00:03:44
    lightest light what's my darkest
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    dark and once you've selected those much
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    like if you're picking a top and bottom
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    when you're going to draw a figure you
  • 00:03:53
    can then you know you then you then say
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    and so you'll just make every other
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    choice in the
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    a a a u based on how close it is to
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    light or how close it is to dark and so
  • 00:04:07
    as I said some people will number that
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    one to 10 but I don't find it toly
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    needed to number it it's just that you
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    have to constantly do
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    relationships for anybody who's been
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    watching this channel you know that the
  • 00:04:22
    argument is relationships is just
  • 00:04:24
    everything right so drawing learning to
  • 00:04:27
    see is learning to see relationally well
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    learning to see values is hugely about
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    learning to see value relationships
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    let's just have some fun though I found
  • 00:04:34
    some funny pictures The Fairly amusing
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    ones and I'm just going to start with a
  • 00:04:38
    couple black and white ones so this one
  • 00:04:40
    I put the the photographer's name down
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    here this is her name is Vivien
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    mayor and uh this is a black and white
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    photograph and in the this guy's moving
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    a mirror in the mirror is the artist so
  • 00:04:53
    this is a famous
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    self-portrait but so if you look at this
  • 00:04:58
    um and one of the things you can do when
  • 00:05:00
    you're thinking about values is to
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    reduce the size of the of the
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    image U significantly it's easier to see
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    the larger values you look at something
  • 00:05:10
    like this and you just see values
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    everywhere values just the relative
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    light and darkness so if you said
  • 00:05:13
    looking at this one now what's my
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    darkest dark it might be this parts of
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    this this down here whatever these
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    various notes are in the class of your
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    darkest dark and and by the way we don't
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    have to make it a scale of 1 to 10 we
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    can just make it whatever it is and then
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    we talk about the lightest light which
  • 00:05:29
    might be that or some other notes
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    elsewhere might be in the same range as
  • 00:05:34
    that but you're going to find out what
  • 00:05:36
    is your lightest light and then
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    everything you do knows where to where
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    to live now you might change your mind
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    about how light or how dark you made
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    those two notes and you might then
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    change your but if you change that
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    choice then all the other relationships
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    in between will change just as if you
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    we're drawing a drawing this big you
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    something made it this big have is only
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    a much smaller than it used to be etc
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    etc you know half of something that size
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    is much different from half of something
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    this size so much it'll be much the same
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    here but you can see then um and I'll
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    talk about other things relate to this
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    but but you can see then that there's if
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    this is your lightest light there are
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    numbers of areas that approximate that
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    they start coming sort of toward that
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    right more nearly and then if you say
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    this is your darkest dark you can see
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    the certain value areas really now this
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    is where you want to blur your eye and
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    learn how they do that because if you
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    blur your eye you'll be able at least
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    see which side they tilt toward you'll
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    be able to see that this dark tilts more
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    nearly toward the dark side than it does
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    to the light it doesn't tend to join
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    whereas this middl tone even this one
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    arguably but probably this one will tend
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    toward the darks but but these middle
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    tones here all these here are tending
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    toward the lights a little more than
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    toward the darks if you see them side by
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    side so in any case so you can talk
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    about all these things some people talk
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    about the word half tones they use the
  • 00:06:56
    word half and if you're talking about
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    black white
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    then right in the middle is some note it
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    might be a note like this one you might
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    call that half but halone just means
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    somewhere in that isn't the darkest dark
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    or lightest
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    light but one thing I want to mention in
  • 00:07:14
    talking about this one though is that
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    all pictures you're going to see and
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    I'll talk about others with it but all
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    pictures you're going to see take on a
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    what we call a general tonality that's a
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    general value and so that this picture
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    is not a a dark picture let me see um
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    I'm going to go get a dark picture let's
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    go get this one you see that one that's
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    a dark that's a dark picture the picture
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    up on the right but you can see this is
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    a half tone picture it's a it's General
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    tonality is half value it's not a dark
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    picture and when you have a middle tone
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    as your general value it's and and part
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    of the way you figure out that that's
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    what it is first of all you just look at
  • 00:07:51
    it you can see this isn't a dark picture
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    if you compare it with this see this
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    area over on the side of the screen if
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    you just look at black you'll see the
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    difference you'll begin to see the
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    difference but um so what that does
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    though it if you have a middl tone
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    picture it means that the darks and the
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    lights can be featured right and that
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    means that and since everything we do
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    when I say that values are required for
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    seeing it requires contrast so the more
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    contrast the more projective a thing is
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    to your eye the more your eye will pick
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    it up um like this piece of the Hat the
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    eye will pick that up pretty well or
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    this spot over here because the the
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    contrast is so great we have a factor
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    like sharpness of edge which you have to
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    know how to do to to manage that kind of
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    stuff too and I'll show you if I can
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    manage to remember it I'll show you how
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    we process this but you know what values
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    are though now you just know that
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    there's there and it's a scale you want
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    to say that there's the darkest the
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    middle but it's just that's all it is
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    the darkness and lightness of a note no
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    matter what color it is we'll use color
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    two to talk about this so you don't get
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    lost in
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    it but uh but you can see that this
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    picture has just all kinds of values you
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    know goes from here and all sort these
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    guys here aren't as light and then some
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    of the window spots or this area or some
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    of these or maybe next and you can see
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    that it climbs up to this one and then
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    and and gets darker to this one and
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    darker to this one which is held held
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    held over here and over here um we'll
  • 00:09:24
    talk more about how how to see these
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    things there's a couple different things
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    I want you to think about um if you want
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    have easy success with this that help
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    you to see relationships better but it's
  • 00:09:33
    all in seeing the relationships but you
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    could do a count you could actually
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    probably if you've got inclined you
  • 00:09:39
    could take a picture like this a
  • 00:09:40
    photograph of it and you could probably
  • 00:09:42
    cut out these sections and make yourself
  • 00:09:44
    that same scale that I just showed you
  • 00:09:45
    could take the darkest dark and the next
  • 00:09:48
    darkest and just line them all up and
  • 00:09:49
    you'd be able to see you know you'd be
  • 00:09:51
    able to see the scale in actually in
  • 00:09:54
    action in a picture now I got this one
  • 00:09:57
    because this is a pretty this picture
  • 00:09:59
    was taken by a photographer when gaml
  • 00:10:01
    was still alive obviously and
  • 00:10:06
    uh I think it was for a show or for a
  • 00:10:09
    book I forget which it was for that he
  • 00:10:11
    did but he designed Mr gamble designed
  • 00:10:13
    this picture but um so one of the one of
  • 00:10:16
    my fellow students was pointing out that
  • 00:10:18
    he he was he was making himself into
  • 00:10:21
    batty he was picking he's a picture of a
  • 00:10:22
    bat and he has a pointing right at his
  • 00:10:24
    head and we all took um uh Delight in in
  • 00:10:28
    thinking that he was pulling the
  • 00:10:30
    photographer's
  • 00:10:31
    leg but
  • 00:10:33
    um the way he did it it looked like the
  • 00:10:36
    camera was being mostly run by gaml and
  • 00:10:38
    the way the setup was set up it was very
  • 00:10:39
    clear uh that what he was trying to do
  • 00:10:42
    so now what happens when you start
  • 00:10:43
    thinking this way so this generally
  • 00:10:45
    speaking you see is a slightly darker
  • 00:10:47
    picture isn't it the general totality is
  • 00:10:49
    darker even though the lights are
  • 00:10:52
    lighter or there's more of the light
  • 00:10:54
    lighters it still comes across feeling
  • 00:10:56
    like and that's all I'm talking about it
  • 00:10:58
    feels like you youd think of this as a
  • 00:11:00
    dark certainly the darks as a large have
  • 00:11:02
    a dominate a greater mass but again you
  • 00:11:05
    can see the darkest darks and through
  • 00:11:06
    here and you can see this next level
  • 00:11:08
    right through here and these things have
  • 00:11:11
    to be organized they have to be right to
  • 00:11:12
    each other your picture will not do
  • 00:11:14
    this and all you do that you just do it
  • 00:11:16
    with your eyes but there are other
  • 00:11:18
    things we're going to show you too that
  • 00:11:20
    you'll be thinking to
  • 00:11:22
    do but and by the way that distribution
  • 00:11:25
    of lights and darks we call
  • 00:11:27
    spotting um now you'd say that these
  • 00:11:30
    things gamma would say that these are
  • 00:11:33
    this these whites create patterns on the
  • 00:11:35
    page patterns you see the shapes just
  • 00:11:38
    interesting patterns in the sense of
  • 00:11:40
    cutting out a pattern you know like a
  • 00:11:42
    dress um and the darks do the same thing
  • 00:11:44
    but the spotting is an interesting thing
  • 00:11:46
    if it's a picture is dominated by dark
  • 00:11:48
    the lights will be spotted around that's
  • 00:11:50
    an expression we use there might be a
  • 00:11:52
    better
  • 00:11:54
    expression I just don't know what it is
  • 00:11:57
    yet all right right so there you are um
  • 00:12:01
    but
  • 00:12:03
    now this is one of those places where
  • 00:12:05
    you can begin to see though the um range
  • 00:12:07
    in a color world and and to see the
  • 00:12:10
    color better it definitely is useful to
  • 00:12:12
    to blur your eye just to kill color
  • 00:12:14
    quality and by the way because you kill
  • 00:12:16
    color quality when you blur your eyes is
  • 00:12:18
    a reason not to blur your eyes when
  • 00:12:20
    you're looking at color notes don't try
  • 00:12:21
    to understand color but you can
  • 00:12:23
    understand the values of color or the
  • 00:12:25
    proximity of values to each other what I
  • 00:12:28
    want to talk about here is this is a
  • 00:12:29
    piece of actual you know it's a
  • 00:12:31
    photograph we took of something on the
  • 00:12:32
    wall but I want you to notice that if
  • 00:12:35
    you look at at a picture the value of
  • 00:12:39
    this and the value of this at the same
  • 00:12:41
    time now we we're accepting that they're
  • 00:12:43
    both darks and you could even do it with
  • 00:12:45
    this value or to this one or this this
  • 00:12:49
    but if you just put them both in your
  • 00:12:50
    eye at the same time and just pause
  • 00:12:53
    don't try to understand them or anything
  • 00:12:54
    just notice and one of them will appear
  • 00:12:57
    lighter than the other one they are the
  • 00:12:58
    darks but one of them is going to say
  • 00:13:00
    I'm lighter than you right now you could
  • 00:13:03
    do the same thing with this and this one
  • 00:13:05
    now this is what I call floating values
  • 00:13:07
    but if you do them so people will if you
  • 00:13:10
    finish what I'm
  • 00:13:12
    saying uh if you do them consistently
  • 00:13:14
    just floating them and don't try
  • 00:13:18
    to figure it out um you'll be able to
  • 00:13:21
    see whether or not this value is lighter
  • 00:13:23
    than this one this value is darker than
  • 00:13:25
    this one and then having made the two
  • 00:13:27
    values what you want to do though as
  • 00:13:29
    having made them is just check them and
  • 00:13:32
    see if they operate as the same set uh
  • 00:13:35
    when you see them both painted so you're
  • 00:13:38
    going to hit these notes and then you're
  • 00:13:39
    going to watch and see if they sit in
  • 00:13:41
    the same range when you're looking at
  • 00:13:43
    this and this as two things just
  • 00:13:45
    floating in Your Vision you'll see if
  • 00:13:47
    they feel like they're are the same set
  • 00:13:49
    one being darker than the other nothing
  • 00:13:52
    much more than that but you know this
  • 00:13:54
    value here is probably the same value as
  • 00:13:56
    this and you can be you it can this one
  • 00:13:59
    can look darker than this one well with
  • 00:14:02
    values that thing should look darker I
  • 00:14:05
    should say the one above here should
  • 00:14:06
    look darker if in nature it looks darker
  • 00:14:08
    but it doesn't mean it is darker and
  • 00:14:11
    those are the ways you can sort of have
  • 00:14:12
    your eyes mess you up if you float you
  • 00:14:15
    this one here looks like it's pretty if
  • 00:14:17
    I float now again I say that's what you
  • 00:14:18
    do is you get these two color notes and
  • 00:14:21
    you get them both in your eye at once
  • 00:14:22
    and you just let them sit there and you
  • 00:14:24
    let them make decisions let them say
  • 00:14:25
    who's darker who's lighter but don't go
  • 00:14:28
    back and forth just look at them
  • 00:14:29
    together and but this one here appears
  • 00:14:31
    to be taking on about the same value as
  • 00:14:33
    this it appears to be the same um does
  • 00:14:37
    it appear to be the same as this it's
  • 00:14:39
    probable that it is but sometimes they
  • 00:14:40
    appear to be more the same than others
  • 00:14:42
    but that's what the things you're going
  • 00:14:43
    to do this value here or this one where
  • 00:14:45
    do they live if you float them again
  • 00:14:48
    they begin to look more like this but it
  • 00:14:50
    looks like a light because of the
  • 00:14:51
    circumstances in which it's sitting and
  • 00:14:54
    that's something you just it happens to
  • 00:14:56
    color it happens to everything you get
  • 00:14:57
    faked out by the circumstance an es by
  • 00:14:59
    the
  • 00:15:00
    context
  • 00:15:03
    so let's go through some more pictures
  • 00:15:05
    and I'll come back to that um I want to
  • 00:15:08
    grab this one for color I may come back
  • 00:15:10
    to that I should say I don't want to
  • 00:15:11
    Promise Too Much here now this is over
  • 00:15:14
    the hilltop and I'm showing you some
  • 00:15:15
    stuff that's kind of fun this is over
  • 00:15:16
    the hilltop looking from the site we're
  • 00:15:18
    building on and if you walk down to
  • 00:15:20
    where the fence line is which is the
  • 00:15:22
    boundary to this Farm you'll start
  • 00:15:24
    seeing the um possibilities here we're
  • 00:15:27
    up were elevated pretty good that's
  • 00:15:29
    probably Vermont over there this down
  • 00:15:32
    below here is the town of North havil
  • 00:15:34
    and this is the GU farm so here we are
  • 00:15:37
    here's here's your darkest dark right
  • 00:15:39
    here right this is probably your
  • 00:15:41
    lightest light and this is fundamental
  • 00:15:43
    to all that goes on here and then
  • 00:15:46
    everything else is about getting these
  • 00:15:47
    guys to land more in proximity to the
  • 00:15:50
    darkest
  • 00:15:51
    darks or more in proximity to the
  • 00:15:53
    lightest
  • 00:15:55
    lights uh in other words to use that
  • 00:15:57
    blurring of the eye mechanism to see who
  • 00:15:59
    it tends to join like this light here
  • 00:16:01
    tends to join this whole middle tone
  • 00:16:03
    tends to be more like that although some
  • 00:16:05
    of this you can see there's this serious
  • 00:16:07
    of steps down there's this and then
  • 00:16:09
    there's this I'm just going through the
  • 00:16:11
    darks and then there's this and then
  • 00:16:13
    what's next you know is it TH or is it
  • 00:16:15
    this or this and you can see that what
  • 00:16:18
    we're dealing with and and some of that
  • 00:16:20
    same middle tone here is probably also
  • 00:16:22
    up here but that's what you want to get
  • 00:16:24
    good at just floating these things in
  • 00:16:26
    isolation in relation to each other but
  • 00:16:28
    the next thing you want to do is make
  • 00:16:29
    sure that when these values meet they
  • 00:16:31
    pop these these these what I'm going to
  • 00:16:33
    call light effects right you have to get
  • 00:16:35
    the right amount of contrast and you
  • 00:16:37
    can't see that contrast right if you
  • 00:16:39
    don't have the edge sharp enough so when
  • 00:16:42
    you're painting that's one of the
  • 00:16:43
    reasons we draw more articularly at the
  • 00:16:45
    beginning even when we're trying to lay
  • 00:16:46
    something
  • 00:16:48
    in we get the color going out there but
  • 00:16:51
    we also get the value relationships to
  • 00:16:53
    produce this glow of light here of this
  • 00:16:55
    one here we're trying to make these
  • 00:16:58
    these events happen because now what
  • 00:17:00
    happens is these effects are produced by
  • 00:17:02
    value contrast plus Edge and so because
  • 00:17:05
    we're floating them in relation to each
  • 00:17:06
    other that's going to be the second way
  • 00:17:08
    we use to Pro to improve our values so
  • 00:17:10
    the first one is to float the values and
  • 00:17:12
    just look at them in relation to each
  • 00:17:13
    other try to see this one while you're
  • 00:17:15
    looking at this one are these the
  • 00:17:17
    same again you I'm going to suggest
  • 00:17:20
    again that you've heard me say before
  • 00:17:21
    that you look away look to one side put
  • 00:17:24
    those in your mind but look over here
  • 00:17:26
    and let them both sit there while you're
  • 00:17:28
    looking over here
  • 00:17:29
    um and don't get faked out try to do by
  • 00:17:32
    just floating don't get faked out by the
  • 00:17:33
    light effect but the next thing we do is
  • 00:17:34
    we don't allow ourselves to get faked
  • 00:17:35
    out because we make the light effect
  • 00:17:37
    here we make whatever light effects
  • 00:17:39
    associate with this value up
  • 00:17:42
    here and then we can compare by floating
  • 00:17:45
    again the effect to the effect okay now
  • 00:17:49
    remember this entire game is one of
  • 00:17:52
    relationships so figuring out all the
  • 00:17:55
    many ways these things uh
  • 00:17:59
    uh relate to each other requires you to
  • 00:18:01
    use your eyes in multiple different ways
  • 00:18:04
    so um so but when I say effect though I
  • 00:18:07
    do mean that feeling of light that you
  • 00:18:09
    get when you put a dark next to a light
  • 00:18:11
    this there's a relative feeling of light
  • 00:18:13
    and you want to get that quality there
  • 00:18:15
    sometimes it's produced also by chroma
  • 00:18:17
    right what I mean to say the values have
  • 00:18:19
    to be right but the chroma may be a
  • 00:18:21
    factor in faking you out or helping you
  • 00:18:24
    out but uh in any case once you once you
  • 00:18:27
    get to the U your Pat see when you first
  • 00:18:30
    put down notes as an impressionist
  • 00:18:32
    you're just spotting color values so
  • 00:18:34
    you're putting down definitely a Blaha
  • 00:18:36
    dark blob a dark here you're spotting
  • 00:18:38
    something here you're spotting something
  • 00:18:40
    there you're spotting I always start
  • 00:18:41
    with the light so I'm spotting something
  • 00:18:43
    here I'm looking at this color note here
  • 00:18:46
    because it's the lightest of the sky
  • 00:18:47
    area um I'm spotting this you know just
  • 00:18:50
    spotting some notes around with the idea
  • 00:18:53
    of trying to see what sort of value
  • 00:18:54
    range exists out there and what what
  • 00:18:56
    painting can do and then we literally
  • 00:18:59
    then go to putting some of the points
  • 00:19:01
    side by side and seeing what it's going
  • 00:19:03
    to take to produce that remarkable
  • 00:19:04
    effect there both to improve the color
  • 00:19:06
    relationship suddenly this looks redder
  • 00:19:09
    than it did a minute ago or if you
  • 00:19:10
    thought about it in isolation because of
  • 00:19:12
    its proximity to this
  • 00:19:14
    blue and uh as of course it also gets
  • 00:19:16
    informed by what happens where it's in
  • 00:19:18
    proximity of this assuming this is the
  • 00:19:19
    same
  • 00:19:21
    value um but what you then are find
  • 00:19:24
    yourself doing is finding the the
  • 00:19:26
    quality of the light effect here getting
  • 00:19:28
    the color value right of this color
  • 00:19:30
    value right that and the edge right and
  • 00:19:32
    you're getting that same thing to happen
  • 00:19:33
    here and then you again float those two
  • 00:19:37
    effects those two events in relation to
  • 00:19:40
    each other and this is the this is the
  • 00:19:42
    process that I use for researching the
  • 00:19:44
    color notes of course the fun part is
  • 00:19:47
    that also begins it helps you to begin
  • 00:19:48
    to locate important stuff in the
  • 00:19:50
    composition you know like this light
  • 00:19:52
    effect is going to be important but it
  • 00:19:53
    begins to locate this thing that might
  • 00:19:55
    be something like a center of Interest
  • 00:19:57
    or a spot of Interest
  • 00:19:59
    um but you can see you'll need you'll
  • 00:20:01
    have to locate this there things like
  • 00:20:03
    this note here you know that's to that
  • 00:20:05
    you know these are exits so you know to
  • 00:20:07
    an extent that's a good picture I mean
  • 00:20:08
    that's another story
  • 00:20:11
    entirely okay but that gives you an idea
  • 00:20:13
    though this is a the light effect is
  • 00:20:15
    produced by value contrast plus
  • 00:20:17
    Edge and there's an element of chroma
  • 00:20:20
    involved in it and you can't an
  • 00:20:23
    impressionist says don't dismiss any of
  • 00:20:24
    them don't just get the values right and
  • 00:20:25
    then try to glue color onto it you'll
  • 00:20:28
    first of all you'll run out of what do
  • 00:20:31
    you call Neural
  • 00:20:32
    energy so let's see what else is here
  • 00:20:34
    that might be useful now the one thing I
  • 00:20:37
    I'm showing you this one because I want
  • 00:20:38
    you to be aware that if you don't see
  • 00:20:40
    the world as flat as just 2D then this
  • 00:20:44
    thing doesn't make as much sense to you
  • 00:20:46
    now I've showed you this Scribble down
  • 00:20:48
    below here this demonstration of I did
  • 00:20:50
    something that was sort of like this
  • 00:20:51
    there was a table over here somewhere in
  • 00:20:53
    here with junk on it and another table
  • 00:20:55
    or something up in here and something
  • 00:20:58
    way in the distance up there cloth or
  • 00:21:00
    maybe that was a gap in the in the light
  • 00:21:02
    over there like this might be like this
  • 00:21:04
    here but you can see that what I've done
  • 00:21:07
    nothing in here has become what I'd call
  • 00:21:09
    real the shapes are all real but there's
  • 00:21:12
    no attempt to paint an object here and
  • 00:21:14
    what I've done is I've stayed in the
  • 00:21:15
    field of color values but in this case
  • 00:21:17
    pure values and I recommend this you
  • 00:21:19
    take a thing like this as full color and
  • 00:21:21
    you begin to try to reduce it to a
  • 00:21:23
    values
  • 00:21:25
    statement and if you paint the way I
  • 00:21:27
    said you get the value to the value the
  • 00:21:29
    value see white to less white to lesser
  • 00:21:32
    white to whatever in that range uh and
  • 00:21:35
    the dark is dark maybe it's this or
  • 00:21:36
    maybe it's some of this maybe it's all
  • 00:21:38
    this stuff in through here or
  • 00:21:39
    significant parts of that and you're
  • 00:21:42
    floating those things like you see this
  • 00:21:44
    one is a middle tone compared to these
  • 00:21:46
    out here and by the way when Sergeant
  • 00:21:48
    talks about I'll show you Sergeant but
  • 00:21:50
    he talks about middle tones um you know
  • 00:21:53
    you're looking at a picture like this um
  • 00:21:56
    or I mean when he talks about values he
  • 00:21:58
    talks about like pictures tend to have
  • 00:21:59
    something like four or five values or
  • 00:22:01
    some number I forget what he said they
  • 00:22:02
    it tends to to break down that way but
  • 00:22:04
    you could easily see how this picture
  • 00:22:06
    here these big darks dominate this
  • 00:22:08
    picture it's really almost this one
  • 00:22:09
    value but there's a secondary Dart so
  • 00:22:12
    there's a step down middle Val a step
  • 00:22:15
    down uh and maybe that would include
  • 00:22:19
    this one as another one so that's one
  • 00:22:20
    two three then you jump to the other end
  • 00:22:22
    and there's the brightest light which
  • 00:22:24
    these two are pretty much part of but
  • 00:22:26
    then you'd see their steps down in those
  • 00:22:29
    uh so those wind up forming a a the
  • 00:22:32
    significant values now every picture has
  • 00:22:34
    no end of values but it's not it's
  • 00:22:37
    useful to know when you're to to know
  • 00:22:39
    when you're blur your eyes that you can
  • 00:22:40
    make eliminate a bunch a whole bunch of
  • 00:22:42
    this stuff for now and at that point
  • 00:22:45
    you're talking about the great the great
  • 00:22:47
    value of the area and I do it if it's
  • 00:22:49
    got busyness I do it in a busy kind of
  • 00:22:51
    markeing way so that I'm not trying to
  • 00:22:53
    avoid I just don't want to draw in here
  • 00:22:55
    but I don't want it to look
  • 00:22:56
    simplistically flat it's feel like the
  • 00:22:59
    general impression if I do that but
  • 00:23:01
    nevertheless that's the pursuit of you
  • 00:23:03
    as in you're clearly going after what's
  • 00:23:05
    my darkest dark what's my light is light
  • 00:23:08
    and we're spotting some values around
  • 00:23:10
    initially as I've shown you and by the
  • 00:23:12
    way I want to say that Mr Producer will
  • 00:23:14
    put up on the screen I think we've done
  • 00:23:15
    no fewer than five videos on
  • 00:23:17
    values I'll try to get those in hand but
  • 00:23:20
    there're easy to spot uh but probably
  • 00:23:22
    maybe as many as seven or eight um and
  • 00:23:26
    uh they're all covered this in a
  • 00:23:27
    different way this is just the pure
  • 00:23:29
    pragmatic when you see values this is
  • 00:23:30
    what you think stuff okay other ones
  • 00:23:33
    have to do with light effects more
  • 00:23:34
    particularly and that sort of thing but
  • 00:23:37
    um so we'll try to give that to you but
  • 00:23:39
    but what I want to say is you think of
  • 00:23:41
    these things just in terms of the of the
  • 00:23:44
    local shape at its where it's where you
  • 00:23:47
    need the effect to play and so we had to
  • 00:23:50
    do all this we had to get find our way
  • 00:23:52
    around here but we didn't necessarily do
  • 00:23:54
    it at once in fact I tend to float
  • 00:23:55
    Corners like this and get out other
  • 00:23:57
    points like this exit over here and this
  • 00:23:59
    exit over here maybe even this exit and
  • 00:24:01
    get a series of points with their
  • 00:24:03
    effects floating around in relation to
  • 00:24:05
    each other so you hear me talking about
  • 00:24:06
    that but that's effects what I mean to
  • 00:24:09
    say by effects though is it's value
  • 00:24:10
    contrast plus Edge and it's all it is in
  • 00:24:12
    this in this setting so it's the value
  • 00:24:16
    contrast where it's immediately
  • 00:24:18
    happening right exactly there not the
  • 00:24:21
    general value of this but the immediate
  • 00:24:22
    effect in that value there but this here
  • 00:24:24
    still is a big General middl tone value
  • 00:24:27
    that you can maybe some other versions
  • 00:24:30
    of in other places this might even be
  • 00:24:31
    one of them it looks like it could be
  • 00:24:32
    but it's looks more maybe more
  • 00:24:35
    nearly in the light
  • 00:24:37
    family so so yeah I hope you can see
  • 00:24:41
    what I mean by these larger values again
  • 00:24:43
    if you blur your eyes you'll see which
  • 00:24:44
    ones hang together you'll want to make
  • 00:24:47
    marks out of these lights this is the
  • 00:24:49
    composition here these this some of this
  • 00:24:51
    and this little of this and some of
  • 00:24:53
    these darks up here are the significant
  • 00:24:56
    events in this painting So if you're
  • 00:24:58
    your eyes they're events that are
  • 00:25:00
    produced by values okay so one of the
  • 00:25:04
    things we do is we spot values so if
  • 00:25:06
    you're going to draw do this you don't
  • 00:25:08
    have to go up here and draw it you can
  • 00:25:09
    just chunk a piece of dark up there
  • 00:25:12
    that's drawing by mass right so you can
  • 00:25:14
    Mass draw a chunk of that and have a
  • 00:25:16
    look at it and manage one edge of it to
  • 00:25:18
    they get the value effect right to some
  • 00:25:20
    other
  • 00:25:21
    one and again and what you're going to
  • 00:25:24
    want to do is be pure values you hold
  • 00:25:27
    this in your eye while you're looking at
  • 00:25:28
    this
  • 00:25:29
    one uh and make an estimate that they're
  • 00:25:32
    the same not the same one I'm lighter
  • 00:25:34
    darker and then as you go further along
  • 00:25:36
    in the painting as you articulate The
  • 00:25:37
    Edge quality and the contrast at this
  • 00:25:39
    Edge you may change your mind about it
  • 00:25:42
    but these have to have that impact that
  • 00:25:45
    projection to your eye as you get the
  • 00:25:47
    values circumscribing it right so
  • 00:25:50
    there'll be a certain impact visual
  • 00:25:52
    impact I forget what is the term that
  • 00:25:54
    Meldrum uses disturbance or something
  • 00:25:56
    like that so there a you know out of the
  • 00:25:59
    boring ordinary there's vague there
  • 00:26:01
    vague things here that hardly disturb
  • 00:26:02
    the world at all but that's more
  • 00:26:04
    disturbing you me the way he says it and
  • 00:26:06
    that's very striking strikingly so this
  • 00:26:08
    is fairly striking this is not as
  • 00:26:11
    striking because of it is contrasty but
  • 00:26:13
    it's softer feeling compared to this at
  • 00:26:15
    least in this
  • 00:26:16
    Photograph um so these are these these
  • 00:26:21
    value joints are ways for example if you
  • 00:26:25
    don't get this light effect right to
  • 00:26:27
    this light effect here it's it's it's
  • 00:26:29
    you're missing some information that'll
  • 00:26:30
    be very helpful getting this value right
  • 00:26:32
    to this value down here Etc you know if
  • 00:26:35
    you follow what I'm saying so there are
  • 00:26:37
    many ways lost and found is one of the
  • 00:26:39
    classic ways to find what the value is
  • 00:26:42
    of a of an
  • 00:26:43
    object um for example if you don't know
  • 00:26:46
    what value this object is here notice
  • 00:26:48
    that this one it comes right into here
  • 00:26:49
    and joins this has the same value
  • 00:26:51
    essentially ignoring this little data in
  • 00:26:53
    here but this value here is looks like
  • 00:26:55
    it wants to be the same as this one here
  • 00:26:57
    now that's a so that's a lost and found
  • 00:26:59
    mechanism that where you can float the
  • 00:27:01
    notes that's one you can deal with
  • 00:27:04
    contrast to contrast to contrast and
  • 00:27:05
    correct values um and then you but you
  • 00:27:08
    can also run do the runon so when a
  • 00:27:11
    value joins another value that's
  • 00:27:14
    information about and it happens all
  • 00:27:16
    over the place that that's information
  • 00:27:18
    about the the value of both both sides
  • 00:27:20
    they are the same so you know if this
  • 00:27:23
    appears to run onto that even if it
  • 00:27:25
    seems to be running toward running into
  • 00:27:27
    that that's useful information and
  • 00:27:29
    you'll be able to see this almost as if
  • 00:27:30
    it was one value that's useful
  • 00:27:33
    information so you look at any object
  • 00:27:35
    you'll see a different color and this
  • 00:27:36
    where most of you guys will get confused
  • 00:27:38
    if you're a beginner you'll see this and
  • 00:27:40
    you'll see you'll paint it as a separate
  • 00:27:42
    object you'll create a silhouette here
  • 00:27:44
    where there really isn't one or it's so
  • 00:27:47
    minor you wouldn't never make it or not
  • 00:27:49
    soon make it because but but what you'll
  • 00:27:51
    notice is that this value tends this
  • 00:27:54
    unit tends to tie on to this unit over
  • 00:27:56
    here right tie on to this one even
  • 00:28:00
    though it's a different color that's
  • 00:28:01
    where if you blow your eye you'll kill
  • 00:28:02
    the color a bit you'll see how it rather
  • 00:28:04
    hangs together so that's the Lost
  • 00:28:07
    version in a sense what I was
  • 00:28:09
    articulating before by effect so you got
  • 00:28:10
    to get the full impact of this thing you
  • 00:28:12
    got to find out what's your lightest
  • 00:28:13
    light and darkest dark the sharpest Edge
  • 00:28:15
    will do to make that happen and then you
  • 00:28:17
    got to get that to this and then you got
  • 00:28:19
    to tune them to each other so that's the
  • 00:28:22
    effect relationships and then that so
  • 00:28:24
    that's what we call the found and then
  • 00:28:26
    you're also and that's the very much a
  • 00:28:28
    key to why you even talk about the lost
  • 00:28:30
    and found stuff it's not a gimmick or a
  • 00:28:31
    trick it's very much a way of
  • 00:28:33
    establishing your values and this in our
  • 00:28:36
    case we've established the values based
  • 00:28:38
    on on effects these disturbances as meld
  • 00:28:41
    would call them so that's what I've done
  • 00:28:44
    going through all this whole area down
  • 00:28:45
    here let's see if there's anything else
  • 00:28:46
    um well the sergeant one um this is you
  • 00:28:50
    know you can discuss this and when
  • 00:28:52
    you're doing an imagin of pen it might
  • 00:28:53
    be wise to but you can discuss this very
  • 00:28:55
    as a very very simply as a
  • 00:28:59
    big you the way you want to think of
  • 00:29:01
    this is this gr big it's middle tone
  • 00:29:03
    it's a middl tone to dark picture right
  • 00:29:05
    I that's a my way of talking I'm saying
  • 00:29:07
    it's a middl tone picture but it's
  • 00:29:08
    passed passed halfway to toward the
  • 00:29:10
    darks a little bit despite this big
  • 00:29:12
    blast of light but you can see that this
  • 00:29:14
    is a describe describing this you'd say
  • 00:29:16
    this big middle tone here is is tone
  • 00:29:18
    number one the darkest darkest this
  • 00:29:21
    value through here spotting and spotting
  • 00:29:23
    and spotting up a bit again maybe maybe
  • 00:29:27
    it affected that's what you call an
  • 00:29:28
    effective dark but to the dark through
  • 00:29:31
    here and then you'd say well there are
  • 00:29:32
    dark middle tones there right the dark
  • 00:29:35
    the whole dark middl tone World which is
  • 00:29:37
    the guitars and other things that's the
  • 00:29:39
    dark middl tone
  • 00:29:41
    world uh perhaps and at the other end
  • 00:29:44
    you have the lightest lights and you can
  • 00:29:46
    see that they're breaking out you know
  • 00:29:49
    clicke Clickety clicke you know all the
  • 00:29:52
    way through this area and so that's the
  • 00:29:54
    when you have a dark field like that of
  • 00:29:56
    values you see the lights are going to
  • 00:29:58
    be the ones that are uniquely spotting
  • 00:30:00
    up now that's how you can understand
  • 00:30:02
    your picture conceptually your value
  • 00:30:04
    scheme you'd say this is a big dark
  • 00:30:08
    middl tone picture half half tone
  • 00:30:10
    picture uh very powerfully showing darks
  • 00:30:13
    right through the whole field toward the
  • 00:30:15
    middle and Powerful lights uh going in
  • 00:30:18
    and out of the dark Mass itself and just
  • 00:30:20
    that's that could be a wholesale
  • 00:30:22
    description you could almost describe
  • 00:30:23
    this as as a three value system but
  • 00:30:26
    certainly within four and five and that
  • 00:30:27
    say way of talking now as I said before
  • 00:30:29
    in every painting every you know just by
  • 00:30:32
    having it a value move from dark to
  • 00:30:34
    middl tone to light to whatever you know
  • 00:30:36
    there's a 100 values in there so we
  • 00:30:38
    don't mean this in a simple way um so
  • 00:30:42
    but that's that was fun I I thought it
  • 00:30:44
    might be amusing to look at this other
  • 00:30:46
    one this one side by side with this one
  • 00:30:47
    of my studio again hey John I hope
  • 00:30:50
    you're watching these but you can see
  • 00:30:53
    that this picture here is a is a
  • 00:30:55
    basically dark picture right so these
  • 00:30:58
    lights spot up as you know they're sort
  • 00:31:01
    of events in this big dark to middl tone
  • 00:31:03
    picture but against the light areas you
  • 00:31:05
    can see the darks also spot up so we're
  • 00:31:08
    talking about the darkest darks but you
  • 00:31:10
    can see You' say this is your darkest
  • 00:31:11
    dark you can see them in different areas
  • 00:31:13
    you can see this is step down and lots
  • 00:31:15
    of these other areas is step down from
  • 00:31:16
    these darks and then you can see there's
  • 00:31:18
    a large um well there's there's flecking
  • 00:31:22
    powerful lights flecking flecking all
  • 00:31:24
    over the place and there's this other
  • 00:31:25
    Middleton that just seems to sit right
  • 00:31:27
    through the whole painting as well
  • 00:31:30
    now when you're do when you're analyzing
  • 00:31:32
    a picture it's it's it's useful to
  • 00:31:35
    actually do little scribbles and that's
  • 00:31:37
    one of my videos talks about uh value
  • 00:31:40
    spotting and how you think about
  • 00:31:43
    values I think I only break it down into
  • 00:31:45
    three values because for most pictures
  • 00:31:47
    you can that's that will give you
  • 00:31:49
    management of most of what you're going
  • 00:31:50
    to be dealing with I've shown you other
  • 00:31:53
    ones where we talk about the values of
  • 00:31:55
    um the Benson paintings um the Birds
  • 00:31:58
    outdoors and stuff like
  • 00:32:00
    that so I hope this is coming across
  • 00:32:03
    it's just more of the same here I don't
  • 00:32:04
    even know that I need to say much the um
  • 00:32:08
    one of the things that's just comes up
  • 00:32:10
    in composition is this idea of
  • 00:32:11
    interchange the whole half top half of
  • 00:32:13
    this picture being middl tone to light
  • 00:32:15
    the whole bottom half being dark you can
  • 00:32:17
    see how the bottom half features lights
  • 00:32:20
    not even Bright Lights could be could be
  • 00:32:22
    middle ton it feature but this Zone all
  • 00:32:24
    through the middle here you can see
  • 00:32:26
    features the lights really nicely it
  • 00:32:27
    also features the dark so it makes a
  • 00:32:29
    very strong area of interest of course
  • 00:32:32
    this is also interesting so but
  • 00:32:34
    nevertheless you you're you're you're
  • 00:32:36
    seeing how values work to create
  • 00:32:37
    interest the lower the contrast the less
  • 00:32:40
    the interest to the eye the less
  • 00:32:41
    disturbance as meld would say so there's
  • 00:32:44
    a significant disturbance this this
  • 00:32:47
    these guys down here this is all very
  • 00:32:49
    significant disturbance by contrast and
  • 00:32:52
    your job as I said before is to say
  • 00:32:54
    decide what your lightest light is is it
  • 00:32:56
    this so and it I said if you look at
  • 00:32:58
    that while you're looking at this while
  • 00:32:59
    you're looking at this while you're
  • 00:33:00
    looking at all the other lights in the
  • 00:33:02
    room you'll be able to it it should come
  • 00:33:04
    to you that there is a declension you
  • 00:33:06
    know from there to here to event to
  • 00:33:09
    maybe here to maybe down to these
  • 00:33:10
    eventually maybe this one too this is
  • 00:33:12
    one of those places where that may be
  • 00:33:14
    one of the lightest lights but it
  • 00:33:16
    remains to be determined U uh partially
  • 00:33:20
    because you want to get it into a
  • 00:33:22
    context and which is that later note
  • 00:33:24
    that it's sitting in here it's that
  • 00:33:25
    would appear to be sort of the same note
  • 00:33:27
    maybe Lighter dark maybe lighter at the
  • 00:33:30
    top but this is this one is sitting
  • 00:33:32
    looking brilliant because it's sitting
  • 00:33:34
    in a dark pool this is sitting in a very
  • 00:33:35
    midtone
  • 00:33:37
    pool but um yeah so you can see that
  • 00:33:42
    even in a light midtone world that I
  • 00:33:45
    mean a midtone true midtone this
  • 00:33:46
    probably is the midtone mid middle darks
  • 00:33:49
    that aren't black darks will make
  • 00:33:51
    Silhouettes and um this is you could say
  • 00:33:53
    this is a composition problem but it's
  • 00:33:55
    all values problem and the the value and
  • 00:33:58
    you know the way the way values work in
  • 00:34:00
    a distribution across the page is the
  • 00:34:02
    very interest of a picture and this is a
  • 00:34:05
    rather a fun thing to look like just in
  • 00:34:06
    the
  • 00:34:08
    abstract just as pattern just as just as
  • 00:34:11
    phenomena dancing around in a
  • 00:34:13
    picture um
  • 00:34:16
    so
  • 00:34:17
    yeah I'm going to recommend also that
  • 00:34:20
    you always see things in sets um if you
  • 00:34:22
    have a really Inky black like this one
  • 00:34:25
    allow yourself to back off from the pain
  • 00:34:27
    taking the painting as a whole and just
  • 00:34:29
    notice what other parts tend to seem to
  • 00:34:33
    want to participate very specifically
  • 00:34:35
    with the darkest dark and you'd say the
  • 00:34:38
    same thing with these lightest lights
  • 00:34:39
    they participate but you'll say you'll
  • 00:34:41
    be able to see better whether they're of
  • 00:34:42
    the same value if they look like if they
  • 00:34:44
    look like oh that that's the group of
  • 00:34:46
    the darks you'll be able to make a
  • 00:34:47
    better assessment about them now you
  • 00:34:49
    might still say well this doesn't still
  • 00:34:51
    appear and you'll still work it out
  • 00:34:52
    whether that's really darker or just
  • 00:34:54
    appears dark than this etc etc but
  • 00:34:57
    that's in the working out as you do
  • 00:34:59
    other
  • 00:35:00
    things all right I think I have uh I
  • 00:35:03
    want to go back and I'm not sure if I
  • 00:35:04
    can remember why I want to go back to
  • 00:35:07
    this
  • 00:35:09
    one um I wonder if I can do a reasonable
  • 00:35:12
    review that that really largely covers
  • 00:35:15
    oh I I know what I didn't discuss and
  • 00:35:16
    that's why I'm here that whole issue of
  • 00:35:19
    values uh includes the question of of
  • 00:35:22
    value
  • 00:35:23
    movements so when you're trying to get
  • 00:35:27
    this value right to this you're using
  • 00:35:29
    and that getting that and you use that
  • 00:35:31
    edge and get all those things you're
  • 00:35:32
    trying to produce a light effect so
  • 00:35:34
    light effect is a measure of value
  • 00:35:37
    quality and you can only do these things
  • 00:35:39
    in the world of relationships right we
  • 00:35:42
    can't match some of these notes on our
  • 00:35:46
    canvas uh or our our painting So edges
  • 00:35:49
    like in a bright room this some part of
  • 00:35:51
    this hit being hit by the
  • 00:35:53
    daylight uh is going to be stronger than
  • 00:35:55
    the weight of the paper can ever be so
  • 00:35:57
    you know we're living in a false range
  • 00:35:59
    so we say we produce the very best we
  • 00:36:01
    can this light
  • 00:36:03
    effect and but then the rest of the
  • 00:36:06
    world is a problem of going around and
  • 00:36:08
    find adjusting other light effects other
  • 00:36:10
    light effects other light effects to
  • 00:36:12
    find out what the whole system is going
  • 00:36:13
    to look like you say What's My Darkest
  • 00:36:15
    dark it's my lightest light but included
  • 00:36:17
    so we're talking about light effects uh
  • 00:36:20
    and we're talking about again we're
  • 00:36:21
    talking about lostness right you can see
  • 00:36:23
    that well let's see if I can find a spot
  • 00:36:25
    for you we have we have losses into the
  • 00:36:27
    background
  • 00:36:28
    uh we sort of I thought maybe I'd get it
  • 00:36:30
    off of this foot here having this dark
  • 00:36:32
    become part of that Etc uh we don't do
  • 00:36:36
    we have a spot um no I don't this one
  • 00:36:39
    actually sort of doesn't well so but
  • 00:36:41
    what I wanted to talk about though is is
  • 00:36:43
    is value movement and so that's so you
  • 00:36:46
    have a value going from such and such a
  • 00:36:48
    light to such and such a dark at its
  • 00:36:50
    darkest and you can see that's getting
  • 00:36:52
    it goes to its lightest right here and
  • 00:36:54
    goes moving this is the famous fumado
  • 00:36:56
    that's one of the disc discussions about
  • 00:36:58
    midtones Leonardo D Vinci talks about it
  • 00:37:01
    but he talks about making it smoke likee
  • 00:37:03
    and you can see it means it's smooth it
  • 00:37:05
    has no texture but you can see here that
  • 00:37:07
    is moves from a a light light midtone to
  • 00:37:10
    a lighter one and so what do you see
  • 00:37:13
    here well you see that Big Arc of form
  • 00:37:15
    you see form and when you see value
  • 00:37:17
    movement going from lighter to darker it
  • 00:37:19
    will always suggest something like
  • 00:37:22
    form or it will suggest like on this
  • 00:37:24
    spot here it will simply suggest a weak
  • 00:37:27
    weing of the
  • 00:37:28
    tone and so a weakening of the tone can
  • 00:37:31
    happen you see it happening these
  • 00:37:32
    penumbra things this is your darkest
  • 00:37:34
    dark but you can see it gets lighter and
  • 00:37:36
    lighter and lighter and lighter and you
  • 00:37:38
    can use the strategy of going out and
  • 00:37:40
    finding out where you can last see a
  • 00:37:41
    sort of an event that's a pretty weak
  • 00:37:43
    one but it's probably stronger than all
  • 00:37:45
    the other ones so you go out there and
  • 00:37:46
    you say let's make that little event
  • 00:37:48
    that contrast right there good make this
  • 00:37:50
    one right and now you know where you're
  • 00:37:52
    starting from now assuming you got your
  • 00:37:53
    darkest dark as a choice you know you
  • 00:37:55
    make that you say let's work with this
  • 00:37:57
    darkest dark we have this midtone over
  • 00:37:59
    here that we presumably have right in
  • 00:38:01
    the sense of the world of floating notes
  • 00:38:03
    if this is white white white here then
  • 00:38:05
    this is the half tone this is dark well
  • 00:38:07
    you at any rate you just want to watch
  • 00:38:09
    again by the way you can watch all three
  • 00:38:10
    of these at once and you can actually
  • 00:38:13
    get to know them this is where memory
  • 00:38:15
    really does help get to know them
  • 00:38:18
    picture them try to see them well enough
  • 00:38:20
    so that you'll recognize them when when
  • 00:38:23
    you put them onto your
  • 00:38:24
    canvas but you'll get those three
  • 00:38:28
    uh notes right in relation to each other
  • 00:38:31
    uh but once that's set up then you'll
  • 00:38:34
    know what value this is and then you say
  • 00:38:35
    okay now that weak effect I've got to
  • 00:38:37
    get that there and then I got to change
  • 00:38:39
    this darker and darker darker and this
  • 00:38:40
    has got to produce this effect of this
  • 00:38:41
    joint here these are just strategies for
  • 00:38:43
    making values
  • 00:38:45
    okay there are a lot of places the
  • 00:38:47
    shadow line you know is almost
  • 00:38:50
    imperceptible here it's very powerfully
  • 00:38:52
    expressed here so these are very sudden
  • 00:38:54
    and abrupt shifts and these are almost
  • 00:38:58
    imperceptible ones but there is a point
  • 00:39:00
    and you could actually cast a shadow
  • 00:39:01
    from here down and You' actually see you
  • 00:39:03
    could actually see the
  • 00:39:05
    exact um angle of the
  • 00:39:08
    light um and uh you can find that not
  • 00:39:12
    just the angle but the actual point at
  • 00:39:14
    which the G Leonardo and that whole
  • 00:39:17
    discussion is about values that is the
  • 00:39:18
    shadow line Begins the point Beyond
  • 00:39:20
    which no light gets none of the original
  • 00:39:22
    Source this the this the main source
  • 00:39:25
    gets
  • 00:39:26
    in so so I wonder if there's anything
  • 00:39:28
    else I can say to you now these areas
  • 00:39:30
    that are busy like this if you go in
  • 00:39:31
    there and start drawing these things now
  • 00:39:33
    you can you should draw this to this
  • 00:39:36
    that say you should make this Edge
  • 00:39:38
    because you're trying to find the value
  • 00:39:39
    of this area okay that's a big deal and
  • 00:39:42
    this value contrast is constantly being
  • 00:39:44
    related to this value contrast or to
  • 00:39:47
    this value contrast or to all the other
  • 00:39:49
    value contrasts in the area but if
  • 00:39:51
    you're a painter like Velasquez you're
  • 00:39:53
    thinking value blobs and that's quite a
  • 00:39:56
    huge thing painting as what what hail
  • 00:39:58
    said by the spot rather than by outlines
  • 00:40:01
    so your first job will be to set this
  • 00:40:03
    value up put the blob out there and have
  • 00:40:05
    a look at it to this one and we'll worry
  • 00:40:07
    about shapes in the minute okay we'll
  • 00:40:09
    worry about you know where we're going
  • 00:40:10
    to locate something you know some some
  • 00:40:12
    hard reader or something like this and I
  • 00:40:15
    do pursue these value units on the basis
  • 00:40:17
    of their most powerful effects um in
  • 00:40:20
    other words you this is going to be
  • 00:40:22
    significant what this does when it meets
  • 00:40:24
    this value but I tend to take the top
  • 00:40:26
    guys and get them working with each
  • 00:40:28
    other as as a as as the strongest sets I
  • 00:40:31
    try to get stuff like this or this or
  • 00:40:34
    even that one relatively or this one I
  • 00:40:36
    try to get that whole group of things
  • 00:40:38
    leading the way and then the Lesser ones
  • 00:40:41
    and remember this is just a value
  • 00:40:42
    assessment process remember you're in a
  • 00:40:44
    search for the values on and that's all
  • 00:40:46
    we're talking about today a search for
  • 00:40:48
    the values in a in a in a painting and
  • 00:40:52
    so the the second thing that goes with
  • 00:40:54
    that of course I've mentioned that it
  • 00:40:55
    has to all be looked on as flat if you
  • 00:40:57
    see a person there all you you'll go
  • 00:40:59
    into a different world you you'll
  • 00:41:01
    complexify you get past what did Bobby
  • 00:41:03
    Jones the gulfer he said when I think
  • 00:41:05
    about three things that make a bad shot
  • 00:41:07
    and he went down from two makes a better
  • 00:41:09
    one but think about one thing and so if
  • 00:41:11
    we're talking talking values values is
  • 00:41:13
    one thing so when you're in the values
  • 00:41:15
    World minimally make sure you know how
  • 00:41:18
    to play these strategies and think about
  • 00:41:20
    the one thing but so you're thinking of
  • 00:41:22
    the world as flat but you're also
  • 00:41:24
    thinking of it as you know just 2D and
  • 00:41:26
    no real ISM no even though I say form
  • 00:41:29
    Concepts there may be a form movement
  • 00:41:30
    here it has to look like that but we're
  • 00:41:32
    not trying to understand the breast or
  • 00:41:34
    the wing the span of the wing or the
  • 00:41:37
    form of the leg we're not trying to
  • 00:41:39
    understand that or trying to express one
  • 00:41:40
    out of our head the idea of a leg form
  • 00:41:43
    we're just noticing whether or not it's
  • 00:41:45
    looking like that as we do our value
  • 00:41:47
    movement and value relationship stuff
  • 00:41:49
    you know so the gradations have to right
  • 00:41:51
    if if they're good it'll look like a leg
  • 00:41:53
    if it does if they aren't good it won't
  • 00:41:56
    but so what I'm saying do you don't you
  • 00:41:57
    see is that this world is now one of the
  • 00:41:59
    pure abstraction called values so well
  • 00:42:02
    you have to be flat so that's one of the
  • 00:42:04
    aspects of it and the other one is that
  • 00:42:05
    you have to be out of your mind so it's
  • 00:42:08
    just values what they do floating in
  • 00:42:11
    relation to each other where they're
  • 00:42:12
    lost and found and when they're found
  • 00:42:16
    how how whether that group of found
  • 00:42:20
    things is rightly regulated in relation
  • 00:42:22
    to each other and of course it goes all
  • 00:42:24
    the way through to the weaker like you
  • 00:42:25
    have some very weak areas like this we
  • 00:42:28
    have contrasts like this that are very
  • 00:42:29
    very weak uh those things eventually
  • 00:42:32
    will all have to be right to other each
  • 00:42:33
    other as well but they don't set the
  • 00:42:34
    table these Great Value this is the
  • 00:42:37
    conversation you're going to get with
  • 00:42:38
    Sergeant this great value here this
  • 00:42:40
    great value this great light here this
  • 00:42:43
    great value here and this great value
  • 00:42:45
    here is set the table for this
  • 00:42:46
    painting and it may be that you find
  • 00:42:50
    more or less to be the case but it does
  • 00:42:54
    you could argue that this is a three
  • 00:42:56
    value system that just this value here
  • 00:42:58
    and this one are one the lights are two
  • 00:43:00
    and the darks are three but of course
  • 00:43:03
    the darks as you can see are two there
  • 00:43:04
    are two in themselves but they're so
  • 00:43:06
    close to each other that you would might
  • 00:43:07
    try to say let's think about those even
  • 00:43:09
    though you make them slightly different
  • 00:43:12
    you let's think about those as a unit
  • 00:43:13
    for a while you may you'll find probably
  • 00:43:17
    that this that this value here and this
  • 00:43:19
    value here are all part of a different
  • 00:43:20
    unit that's what I'm suggesting is where
  • 00:43:23
    it gets to be an illusion but anyway so
  • 00:43:25
    this whole thing winds up being its own
  • 00:43:26
    unit but it's possible that this one and
  • 00:43:29
    this one are the same so what is it
  • 00:43:31
    bright light value two value three and
  • 00:43:35
    value four which have may have its
  • 00:43:37
    variations in it and so that's the
  • 00:43:40
    conversation that has to do with the
  • 00:43:42
    most significant values and it's all
  • 00:43:43
    it's always about that doing that but if
  • 00:43:46
    you could do those things if you can
  • 00:43:47
    float the notes and get two or three of
  • 00:43:49
    them in your eye at once when and and
  • 00:43:52
    and let yourself see who's who's lighter
  • 00:43:54
    who's not lighter you know and if it's
  • 00:43:55
    not clear it's no big deal find
  • 00:43:57
    something that is more clear you know um
  • 00:44:00
    or find a different
  • 00:44:03
    relationship that's more useful to
  • 00:44:06
    you so
  • 00:44:08
    yeah
  • 00:44:10
    okay Mr Producer I think that might be
  • 00:44:13
    it I did have fun U messing with these
  • 00:44:17
    things especially with Mr gaml here I
  • 00:44:20
    hope he would have
  • 00:44:21
    approved by the way this is a nice
  • 00:44:23
    example of how spotting Works see this
  • 00:44:25
    is a light area and you see the spots on
  • 00:44:27
    it that's just the game this this
  • 00:44:29
    picture you could argue was a dark
  • 00:44:31
    picture and these are the light spots on
  • 00:44:33
    it and you know it's hugely how much
  • 00:44:35
    entertainment value you get out of these
  • 00:44:37
    things this is why I say this is so much
  • 00:44:39
    more like musical notes you know
  • 00:44:42
    that it's the size and distribution of
  • 00:44:45
    the notes you know it's the you know
  • 00:44:47
    it's the impact what they're doing
  • 00:44:49
    though in a in a set that begins to
  • 00:44:53
    suggest this
  • 00:44:54
    idea you anyway by the way there I don't
  • 00:44:57
    know if I did it already but there's
  • 00:44:58
    middletone you can see going right
  • 00:44:59
    through here Syria is dark powering
  • 00:45:01
    through here Middleton showing up in
  • 00:45:02
    lots of places this is a very nice
  • 00:45:04
    simple value construction it's very easy
  • 00:45:06
    to look at would have made would have
  • 00:45:08
    made a nice painted uh portrait all
  • 00:45:12
    right Mr gamble thank you very much for
  • 00:45:13
    all you've done for all of us on my
  • 00:45:16
    behalf in
  • 00:45:18
    particular
  • 00:45:20
    um uh I'm sure I've forgotten something
  • 00:45:22
    but that's the way it goes I thought of
  • 00:45:23
    all sorts of things at 3:00 in the
  • 00:45:25
    morning last night when I was trying to
  • 00:45:26
    stay asle
  • 00:45:28
    but I think that covers it it's just all
  • 00:45:30
    very practical and this is nothing but
  • 00:45:31
    an an attempt to show you how we think
  • 00:45:34
    about values in a practical way and
  • 00:45:35
    hopefully be something that beginners
  • 00:45:37
    can apply uh for their own
  • 00:45:41
    um benefit going forward it is very
  • 00:45:43
    simple our world does have to be
  • 00:45:45
    analyzed in in terms of pure visual
  • 00:45:49
    content and this is there's nothing more
  • 00:45:51
    clear more clear or more useful than
  • 00:45:53
    knowing what your darkest dark and your
  • 00:45:55
    lightest lights are and how to manage
  • 00:45:57
    the relationships of all the passages
  • 00:45:59
    from the greater units in relation to
  • 00:46:01
    the greater units to each other to the
  • 00:46:04
    all the minor play and just keep
  • 00:46:08
    remembering brakman said this to this
  • 00:46:10
    and that to that and you're
  • 00:46:12
    fine okay Chompers M Mr Chompers or I
  • 00:46:16
    don't know if it's a m Chompers thank
  • 00:46:19
    you for that um I'm sorry I didn't
  • 00:46:21
    address the question of books much
  • 00:46:23
    better but I did do it online so if you
  • 00:46:24
    want to look for the comments um
  • 00:46:28
    everybody talks about values one way and
  • 00:46:29
    another um I'm quite sure Leonardo does
  • 00:46:32
    he talks about values in the in in Era
  • 00:46:35
    perspective in the distance the values
  • 00:46:37
    get closer to each other so these are
  • 00:46:39
    factual things about the visual world of
  • 00:46:42
    landscape or something like that so
  • 00:46:44
    you'll find plenty of that conversation
  • 00:46:46
    out there take it all in take it all in
  • 00:46:49
    but when you're when you're an eyeball
  • 00:46:51
    when you're take that's one of the
  • 00:46:52
    values of being an impressionist eyeball
  • 00:46:54
    for a while is that you're all you're
  • 00:46:56
    doing is collating data and values is
  • 00:46:59
    you could say data number
  • 00:47:00
    one all right I guess that'll do it guys
  • 00:47:04
    see you in the next one hope you have a
  • 00:47:05
    great painting week uh don't forget to
  • 00:47:07
    subscribe share all that stuff uh like
  • 00:47:11
    um
  • 00:47:14
    yeah what if why do half of those words
  • 00:47:16
    Escape me Mr
  • 00:47:18
    Producer as I said we are going we're
  • 00:47:20
    getting now I think we're up to maybe 6
  • 00:47:22
    8 10 maybe eight as many as 10 people
  • 00:47:24
    saying they might like to do something
  • 00:47:26
    with us online I'm trying to do a bit of
  • 00:47:28
    a and I wouldn't call it a course but
  • 00:47:30
    like a eight
  • 00:47:32
    week uh an 8-week session where we could
  • 00:47:35
    do an hour a week or an hour and a half
  • 00:47:36
    a week with you guys and um when I have
  • 00:47:41
    pretty soon I'm going to do the counting
  • 00:47:42
    if I have as many as even nine or 10
  • 00:47:44
    people I'll probably just go ahead and
  • 00:47:46
    start the start the U quote unquote
  • 00:47:49
    class so keep several of you people are
  • 00:47:52
    responding to me it's best if you do it
  • 00:47:53
    by email and my email is Studio is
  • 00:47:55
    ingbretson Studio
  • 00:47:59
    yahoo.com
  • 00:48:01
    um yeah Karen you asked me something I
  • 00:48:04
    forgot what it was though about the
  • 00:48:05
    website
  • 00:48:08
    um when you guys are looking to donate
  • 00:48:11
    or when you're looking for the books
  • 00:48:12
    that we've talked about in the past be
  • 00:48:14
    sure you go to the studio.in bron.com
  • 00:48:18
    location okay and you'll see a place to
  • 00:48:20
    donate right away earlier and then
  • 00:48:22
    you'll see um go scrolling down that
  • 00:48:24
    first page in other places there's a
  • 00:48:26
    Gallery showing former students work and
  • 00:48:28
    stuff like that but as you scroll down
  • 00:48:29
    that page Mr Producer has put all that
  • 00:48:31
    the books and stuff like that into a
  • 00:48:34
    into that scrolled up thing which I
  • 00:48:36
    really like the look of very much so all
  • 00:48:39
    right thank you you guys take care
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