Landscape Values- Part II

If I want to take it a step further than the small sketch, I can lay out a value sketch on my canvas, using a mix of alizarin crimson/ultramarine blue thinned with paint thinner. This is done very thinly. I use a rag to rub off most of the paint and just give me my drawing with the values as a stain to the canvas. Alternately you could use burnt sienna for the value sketch, but I don't typically use a lot of earth tones on my palette.  Here's the canvas value sketch I've done as the first stage of my painting:

I won't always do this detailed a drawing to begin, but since this scene is more complicated than my straight landscapes I thought it might be a good idea. When painting en plein air, it is a good idea to sketch out your composition and suggest some values perhaps, but the light changes so quickly that I wouldn't do this much detail at the beginning stage unless I could return to the same spot at the same time of day on subsequent days.

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Landscape Values

My mom was here visiting with me recently and I asked her about a watercolor class she had signed up for not long ago. "It wasn't so hot," she said. "We didn't learn much of anything. The teacher just kept saying 'remember your values'. We didn't know what we were doing, and we didn't know what 'values' she was talking about!"  

I had to laugh. Family values? Stock values maybe? I guess it's understandable that someone who has been involved in art and painting for a while would assume that everyone knows what "values" are in painting. But not everyone has that clear understanding, so I thought I'd write some of what I know about values here and in a subsequent post or two. (Mom, if you're reading, take notes. Pop quiz later!)

Values in painting are essentially the range of lights and darks in a composition. Seeing values in black and white is somewhat easier than seeing values in color, so a lot of times it is beneficial to create a value sketch of your subject first if you are having trouble discerning how light or dark something should be.

The trouble with values in color is that you now have color temperature thrown into the mix and judging values can be somewhat more confusing, especially when painting en plein air.  What's lighter, the sky or the ground? The rooftops or the side of that bright yellow building?  Understanding a little bit about how the light plays across a landscape can help to create a more convincing scene. 

That is why creating value studies before you jump into painting can be very helpful. Here is a very quick value study I did of a Lake Como scene I am getting ready to paint. I don't always do this, but for more complicated scenes it can be helpful:

This little study will help me to internalize my lights and darks so that I can "remember my values" when I start my work with color.

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A Day in the Orcia Valley

I thought I'd celebrate my new blog home (on my own domain! Yeah!) by posting a painting I just finished this morning. I took a break from painting the waters of Lake Como to do another painting of the Orcia Valley (otherwise known as the Val d'Orcia.)  This painting measures 30x40". It is done on a gallery wrapped canvas, painted out to the edges on all sides:

On this particular day I tortured my husband by making him drive all over the Val d'Orcia (or so it seemed) before lunchtime to find views of the white roads lined with cypress trees. I had a thing for these winding roads and cypresses, which I think make marvelous compositional elements in my landscape paintings.

More paintings of Italy can be seen on my website here.

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View from the Villa Monestero

On another day at Lake Como we ventured out to another lakeside village called Varenna. Varenna is super charming; with very narrow streets and teetering stairways:

Sold

We actually considered staying in Varenna, but opted instead for Bellagio. In hindsight, Varenna would have probably been almost as good a choice, but Bellagio won out for me because it seemed to be somewhat sunnier and had more of an open feeling to it. I honestly don't think we could've gone wrong in either place though.

In keeping with the theme of this trip, in Varenna we did a TON of walking. One of the most beautiful places we visited was Villa Monestero. This villa used to be a convent but is now open for conferences and classes, and the gardens are open to the public. We spent a good deal of time checking out the gardens, which had an amazing array of plants and trees:

Here's Dave at the start of our tour:

This is a painting I completed of a scene we admired that day. This is a view looking out from the lakeside garden promenade. It's called "Lakeside View" and measures 24x30".

Update: This painting has sold, but you can find more Lake Como paintings by visiting the Italian landscapes section of my website.

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Evening Shadows on Pescallo

That same evening after touring the beautiful villa, we walked back down to Pescallo and made a reservation for dinner at a local restaurant called La Pergola. It had outdoor seating (under a pergola!) that overlooked the lake and mountains. We were perched right over the water as we ate fresh lake fish, pasta, and vegetables cooked simply but with perfect finesse.

One of the most beautiful things about this area to me was the way the light played across the mountains and the water. As we ate, I kept looking at the evening light on the mountains and I observed such dazzling transformations. Every time I looked at them they would look totally different. "Look at them now!" I'd say to Dave. "Look at them now!" (to the point of being quite annoying, I'm sure.)

This painting is one I just completed using my photos, sketches, and notes from that evening. It is a canvas measuring 24x30" and is called "Evening Shadows on Pescallo".

More paintings of Italy can be seen on my website here.

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