Scott discusses the idea of changing a color within a value plane to keep its read intact. He paints a gestural study of a waterfall and also shows separating values on different planes.
Multiple gesture studies are a good way to start finding the colors and values for your painting.
Decide which elements belong together in value to maintain a simple value structure.
As you mix variations of the color to account for recession or variety, try to keep your color pools in the vicinity of one another so you can get a read on the relationship of the values.
Try a first "brush" of the color in the shape and immediately assess its appropriateness in relationship to the nearby colors on the same plane. Adjust as needed before continuing to fill a shape.
Once your plane has a read from foreground to background, experiment with:
As Carlson said, "Too many lights on the upright form that should belong to the flat-lying plane causes more paintings to come to grief than any other cause."
When you change planes, make sure the color and value choices separate from the surrounding planes.
In the upcoming assignments, you will consider the many ways to find connectivity with your values and learn to change your color while maintaining your value structure.
Big planes are hard to preserve as they can tend to get cut up and spotty.
The end result is to get big solid forms that read.
Preserve your big values and change your colors within the value as necessary.
Keep trying to learn ways to connect values when necessary.
Look at strong painters of the past and study their work in black and white. Flip back and forth between black and white and color to study how they preserved their value masses.
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