Bohemian, 16 x 12 inches, oil on linenMy strategy for painting this backlit situation was to key up the shadow side. The idea being, it takes illumination to see anything. If the shadow side is dark, we really can't see much. So I like to make it light enough where it makes sense for colors to not only be visible, but have some saturation. (Ever try seeing color in the dark?) This often means that I am painting the shadow side much lighter than it actually is.
Consequently, the light side becomes even lighter. Almost washed out, really. Which is just fine because it simplifies shapes, knocks out unnecessary details and allows me to link together unrelated objects to create abstraction.
The darkened background further helps to make her shadow side (which is most of what we're looking at) seem illuminated. My palette is usually pretty gray anyway, but in this case, the few notes of color was enough to make the painting seem full-colored, so I felt at liberty to make the rest as muted as I pleased.
Consequently, the light side becomes even lighter. Almost washed out, really. Which is just fine because it simplifies shapes, knocks out unnecessary details and allows me to link together unrelated objects to create abstraction.
The darkened background further helps to make her shadow side (which is most of what we're looking at) seem illuminated. My palette is usually pretty gray anyway, but in this case, the few notes of color was enough to make the painting seem full-colored, so I felt at liberty to make the rest as muted as I pleased.
8 comments:
BACKLIT! That's when landscapes glow and all objects are more interesting.Thanks for the post!
Very well said I like to work on backlit situations and often pay the price of the darkened shadows. Great lesson Miura. Thanks.
reflected light in shadows is extremely interesting. I think that's what you're showing, no apologies required!!
Truly amazing. And thanks for the detailed description on how and why you chose those tones(values)
Terry, I think this is a favorite of mine. Your words are spot on (and even I understood them!) and I like your thought processes about the light and shadows. Such a neat Bohemian feel to this piece...
This was an eye opener for me Terry. Thank you!
Thanks everyone! I'm debating whether to take the eye out. I typically like my figures to be as anonymous as possible, unless it's about that particular person. Not painting features is my way of doing that. I painted the eye in this picture because earlier that week, someone said to me "Do you not paint faces because you can't?" He was joking, but occasionally I feel the need to make sure if I'm NOT painting something, it's on purpose and not because I'm rationalizing my inability to paint that thing.
Now that I'm satisfied, I may paint the eye out, to make it more of a Miura painting.
AutumnLeaves, I retitled the painting based on your comment. You have such a way with words~
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