from Mitch Baird

A Short Summary of this Blog Post:

Mitch discusses the importance of simplifying and controlling lights and shadows in paintings. He emphasizes finding an unequal arrangement ratio of light and shadow to create a stronger and simpler statement. Mitch suggests choosing either light or shadow to dominate the painting, while the other serves as a subordinate element. In conclusion, Mitch emphasizes the importance of organizing and simplifying lights and shadows to create a stronger and more impactful statement in a painting.

A concept that Mitch has struggled with often is dealing with how we can simplify and control our lights and shadows. The idea that is presented here is not a rule but is a strong way to consider organizing and creating a stronger, simpler statement. The purpose of our painting is to try to simplify and say more with less. To do this, the first thing we need to do when we approach a painting is try to find an unequal arrangement ratio of light and shadow. When doing so, we want one to dominate over the other. Once we establish that domination, then we have to figure out how we make sure the one dominates and the other sits as a subordinate. Just like when we create at a focal point vs. a peripheral, we want to subordinate the peripheral to support the focal point.

You will notice in Sargent’s painting below that he has kept all of the shadows fairly simple (on the inner side of the painting). He does not break up the shadows with lots of information. We have a small spot of light, but as a whole, he is playing all of his textures color changes, and information that is more punctual in the lights. This is so our eye picks one or the other. That is just a matter of the brain trying to perceive. You can see that Sargent kept the shadows simple and played in the lights.

If we look at the next painting below by Hanson Puthuff, we will notice again how all of the plane changes, color, and variety of drawing is in the light side. He has kept the shadows very simple and subtle. Even when putting the shadows in the bushes, he has a few color changes, but he keeps them very simple to show he is playing in the light. The light is expressing the subject because that is where the information is.

The last example below is by Edgar Paine. This is a great example of shadows and lights. It is a very punchy light pattern. He is close, not quite, to being 50/50 on light and shadow. But, the light still dominates. Notice how he keeps details out of the shadows and allows all of the information to show in the lights. This does not mean we ignore reflected light or certain cracks and thins in the rocks. We still want to give enough in the shadow area to portray our idea. But, we are keeping the most information in the light. This allows for simplification and domination of the light!

This can go the other way with shadows. We can play toward the shadow rather than the light. So instead, all of the information will be in the shadows. You can add subtle light here and there throughout the shadows, but most of the information will be in the shadows since the light would be more simplified. Either way, it is amazing how much we can downplay information in the shadow or the light to enhance the other. Remember, texture can only be seen in light. Keeping the shadows very simple and transparent will make our eyes fall to the light side and find interest in that element of the situation and vice versa. We need to go into our painting with a dominant idea; either light or shadow! We must have a purpose for the larger idea.

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