Color and Reflected Light

COLOR, it’s everywhere and as long as we can see, we all experience it from the moment we open our eyes. They say that the human eye can detect around ten million hues. When we paint, we all strive to capture a small percentage of it, and often get frustrated in the process. We squeeze out luscious piles of color onto our palette in anticipation of capturing the beauty of a subject with it. Sometimes, we hit the colors on the mark. Other times, we get frustrated as we struggle through a painting when no matter what we do, we can’t seem to find the right mix. And, to make things worse, it’s not just local color, but also reflected color and the temperature of the light that we need to take into account when deciding on a shade. 

Color Choices

So, what is it about color and our color preferences that excite us? Color evokes strong emotional responses in all of us, but not necessarily the same types of responses. Blue may mean calmness and relaxation with visions of the ocean or a beautiful lake to one person, while denoting sadness to another. Depending on our life experiences, our preference for color can be psychological. For example, white might mean pleasantly clean and sterile to some who feel comfortable with a clean antiseptic environment, but cold and icy like a chilly winter day to others. Cultural traditions also influence our preference to color. If you look at color in clothing, for example, you may find that some of the cultures closest to the equator where weather is warmest tend to wear very strong, bright colors, while those in much colder climates tend to wear more subdued neutral colors.

Local and Relative Color

light creates the local color or colors of an object because each object possesses certain chemical properties or qualities that absorb some rays and reflect others How much an object absorbs and reflects determines the color of an object. However, we cannot go by local color alone. As artists, we need to put away our preconceptions about color and look at the relativity of color, i.e., the relationship of color to its surroundings. Changes to color happen when the light source changes, for example, when a sunny day (warm light) turns into a cloudy one (cool light), or when other colors that surround a subject change.

The Influence of Surrounding Colors

A subject’s colors are directly influenced by the color of objects that surround it. This color is possible because of reflected light. Reflected light helps to model form and gives variety to our shadows. A white building may take on the color of the bushes below and around it, because the light from the sky will bounce off of these objects and project on the surrounding objects.

The color of the Wadsworth Mansion in this painting was not pure white, though I’m pretty sure that if you asked the workers who painted the building what color they used, it would be some variation of white, such as titanium. The day that I painted it, the trees and flowering bushes around it projected a warm orange glow upward that originated from the sunlight that was in front of me, slightly to the left and somewhat high in the sky. There was very little direct light on the front of the building.

Reflections and Adjacent Objects

In the still life, the warm yellow of the lemon was reflected onto the cool bluish white surface, and the red skin of the apple and the peel of the orange reflect onto the normally white dish near the fruit as well as onto the fruit adjacent to them. 

Color Relationships

The six color squares are a good demonstration of the influence of surrounding colors. The orange color in the center is exactly the same for all six squares, yet depending on the color that surrounds the orange, the orange square appears to be a different shade. Note also that the stronger the color that surrounds the orange, the more it influences the perception of the orange hue. 

This is one example of how color values can draw attention to an object or provide a more subtle color shift. One color can become darker, lighter, warmer or cooler in relation to another color. When painting, try to relate and compare all of the colors in your composition to one another. Ask yourself, Is one color lighter or darker than the other? Is one color warmer or cooler than the other?

Next

I’m going to share my moleskin and small sketchbook sketches of people and places that I do for fun and practice. I'll talk about the types of media that I use when doing quick sketches.

Painting on the Farm River - Part I

I live near the Farm River in Northford and love to paint there, especially in the spring. The Farm River begins from a small brook flowing off Pistapaug Pond, which is partially within the towns of Wallingford, Durham and North Branford. From there it flows southward sixteen miles and empties into Long Island Sound. Near the shoreline, the fresh water mixes with sea water and it becomes an estuary. The area that I chose to paint is surrounded by open fields owned by the town. Trees and wild undergrowth line the river on both sides. The river draws wildlife including deer, rabbits, turtles, and coyotes.

I had spotted this place on one of my hikes in the area and knew it would be a great place to paint, especially before the vegetation filled in and blocked the view. There was a good down river view of water, new growth, fallen trees, and light rapids with nice contrasts of light and dark values. Looking in this direction, I decided where my focus was going to be, then I positioned myself on the bank in a shady area, with the sun shining overhead at around the eleven o’clock position.

My Setup

When I paint plein air, I use a Guerrilla Box with a very heavy camera tripod. While it’s a bit heavy for travel, it’s sturdy in windy conditions so I don't need to worry that a gust of wind will send my box flying.

 The canvas board is small, 9H x 12W, and fits into the lid of the box. Behind that, I stored my drawing paper. The box comes with a slide out wooden palette, which makes it easy to clean. I can store some items under the palette in the little compartments. I put my brushes, gloves, pencil, small can for the gel, my chopstick, a thin bag that I use for dirty brushes, and charcoal in those sections. In my backpack, which is a light nylon, besides my box, I packed my phone, water, mineral spirits, paper towels, trash bag, and bug spray.

My Palette

Because I hiked for a distance of around ¼ mile, I packed as light as I could. I prepared my palette ahead of time with the colors and only took a tube of white with me. My palette consisted of Titanium white, Cadmium yellow, orange and red, Alizarin crimson, Transparent Oxide Red and Brown, Permanent Green, Viridian, Cerulean, Cobalt blue, and Ultramarine Blue. I also added a spot of Liquin gel in a small can. I brought one medium bristle and two small synthetic brushes.
I put some mineral spirits in a very small jar, took a few paper towels, a piece of paper and some vine charcoal. I prepped the canvas a light green ahead of time, to help save time.

"In many ways, a painting is a synthesis of opposites: light and shadow, warm and cool, sharp and soft, coarse and fine. These polarities, when integrated into the picture, create vibrancy and dynamism."

-Gregg Kreutz

Packing List for Plein Air Painting

• A full size French easel, Guerrilla Box, or Pochade Box
• Nylon backpack
• Phone
• Leak proof solvent container
• View Finder
• Nylon gloves
• Small pad of paper
• Pencil
• Vine charcoal
• Small panel or canvas that fits into the lid of box
• Insect repellent
• Drinking water
• Extra paint
• Trash bag
• Poncho
• A wide brim hat
• A sandwich, trail mix, or some kind of snack
• Earbuds for phone or iPod for music
• Umbrella that can be attached to the easel (for working in the sun)
• A rope to tie to a large rock to suspend from box for windy days or tent stakes.

I carry the box in a back pack when I find I will be walking quite a distance to my subject.

When painting from photos, above a certain lightness, everything in a photo is a washed out white and below a given darkness, colors become one unidentifiable color. The human eye is much more sensitive to color and values and is able to detect vastly more of each.

Next

In Part II, I'll take you through my process, from composition to sketch, then my steps for painting this beautiful bucolic scene. Stay tuned!

Breakwater Books

This painting was a commission by the owner of the store. It is on the green in Guilford, CT. I started this in the spring when the cherry trees were in bloom. It is a great little bookstore with some pretty nice art books, among other things. It is right next door to a wonderful chocolate shop. I'm having cards made to sell at the shop as well.

Winter in New Haven

I painted this scene just after our first large storm of the year. The snowy scene is on Chapel Street in New Haven, near the bus stop shelters. The reflection of the snow and surrounding area in the glass was interesting. The glass looked like really old style glass and the structures are rather elaborate for shelters. I think that the window designs were a throwback to the early 1900s. In the distance, the buildings of downtown New Haven peek through the trees.   There were people at the park that day playing with their dogs in the snow. I added this person with a dog because I felt like some activity was a good addition to this view and reflected the activities of the area that day.

"Chapel Street Winter Walk"  12"x14" Oil on Canvas over Panel.

Winter at Bauer Farm

This is a painting that I did at Bauer Farm in Madison, CT. I love this covered bridge that spans a short walk over two adjoining ponds. The water was iced over and the snow was just beginning to recede. I dressed up warmly and managed to catch the afternoon light with only two hours to work.
Title: "Covered Bridge, Winter, Bauer Farm" 12" x 14"  Oil on canvas over panel.

Art Show at the Woodbridge Town Library

My artwork is now on exhibit at the Woodbridge Town Library. It will stay up until November 30th. My show is this Saturday from noon until 3:00 PM. The public is invited. I hope that lots of people can come by and see the work in person. The paintings look so much better than my photographs.

I have a lot of new landscape paintings, a few seascapes, and some nice street scenes.

Visit to Olana

I visited Olana, Frederick Church's estate in Hudson, New York, over the weekend with friends. What a fabulous home! The architecture was inspired by their trip to the middle east in the 1800's. Church had a hand in every part of the design, including the laying out and colors of the tiles, bricks, and paint. The interior furnishing are eclectic, but are mostly decorated with 10,000 pieces of items collected during the family's travels to the middle east. It is considered one of his major works of art.

Frederick Church studied under Thomas Cole, who lived in a town nearby. He is one of the famous Hudson River Painters, known for his realistic style of landscape painting during the early 19th century. Many of his best works can be found in the Wadsworth Museum in Hartford, CT. The view from the front of the home overlooks the Hudson River. Church dug out land directly in front of the house down an embankment to create a pond in the shape of the river. He also planted trees and landscaped the property.

Baur Farm Paintout

I joined the Madison Art Society Wednesday plein air painters recently. The group paints in locations all around Madison, including the farms and rural areas of CT. Two weeks ago, the destination was Baur Farm, a beautiful old farm that is preserved for everyone to visit. There are interesting old barns and an old farm house, ponds, a covered bridge, and public garden spaces. It threatened to rain, but I went anyway and was the only one to risk it.

It didn't rain, and the light was steady and perfect. The leaf colors are beginning to change and you can see it in the background trees. A while after I started, the organizer of the group came by to see if anyone showed up. We talked for a good while and then I went on to paint in this beautiful quiet setting.

Painting: Covered Bridge, Bauer Farm, 9" x 12" Oil on Canvas over Panel.

Upcoming Exhibit at the Woodbridge Town Library

I will have a new exhibit of my artwork at the Woodbridge Town Library in Woodbridge, CT, starting Saturday, November 12 and ending on December 31. I was able to get a bonus extension from one month to nearly two months. The exhibit will include a collection of new artwork never before on display, including landscapes, seascapes, and still life. I will be there in person on Tuesday, December 6, from 6:00 to 8:00 PM. If you get a chance to come by, I'd love to see you.

Painting shown: White Poinsettias, Oil on Canvas, 12x16, $400.

More Open Doors of Milford

I delivered my door last Saturday. It is nice to have it completed and delivered. The meet and greet party is this Friday evening at the Milford Arts Center. I will find out then which business will get my door for display. I do hope that it is going to be in the main drag area of downtown Milford. The open house night is coming up soon, August 19th. I really enjoy sitting out with the door and talking to passers by. I am going to bring some cards and brochures to give out. I also hope to make a map and hand them out to those who are interested.


I've been working on some street paintings lately. I really love to do street paintings. I get to practice perspective, which is always a good thing. People love trying to guess where the location is. So far, I've done one of Guilford, on the green, and Madison, in the downtown area. I would like to do one in Branford next.

I hope to get out to paint at least one day this weekend. The weather is supposed to be really nice. I just wish that summer would last a little bit longer than it does.