Penumbras, especially those that fall far away from the object casting the shadow have a warmer color than the umbra, regardless of the surface color that they fall on. If there were a pure white wall, opposite a window 15ft away, the area lit by the sunlight would appear white, possibly with a slight yellow tone. The shadow outside the edge of that light would have a blue tone. However, right at the border where the cast rays transition to shadow, you’ll find a subtle orange tone that does not match the wall, the sunlight, or the shadow. This happens because solid objects cause a VERY subtle refraction of light passing around them, which filters out the cooler wavelengths of light, just like the evening sky at sunset. The result is a tone that is not an intermediate value of the light and the dark. You can see an example of this at the feet of the dancers in Renoir’s “Le Moulin de la Galette.”
Hi Paul Thank you for a fantastic video, my observation skills have advanced so much as you spoke about this. Seeing and clarifying clearer than before what is there. Thanks again I really enjoyed this. Sheila
What is the most typical way of painting an area of penumbra, in a layered method (opaque paint), with glazes (transparent dark color over dry color), or just wet into wet?
@@PaulIngbretson I like them all, especially Warm and Cool. I can't afford pieces listed on the Guild's website. Do you have anything less than $500? I really liked East meets West.
Your work is appreciated! Not enough content like this on youtube.
Glad to hear that first part...Ivan
Penumbras, especially those that fall far away from the object casting the shadow have a warmer color than the umbra, regardless of the surface color that they fall on. If there were a pure white wall, opposite a window 15ft away, the area lit by the sunlight would appear white, possibly with a slight yellow tone. The shadow outside the edge of that light would have a blue tone. However, right at the border where the cast rays transition to shadow, you’ll find a subtle orange tone that does not match the wall, the sunlight, or the shadow. This happens because solid objects cause a VERY subtle refraction of light passing around them, which filters out the cooler wavelengths of light, just like the evening sky at sunset. The result is a tone that is not an intermediate value of the light and the dark. You can see an example of this at the feet of the dancers in Renoir’s “Le Moulin de la Galette.”
very interesting - thank you for sharing
Very welcome
Hi Paul
Thank you for a fantastic video, my observation skills have advanced so much as you spoke about this.
Seeing and clarifying clearer than before what is there.
Thanks again I really enjoyed this.
Sheila
Glad and most welcome, Sheils
❤️ I really enjoy your videos... And I'm hoping to come and study at your studio one day! Saving up money so next year it might happen 💸
Would love that Theodora
👍👍👍👍 Thanks a lot
Welcome, Ilya
What is the most typical way of painting an area of penumbra, in a layered method (opaque paint), with glazes (transparent dark color over dry color), or just wet into wet?
Always opaque paint adjusted with color and value movements wet-into-wet. Typical of the Boston School and Paxton as well.
@@PaulIngbretson Ok, thank you Paul!
What’s the easiest way to purchase one of your paintings Paul?
Have you seen one you would like? For now I would point you to the Guild of Boston Artists.
@@PaulIngbretson I like them all, especially Warm and Cool. I can't afford pieces listed on the Guild's website. Do you have anything less than $500? I really liked East meets West.
In digital this penumbra is expressed as "gradient" but I think that word is divorced from the behaviour of light and shadow
Working with the idea of 'gradation' - gradual shifting