Painting autumn color can be challenging. It is important to remember the relative intensity of color and not get caught up in using pure pigments for representation unless it is actually needed to describe the scene. Back lit scenes in sunlight are very intense but again, think of everything in relation to what’s around it. For that intensity to be effective there must be areas of less saturated color or the intensity is lost.
To help find the proper intensity of a color it is important to consider its other attributes, hue and value. All three parts make up the color you are seeing and so all three aspects should be carefully considered in relationship to the surrounding areas and the rest of the picture as a whole.
It also helps to decide through careful observation in general, where the intensity lies. Is it in the shadow or the lights? By deciding this ahead of time you are keying the pictures intensity to one or the other giving you a stronger arrangement to work with.
Sometimes the limitations of paint call for a creative solution to translating the scene to your canvas. In cases where it is impossible to get the color accurate in all three aspects, I make a design decision about which attribute is most important and then hold that as close to what I am seeing in nature as possible and shift the other two aspects to give me a closer representation of the effect.
This may mean shifting the hue of a red, green or yellow to preserve its value and chroma so it reads correctly in the scene. Or it could mean shifting the chroma to something less intense while preserving the value.These decisions need awareness so a little extra effort on our part is called for to get the most from our painting during this time of year.
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