• I love your teaching, as usual friend. I’ve learned from this.

    February 13, 2012
    • Jerry Fresia

      Thanks Jay; always nice to know someone is reading these things!

      February 17, 2012
  • karlo bonacic

    Thanks for sharing this advanced tips ! Now I understand some difficulties that I have when trying to paint pear (on light) with real values – but always miss some more colors…

    February 20, 2012
  • Very good food for the painter’s thought. So much better to learn to think than to learn the ‘rules’. Thank you.

    February 20, 2012
    • Jerry Fresia

      Yes, better to reflect upon rules and see if they are appropriate. Unthinking adoption of anything is probably always bad. However, it is also important to cherish one’s feelings and not prioritize thinking or the mind. It’s always mind and body; after all, it is called visual art.

      February 21, 2012
  • Mike Daly

    Reading your blogs makes me see the light.

    February 22, 2012
  • Sandy

    Again, thank you – each newsletter brings a little more understanding and a new way of looking, seeing and feeling.
    I am going to use the photo technique on my own work to see if I have any values at all!!
    Thank you!!

    February 22, 2012
    • Jerry Fresia

      Thanks Sandy; you mean to say…”if my values are related at all” ….it’s all about

      February 22, 2012
  • Molly

    I thought this was very helpful. I need to understand, recognize and ‘apply’ the value relationships… if that is the choice I make

    February 22, 2012
    • Jerry Fresia

      Yes Molly, that is correct. But it is impossible to really get the correct value relationships when you are looking into a source of light, given that the actual direct light is so much brighter than our lightest color. It’s tough either way, especially when the sun is low because it seems to be moving very fast. Look up Inness; he does a good job of it. And don’t let the “understanding” part get in the way of feelings; it’s all feeling driven in the end.

      February 22, 2012
  • Thank you for a great lesson, Jerry. Do give more of them, as the technical allows for freedom of feeling. (Like a concert pianist.) If I don’t know this about colour, I’ll be floundering among the hi-key values and waste time and the feeling would be — frustration!

    So thank you!

    March 17, 2012
    • Jerry Fresia

      Hi Charlie, thanks. However, I don’t believe that it is technique that permits various feelings. I think it is the reverse. Techniques are invented to sustain the feeling of becoming larger. This is why learning “techniques” in the abstract does not make a better artist. One must understand that the process is what allows one to become more; it is really learning about new ways to be free otherwise techniques just become tools to produce more efficiently.If Monet didn’t get a rush from the orange-red, he would have kept it a very high value: correct but he wouldn’t have become more Monet.

      March 18, 2012
  • Steve Wagener

    “What this means is that in the actual painting (in color), the sun is the same value as the darker blue colors.” And yet the orange circle seems so much brighter. Why is that?

    October 30, 2015
    • Fresia

      Value and color are two different things. Two colors can have the same value (various reds, oranges, blues, etc)
      but the colors are so different that they separate from one another. If you took a black and white photo of
      a rainbow, you wouldn’t see much. Remember, all colors are relationships. You wouldn’t say something is orange; it has to be orange in relationship to something. Thus an orange next to a blue will look different than an orange
      next to a red. Monet is using orange next to a lot of dull colors so the relationships is such that it appears
      very bright.

      November 17, 2015
  • A very good presentation and insight of light and value.
    I have always believed that value is more important than actual color, (intensity and temperature} because it helps us to read a composition better. Your insight and understanding has helped me a lot. I suppose I lean more towards Innes, but I can still understand Monet more now!
    Thanks for sharing these wonderful thoughts.

    June 14, 2017
    • Fresia

      You’re quite welcome Jef. I struggle all the time with color in “white” clouds or reflections;
      paint just can’t get very light and very colorful at the same time. So Monet’s solution worked
      for him and I have tried it too but it doesn’t seem to want to work for me. A mystery.

      June 15, 2017

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