The first portion of each of my online classes at The Winslow Art Center is devoted to looking at and discussing the homework that my students have posted during the previous week. It’s low stress and anonymous but always helpful for the whole class and for me, too.
Ingrid, always great content and food for thought! Well done.
Totally understand your liking David Baird...nostalgia and paint...I wonder who is like that? Yuval understand her as well. We will see if your forecast is right on that one. She needs to grow on me some more. My suggestion on Penn was an addition not an addition by subtraction. Love Martha and WAC.
Class looks like it is going very well...nice student example.
I have said this before and will continue to say this ....if you have the chance TAKE Ingrid's WAC classes. Courses are great, community is great, and nice feedback/instruction. And NO... Ingrid is not paying me for these statements!!!
I have no idea what the science is behind what we are seeing here but you are correct that the shaded side of the bouquet darkens before my eyes as I look at the darkened side of the cast shadow along with the shaded side of the bouquet. Thanks for sharing!
Love the class and love your analysis of the cast shadow’s magic presence.
I have been reading a lot about neuroscience of late. Here are my guesses about what is going on: the brain is built as a prediction machine that is constantly guessing (with a lot of information to choose from) about how the world looks and operates. When we see a very dark cast shadow, we intuit what “should” be there in the form shadow side and essentially fill in the blanks even if something is missing. That’s good news for us painters. We can leave out nonessential information and our viewers will fill in what is missing if enough of the equation is complete.
Another thought is that the topic of light and dark is very, very meaningful to us humans. It has been embedded as a pattern in our brains for hundreds of thousands of years. We expect strong darks to accompany high chroma lights (think of all the summer noons you have lived through in your life). The original soft purple shadow of the student’s painting didn’t scream “error! Error!” but the Ingrid correction to a much stronger value shouts “right on!” when we see it.
Ingrid, always great content and food for thought! Well done.
Totally understand your liking David Baird...nostalgia and paint...I wonder who is like that? Yuval understand her as well. We will see if your forecast is right on that one. She needs to grow on me some more. My suggestion on Penn was an addition not an addition by subtraction. Love Martha and WAC.
Class looks like it is going very well...nice student example.
I have said this before and will continue to say this ....if you have the chance TAKE Ingrid's WAC classes. Courses are great, community is great, and nice feedback/instruction. And NO... Ingrid is not paying me for these statements!!!
I have no idea what the science is behind what we are seeing here but you are correct that the shaded side of the bouquet darkens before my eyes as I look at the darkened side of the cast shadow along with the shaded side of the bouquet. Thanks for sharing!
Thank you so much for this information. Especially important was adding the visual information. I will look at shadows very differently from now on.
Check out the work of Josef Albers. Simultaneous contrast. https://www.theartstory.org/artist/albers-josef/
Love the class and love your analysis of the cast shadow’s magic presence.
I have been reading a lot about neuroscience of late. Here are my guesses about what is going on: the brain is built as a prediction machine that is constantly guessing (with a lot of information to choose from) about how the world looks and operates. When we see a very dark cast shadow, we intuit what “should” be there in the form shadow side and essentially fill in the blanks even if something is missing. That’s good news for us painters. We can leave out nonessential information and our viewers will fill in what is missing if enough of the equation is complete.
Another thought is that the topic of light and dark is very, very meaningful to us humans. It has been embedded as a pattern in our brains for hundreds of thousands of years. We expect strong darks to accompany high chroma lights (think of all the summer noons you have lived through in your life). The original soft purple shadow of the student’s painting didn’t scream “error! Error!” but the Ingrid correction to a much stronger value shouts “right on!” when we see it.
Fun to speculate. Cynthia Hartwig