Great Marvin! Now I have to print it out and blow it up again! :)

This is a wonderful thread! Thank you Peggy for such a comprehensive explanation of value massing. These observations and techniques were not taught in my college classes. Could someone explain tangents a little more? I've read the term in other posts, but I'm not sure how it relates to a painting.

Forever in the debt of the experts of this Forum,
Renee Price

Thank you all
 

Julianne, you started an incredible thread. This is concise and to the point. Much valuable information in one location!

Jean

My credo
 

When I do a portrait, I start with the soul and paint a person around it.

Marvin, that is always my goal also but just what does a soul look like anyway?

On a side note to Marvin: I picked a heck of a day to be in NYC. My drive home in the snow was real fun. You would think that snow was some new kind of weather phenomenon by how unprepared many are for driving in it.

News flash if you are in the Northeastern U.S. in the winter. It can snow here so maybe snow tires and a little care on slippery roads might be advisable. To you SUV owners: you cannot stop any faster than a 2WD vehicle so SLOW DOWN!

Sorry, I am still a bit frazzled from my drive yesterday. :)

Massing values
 

Peggy,

Thank you for taking the time to explain about the value massing. The paintings you posted were especially helpful.

I can see how the three values are massed in the portrait of the gentleman. With the portrait of the couple though, there is some dark between the two light heads. I can see how the light values are generally massed together.

On your beautiful portrait of Lin though, I don't see how the light dog is massed with the rest of the light values in that portrait. Am I missing something? Perhaps 'massing' doesn't exactly mean touching, but there does seem to be a lot of dark between the dog and Lin.

I often read about the pitfalls of the 'floating bow', I suppose that's when you have a light bow that is not massed together with a light face? (Assuming dark hair). Is that the reason to watch out for the 'floating bow'?

Thank you for all the information you share on this forum!

Joan Breckwoldt

Joan,

Value massing does not necessarily mean all the same values need to be touching, it means that within a value mass, i.e., the dog, all of the values in that dog are light values. No bouncing around with a dark shadow under his chin, or middle value swirlies on his fur. All of the modeling and definitions are carried out in the value mass you've designated for that area.

The floating bow, I see as an atmospheric problem. The bow is usually further back on the head, and will not have the same high definition and bright color as something closer to the viewer, like the subject's nose. I could still be a light value, but the edges would be softer and more atmospheric.

Peggy

Ah-ha!
 

Peggy,

Ah-ha! Now I understand. I was under the impression that the ENTIRE painting should have only three masses. I will have to study some paintings, as you suggested, to let all this sink in.

Thank you Peggy,
Joan Breckwoldt