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Peggy, how do you know when the darkest light is not really the lightest middle value? Or the darkest middle value is the lightest dark?
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Julianne,
You ask some great questions! This takes me to one of the most exciting aspects of the three value massing principle: how to control the composition of the painting based on the decisions you make on how to label the "fuzzy middle" in those "...is it a dark light or a light middle value" questions.
I don't have time to do another essay. I'm leaving town tomorrow for a few days. I would be glad to go into it with pictures upon my return.
Basically the principle is this: the definite light values, definite middle values, and definite dark values are all massed together. You can't make a middle value a dark value if it is not.
However, on the questionable values, "...is the shadow on a white shirt a light value or a middle value?", you can see if you like the composition better if the shirt shadow becomes part of the light value mass, or if you like it better if it is part of the middle value mass. If you decide it is part of the light value mass, you need to make sure it unquestionably belongs with the light massing. If this means that you need to make it a little lighter to mass in, this is what you must do. No fuzzy middles. Only three values.
This is where the strength of any painting comes in (re. Michael Georges comments....strong paintings are based on strong decision making.)
It's better to make one big mistake than to make many little wimpy mistakes. You can see a big mistake; the little mistakes just slide by and weaken the painting.
Peggy