Trestle at the Locks, one of my small plein air paintings, was selected to be part of the seasonal (autumn) set of the CBS Early Show. Paintings by two other artists featured in my book, Jill Soukup and Rodger Bechtold, were also featured on the set. (See below.)
The painting is also featured in my book, Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice, in the chapter Value Relationships. The caption reads, “Neither color nor value alone can achieve a convincing sense of light and space; both are required. In Trestle at the Locks, the effect of a sunset is achieved through contrasts of color and value. The darker values of the bridge define its structure and make it stand out against the sky. And the effect of the yellow sky at sunset is heightened because it is poised against the darker values of the bridge.”
Mitchell Albala, Trestle at the Locks, 1999, oil on paper, 6 x 9 inches.
Also featured on the set is Rodger Bechtold’s Tree Rhythm 1 and 2 (2008, oil on canvas, 20 x 20 inches each). His painting was used to demonstrate important lesson about naturalistic and expressive color. The caption from the book reads, “Rodger Bechtold uses an expressive color model in Tree Rhythm 1 and 2. His colors are more exaggerated than those used in a naturalistic color scheme, yet they pass the expressive color test: they are convincing within the context of the painting. They don’t overpower or become saccharine because they are supported with less intense colors. As compared to Jay Moore’s Elk Creek, Tree Rhythm 1 and 2 is predominantly higher-key color, bracketed with some neutrals. Jay Moore’s painting is predominantly built with neutrals, and bracketed with select areas of pure color.
Jill Soukup’s painting, Last Windows Alight (2007, oil on canvas, 20 x 16 inches) was also featured on the CBS set. The caption from the book reads, “Soukup’s urban landscape is built upon contrasts—of patterns, values and colors. The striking relationship between the light and cast shadows on the wall are not simply the result of value differences; they achieve their richness through hue and temperature shifts, as well. All the lights have a warm yellow or red cast, while the darks have a cool blue-violet cast. Even the rich darks in the lower left corner have a cool component.”