I've only just become aware of the concept of "local tone painting" (tone = value). It's such a strange concept for me, because the only way I learned to paint was by modeling forms according to light and shadow--that is, how recording the passage of light over a form makes a realistic 3-D effect.As far as I understand it so far, local tone painting involves remaining consistent as to value within any given shape, regardless of the size of the shape. And having at least three different value areas in a painting. Some very small amount of modeling is "allowed." Cast shadows are mostly ignored. This is all very strange for me.
I tried this one last night as an attempt at a local tone painting (and still with some O'Keeffe ideas on the brain). I think that in theory, local tone paintings can look realistic, but usually don't. That's my take on the concept thus far anyway. So in a way I like it insofar as it possibly functions as a bridge between realism and abstraction. I'm very intrigued and burning up a lot of brain cells learning lately. One of the sources of my learning is an instructional DVD called Nuts and Bolts, by Denver artist Quang Ho. Very, very good DVD. (I haven't yet watched the other two DVDs he is making/has made, but I plan to.)
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