For September 2
Give a subject in rim light a try.
Avoid the temptation to put a lot of information into the shadow–keep the shadow simple and focus on the light side.
The light to shadow transition happens quickly but still deserves plenty of attention. It often takes multiple passes over the same area to make it work.
Or–
Add luminosity to a nearly-finished project.
Think of minor changes to the tone– a touch only– lighter, warmer, or cooler in places. Vary the paint quality: thicker, thinner etc.
Step back often and view the variations from a distance, they should almost disappear from 5 feet away or when squinting your eyes. If you can still see the changes it means they might be too strong.
Another way to judge–the variations should be felt more than they are actually seen.
Rim Light & Luminosity
Rim Light
Rim light happens when more than half the form is in shadow. Think crescent moon.
It's a haunting, dramatic light that some painters specialize in.
Features:
The broad shadow plane is essentially flat and out of focus. The narrow sliver of light is where you’ll find most of the clarity.
There is little halftone in rim light. Light merges quickly with shadow.
The shadow edge may soften or disappear completely into the background.
The light edge is usually sharp.
Luminosity
Luminosity is the subtle glow on a surface that can elevate the most commonplace subject.
The change in value or chroma is slight. On a 1–10 scale, it may be less than one step.
It’s best to begin with a neutral or average tone, then layer a small amount of paint over it. The change should be there, but barely noticeable.
You can dry brush the top layer, glaze, or scumble. All can work—the difference is in the touch.
Think in terms of temperature variation—warm, cool, neutral—rather than obvious changes in hue.
Rim Light & Luminosity
Rim Light
Rim light happens when more than half the form is in shadow. Think crescent moon.
It's a haunting, dramatic light that some painters specialize in.
Features:
The broad shadow plane is essentially flat and out of focus. The narrow sliver of light is where you’ll find most of the clarity.
There is little halftone in rim light. Light merges quickly with shadow.
The shadow edge may soften or disappear completely into the background.
The light edge is usually sharp.
Luminosity
Luminosity is the subtle glow on a surface that can elevate the most commonplace subject.
The change in value or chroma is slight. On a 1–10 scale, it may be less than one step.
It’s best to begin with a neutral or average tone, then layer a small amount of paint over it. The change should be there, but barely noticeable.
You can dry brush the top layer, glaze, or scumble. All can work—the difference is in the touch.
Think in terms of temperature variation—warm, cool, neutral—rather than obvious changes in hue.
For August 26
Choose one of the lighting situations we discussed and apply it to your next subject—ideally a type of light you’re less familiar with.
Direct most of your attention to the quality, direction, and strength of the light, rather than to the subject itself.
Keep the contrast clear. It helps to begin the shadows slightly darker, then lighten them later if necessary – shadow shapes flat and simple.
Keep the light and shadow families separate.
A light-looking note within the shadow is still part of the shadow—careful not to overdo it.
Likewise, a dark-looking note within a light area is still part of the light—easy there too.
Lights within the shadow are only relatively light.
Darks within the light are relatively dark.
Class Summary–Week 2 August, 2026
- Front Light: Light comes from the front, creating fewer obvious shadows and a flatter, clearer look.
- Form Light: Light comes more from the side, creating stronger light-and-shadow patterns that show form.
- Knowledge helps, but observation comes first: Learn how light works, then paint what you actually see.
- Halftones: The softer middle values between light and shadow help turn the form.
- Create depth by simplifying: Emphasize one or two important areas and let less important forms blend together.
- Cast shadows: They usually become lighter and softer as they move farther away from the object casting them.
For August 12, 2026
Painting with Light
Lines work beautifully for drawing, but not always as well for painting.
In painting, try to think less about the lines that separate forms and more about the gradations of light that describe them.
This often means replacing an edge or outline we think we see with a change in tone. Sometimes these changes are obvious. Other times they are extremely subtle and require slower, more careful looking.
Assignment:
For next week, choose a simple still life, landscape, or interior made up primarily of middle and light tones. Think of something like white on white as an example.
Keeping the value range close will nudge you toward finding those delicate tonal shifts—and using light, rather than outlines, to describe form.
Two Goals in Painting
Painters are sometimes pulled in two directions.
On one hand, there’s the desire to improve.
On the other, there’s the desire to make something beautiful.
These two goals don’t always cooperate.
Improving requires risk—trying the unfamiliar, losing control a bit, and often not liking the result.
It can feel clumsy, discouraging.
But making strong, beautiful work often comes from working within what we already know—staying in familiar territory, where we feel confident.
The key is understanding the tension.
If every painting is meant to be “good,” growth slows.
If every painting is an experiment, it’s hard to build momentum.
A healthy practice makes room for both.
Over time, these two paths support each other.
Don’t judge your work too quickly.
Ask instead: What was this piece for?