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Here we go.

Whenever I'm getting stuck adding color, the thing that needs fixing is almost never the color itself. The answer lies a step backwards in the values. Pushing the background into darkness brought out new opportunities to bring in a more powerful mood. Now this piece makes sense to me. Now I can see its final form.

Ultimately, this thing needs to get brighter. Doing a dark painting digitally is super dangerous. Chances are, the image I'm seeing is not what you are seeing. I simply don't have the luxury of knowing that a bright room and a clear view of it can reveal the depth in darker parts of the image. I need to consider the variability of the screen you are using to view it and I need to consider my own future challenges with printing it.

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Anonymous

I've never thought of that. I see almost everything with the 'blue light filter' which gave this a bit of an orange tint; I find it amazing. Then with it off it's something entirely different.

Anonymous

Peter, <a href="https://goo.gl/images/gi9JeX" rel="nofollow noopener" target="_blank">https://goo.gl/images/gi9JeX</a> This is one of my favorite gallery items from the Dutch Guilded Era. The Detroit Institute of Arts has this on this display in a very bright room and it is one of the small frames in the area. No special attention is brought to it, but all eyes seem to be drawn to it. I get the same feeling from this version of Rahab. The bright aspect you bring to him, almost a spotlight will be marvelous. I know the painting above is not the same scenario, they utilizes a version of shadows combined with negative space to tell the story, but the story is still told. We will each hear the story you want to tell regardless of out screens :)

Peter Mohrbacher

Being able to do darker works like that is one of the reasons I want to do more traditional painting. It's so hard to get images like that to read consistently with digital art. It's so cool to see a dark image reveal layers of depth under a bright light. I'd love to be able to do that.