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Direct link to newsletter at Caroline Jasper's website:
http://www.carolinejasper.com/index.htm

Excerpt:
COLOR CORNER - Color vs. Value:Color attracts your eye and prompts emotional response. It can also help to identify subject, interpret image, and impart overall mood or message. However, while color provides the entertainment, value does all the heavy work. Value is the essential impact factor. Value, more than color, imparts the illusion of spatial depth and form. Light and shadow differences (value contrast) define surface contours and imply volume. Our brains rely on dark/light data collected by our eyes in order to make sense of what is being seen. We see value first, color second. The absence of color in black and white photos does not confuse us, nor does the waning visibility of colors as sunlight daily fades to darkness. Value stays on the job when there is insufficient light to reflect color. In every painting's delicious recipe, value is cake itself. Color, is just the icing on top.

TIP for better skill in seeing values: Compare digital camera shots of both your reference and your painting. Accurate value representation is far more important than matching colors in the reference. If the painting is dark where needed and light where needed, it will carry the image visually. It matters less which colors are used.

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Caroline's books and DVDs contain many references, demos, and exercises pertaining to the importance of value in art.
www.carolinejasper.com

A clip from the beautiful documentary on Andy Goldsworthy, "Rivers and Tides". If you enjoy this clip, please support his work by purchasing the dvd. In this clip he works on hanging a meticulous sculpture from a tree, and ultimately fails. Rivers And Tides - Andy Goldsworthy Working With Time [DVD] [2001] [1991]

Documentarian Thomas Riedelsheimer shows us Andy Goldsworthy as he creates art in natural settings using natural materials such as driftwood, ice, mud, leaves, and stones. Goldsworthy comments on his “earthworks” and occasionally responds to off screen questions from Riedelsheimer while he painstakingly builds his outdoors sculptures. With some exceptions, such as a winding stone wall that he built in Mountainville, NY, Goldsworthy’s creations are intentionally mutable works. We see how several of them fall apart, melt, or drift away due to exposure to the elements; we also see, for example, a complex structure of interconnected sticks collapse while Goldsworthy is still working on it. Riedelsheimer takes us to Goldsworthy’s home in Penport, Scotland, and to a French museum, but the emphasis of the film is on observing Goldsworthy at work. (Barnes & Noble)