The water in Rogerss maritime scenes is wet and sparkling with color and light. To get this effect, he consciously chooses the edge treatments of each individual paint stroke. Hard edges strengthen the contrast between colors, while soft edges can bridge two areas of color, he says. Imagine, for example, how different the water in Venice Peace would look if Id given the same edge to every stroke. If I had used all hard edges, the result would be a fractured, disjointed effect. If I used all soft edges, Id probably wind up with a flat, dull look. By carefully choosing which strokes left a hard edge and which left a soft edge, Im able to create water that moves, sparkles and has depth.
Rogers also carefully controls the color and values in his reflected images. I select and mix my colors intuitively, but that doesnt mean haphazardly, he says. How I place color depends on what each particular area needs. If I want to make an area pop I can surround it with a mixture containing a bit of its complement. If an area stands out too much, I might soften it by placing an analogous color next to it. Either way, Im in control of the paintings dynamics.
Rogers mixes his darker values using only transparent colors. The darker areas should have the same variety and luminescence as the lighter values, he says. If the mixture looks flat or bad on your palette, start over.