Understanding Values in a Green Paint String

This month I'm starting a series of small fruit paintings to study color, values, drawing and light. Here is how it went in photos from a drawing to a finished painting. 

 Step 1)  Prepared a drawing in order to study shape, values and lighting. I spent some time on the drawing in order to really sit with the subject  and learn about my set-up.

Step 1)  Prepared a drawing in order to study shape, values and lighting. I spent some time on the drawing in order to really sit with the subject  and learn about my set-up.

 I love working on a glass tabouret and checking colors with my knife. These are the paint colors I started with which were mostly primaries except green. I use a cool and a warm typically with opaque and transparent paint choices. I place white and black and often use them both and they are great to have on your palette to remind you of the range of values.

I love working on a glass tabouret and checking colors with my knife. These are the paint colors I started with which were mostly primaries except green. I use a cool and a warm typically with opaque and transparent paint choices. I place white and black and often use them both and they are great to have on your palette to remind you of the range of values.

 Step 2) Prepared a color study: 10 or more values in sap green oil paint preparing a color study for the watermelon painting.

Step 2) Prepared a color study: 10 or more values in sap green oil paint preparing a color study for the watermelon painting.

 3) Prepared the still life set-up and taking measurements for the direct lay in of paint to work in alla prima style. Generally I use the sight-size drawing method and here, I began to block-in the measurements on the linen panel.

3) Prepared the still life set-up and taking measurements for the direct lay in of paint to work in alla prima style. Generally I use the sight-size drawing method and here, I began to block-in the measurements on the linen panel.

 4) Planning the block-in of the darkest darks, location of the terminator and seeing if the colors mixed in the value string will work. I'm drawing constantly and working on all fronts. trying to turn the form with color, values and drawing. I work dark to light.

4) Planning the block-in of the darkest darks, location of the terminator and seeing if the colors mixed in the value string will work. I'm drawing constantly and working on all fronts. trying to turn the form with color, values and drawing. I work dark to light.

 5) Directly painted the watermelon and knife in the "alla prima" style which means there is little to no drawing under the painting nor is there an ebauche (an underpainting). 

5) Directly painted the watermelon and knife in the "alla prima" style which means there is little to no drawing under the painting nor is there an ebauche (an underpainting). 

Tell me your ways of finding value, chroma and hue. Have you made paint value strings? Thank you for reading and I hope you find this helpful.