Posts Tagged ‘green’

A Venice Adventure 2001, Part 2

Tuesday, February 15th, 2011

The precipitation and cold we experienced throughout our first winter trip to Venice, ten years ago this month, made for perfectly miserable touring weather. Our folding umbrellas barely fit down some of the narrow alleys, some of which were scarcely three feet wide. When pedestrians met from opposite directions, they underwent an unspoken process of negotiation to determine who would lift and who would lower or tip their umbrellas as they passed.

Venetian Green

Despite the weather, my husband and I walked extensively around the city. We went to the stadium in Sestiere Elena at the southeast end and explored the Maritime Memorial Park, the first extensive green space we’d seen since our arrival. Aside from playground and lot-sized parks, the Royal Garden near Piazza San Marco, and a few tiny private gardens, most greenery seemed to be potted. In the residential districts of Costello and Elena, flowerpots of geraniums, cyclamen, and primrose adorned windowsills, in defiance of the crystalline clumps of residual snow still on the ground.

Fruit and fish vendors’ stalls served the local populace, as remnants of Carnivale decorations dripped overhead and bits of confetti dissolved into the cobbled walks.

We meandered past the cathedral of Giovanni e Paolo, through the heart of Venice, through the trim Ghetto district with its plethora of private gardens and the memorial plaques in the central campo to victims of the holocaust: “…We will not let your memory die.”

Gondolas sat covered along the canals, gleaming with rain. Occasionally we saw one in use, its occupants huddled under umbrellas, the gondolier silent or playing recorded music to avoid straining his voice in the cold air as he poled along. The signature striped shirt of the gondolier was as often tied around the shoulders as worn over other multiple layers for warmth. The city seemed a bit less romantic in such unfavorable weather.

We strolled through Dorsoduro to Piazza Roma, crossed the Ferrovia Bridge to the shops along Strada Nova, with prices as reasonable as any we’d seen in Venice. There we found some glassware and a chandelier to take home.

The morning before we left, we got up early to see Piazza San Marco once again. The water there was higher than we’d observed it before. The raised boardwalks in the piazza were in use by a few other early risers—committed joggers in their lycra tights, and photographers with tripods to help them catch the dusky light.

I took some last-minute pictures, too, as a kind of farewell, as we strolled along the promenade, which was now awash with the tide. I didn’t know if we’d ever have an opportunity to come back. And there was so much of Venice I wanted to remember.

If you enjoyed reading this account, you might want to also see part 1, posted February 1, 2011.

A palette to my taste

Wednesday, December 1st, 2010

Palette setup

Although my paint drawer includes several tubes of both primary and secondary colors, I find that I tend to actually use far fewer for any given painting. My clutch of most often used tubes includes two of each of the primary colors, three greens, two browns, and a purple. For each of the primaries, I prefer to have one at each end of the warm-cool spectrum, and (especially for blues) some options in between. The greens also include both warm and cool versions, but sap green is the only green I ever use without mixing in some other color to modify it. I rarely incorporate either black or white except when it is premixed into a multi-pigment paint or I need the black to achieve an extremely dark blend.

Whether I start with a warm-slanted palette or a cool-slanted one depends on my anticipated approach to the subject matter.

Occasionally, I include some other color, such as sepia, but most of the time my working palette is limited to only about six colors. Mixtures of these basic hues can create any variation I might need for a given painting. Maintaining a limited palette helps me ensure a sense of color unity throughout the painting.

The palette illustrated above includes, beginning at the lower left and moving clockwise, sepia, burnt sienna, [an unfilled slot available for an additional brown, such as burnt umber or brown madder], alizarin crimson, permanent rose, yellow ochre, [another open slot available for a additional yellow, usually new gamboge], lemon yellow, emerald green [though I might change this on occasion to a Hooker’s green], sap green, Winsor green (blue shade), indigo, Winsor blue (green shade), cobalt blue, French ultramarine blue, Winsor violet, and ivory black [though this spot may be opened up, also, for a different spur-of-the-moment choice].

I have also illustrated my most-used brushes, which include three #8’s (2 rounds—one synthetic, one sable—and a flat synthetic, which I use as a scrubber), a natural-hair sumi-e brush, a #30 synthetic, a toothbrush (for spatter work), a hake (pronounced “hah’-kay”) brush, a #2 Lizard’s Lick, and a #3 liner. The hake brush is used only to apply washes.

I always keep a sponge in the corner of the palette tray, as shown here, where I can wick off excess moisture from my brushes as I work. The same sponge can be used to wipe out the mixing tray after a painting has been completed. I rinse it out carefully and return it, still moist, to the tray. This helps keep the remaining paint in the cups from drying out too badly before my next painting session.

Because I tend to travel frequently and leave this primary palette at home, I do not use it every day and the paints and sponge both tend to dry out in the interim. That is why I don’t fill the cups as many other painters do. I prefer to work with the creamier consistency of fresh-squeezed paint, so I tend to squeeze out only what I expect to use in the next day or so, though I often leave any residue from previous days’ work in the cup. The exception is if the remaining paint in the cup has become contaminated with other colors by my failing to rinse the brushes adequately between colors. At that point I wipe out the offending colors, leaving as much as I can of the unsullied remainder.

If you liked this article, you may be interested also in my upcoming articles “A Traveling Studio,” “Selecting Paints,” and “Staying Out of the Mud.”