Posts Tagged ‘raw umber’

Under the umber-ella of experimentation

Tuesday, October 1st, 2019

Last time I showed a couple of my early experimentation with raw umber, using it for the basic dark tone on my palette, in lieu of the colder black.  Those paintings were done over a pre-applied imprimatura to lend an undercoat of color to the three-primary-color palette (plus raw umber and white) that I had limited myself to.

My third study was on a white-gessoed but unpainted canvas.  I sketched in my areas of darks using the raw umber and allowed it to dry overnight as I evaluated any changes I thought it might need. I realized that I should have given the entire canvas a light coat of the alkyd medium to make it easier to adjust the sketch.  Fortunately, there was little that needed adjustment!

The next day I covered the entire surface with a light coat of the medium and began the work in earnest.  Once again, the pre-applied dark areas guided me through the design, helping me to adhere to the original notan structure.  I altered details somewhat as I proceeded, identifying features I wanted to take advantage of or eliminate, and recognizing that some of my earlier ideas could be improved to enhance the focal concept or the overall design.

“The Rim Trail,” by Charlotte Mertz  (7”x7” oil, #190903-o)

“The Rim Trail,” by Charlotte Mertz
(7”x7” oil, #190903-o)

This composition was suggested by a scene I had enjoyed at Yellowstone, but as I worked with it, the “music” in my mind began to shift into another season, a variation on the theme, so I took some artistic license as it developed.

 

From umber beginnings

Sunday, September 15th, 2019

This summer I have been working primarily in watercolor and oils.  However, the oils I have at my summer studio are made with slow-drying linseed oil and remain tacky after several weeks of drying time.  I realized that if I want to have them dry before we return home, I would need to use a faster-drying medium.  So I set aside the old paints, reserving only my three basic primary colors, which I supplemented with alkyd medium (since alkyd works well with oils but dries much more rapidly than the more widely used linseed oil-based paints), alkyd titanium white (to replace my slow-drying titanium white), and a raw umber, with which I had been wanting to experiment.

So my new palette for September would now consist solely of raw umber, the original primary yellow, red, and blue paints, and all the value variations available by incorporating the alkyd white.  The alkyd medium would serve as my thinner and only medium.  It was time to play!

I dug out some small pieces of canvas on which I had already applied and dried a monochromatic imprimatura (with leftover paint from previous palette scrapings) to seal the surface.  Then, referring to old photo files, I found a few images that I thought would work with two of the underpaintings—one green, the other a muted rose.

The first, “Lakefront Morning,” shown below, was worked over a green imprimatura.  Although the base color, in its original hue and chroma, does not appear anywhere in the finished painting, it contributed to the atmosphere when modified with the palette colors.

"Lakefront Morning" by Charlotte Mertz (5"x7" oil, #190901-o)

“Lakefront Morning” by Charlotte Mertz
(5″x7″ oil, #190901-o)

Focusing on the umber-and-white combination in various values, and incorporating the primaries to provide appropriate variations in temperature and hue, I was astonished at how much easier it was to create and maintain a strong notan structure.  It was also easy to maintain a sense of color harmony in both my paintings.

I realized that the reason for this new sense of ease was that my focus was on value first, since the raw umber (warmer and more transparent and lively than black) provided the necessary dark tones, while the white produced the lighter values.  Hue was of much less concern and required little more than a suggestion from any of my primary tubes to provide the necessary temperature bias and warm or cool variation from that provided by the underpainting.  A few spots of lightly blended or entirely un-diluted tube color were all that was required to provide some chromatic contrast, as well.

"Niagara" by Charlotte Mertz  (5"x7" oil, #190902-o)

“Niagara” by Charlotte Mertz
(5″x7″ oil, #190902-o)

“Niagara” was painted over a rose-toned imprimatura.  Once again, although little of the base color actually appears in the finished painting, it definitely contributed to the rich lighting effects of the low-angled sunlight, while the umber provided the critical range of value needed to suggest atmospheric perspective.