Posts Tagged ‘Red’

A Limited Palette

Tuesday, March 15th, 2011

Wave to Me Frondly

Viewers may wonder how a painter can create a color-rich scene without using a palette overflowing with paint choices. The key to successfully using a limited palette is in choosing a few primary-based paints that work well together and that blend to create the supplemental secondary and tertiary hues needed.

In “Wave to Me Frondly” (#110108), I used only four paints–three primaries and a secondary color: new gamboge, indigo blue, brown madder, and sap green. (Despite it’s name, “brown madder” actually is considered a red.) All four of these colors have a warm cast, which helps to convey the warmth of the sun-lit scene.

I began with a background wash of a mixture of new gamboge and brown madder, varying the proportions as I washed them across the paper so the background wouldn’t be all the same flat blend. Most of the fronds are painted with a blend of brown madder and sap green, with some indigo blue added in the darkest areas. A pale wash of pure indigo tints the highlights on the fronds, and an extra bit of new gamboge brightens the sun-kissed spots on the leaves. I dropped in some extra areas of brown madder at the end of the painting process to help balance the nearly-finished painting. But no additional paint colors were needed.

If you like this discussion of paints, you might also be interested in reading “A Palette to My Taste” (December 1, 2010),“Staying Out of the Mud” (March 1, 2011), and “Selecting Paints” (to appear later this year).

Reflections

Saturday, January 1st, 2011

When eliminating elements from a photograph, the artist should be careful to eliminate corresponding reflections elsewhere in the composition, such as in puddles, color bounced off nearby opaque surfaces, and in polished or otherwise reflective surfaces.

Lucca Rain

In “Lucca Rain” (#101103), I omitted several elements from the original photograph to simplify the composition. I had to also be careful not to copy their reflections, as it would have been confusing to include reflections, for instance in the puddles in the foreground, of elements that did not appear.

Reflectivity should also be taken into account when changing the appearance of the sky —an overcast sky casts softer shadows than a clear or partly cloudy sky does; contrast is lower, and (in general) colors appear more muted. Exceptions are those elements that appear more highly saturated when wet or when juxtaposed with the other, more muted tones surrounding it, such as tree trunks (which often appear darker when wet) and brightly colored clothing.

There is a strong temptation to limit use of a contrasting color to the focal point in the composition. However, it is a mistake to introduce any color, particularly a saturated one, into a composition without reflecting that hue elsewhere in the painting—whether in direct, mirror- or water-type reflection or through bounced color. The hue can appear more muted in shadowed or obvious reflections areas or be repeated at any level of saturation in minor elements elsewhere in the composition. This helps to unify the painting and keeps the contrasting color in the focal area from appearing out of place.

The reds of the woman’s jacket and umbrella in “Lucca Rain” are repeated faintly in the asphalt underneath the row of trees to her left and are reflected to a lesser degree in the puddle beneath her feet. An underlayer of red was also used in the roof dome above her.

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.”