Going through the online art supply site, making up my order for paints I’ve often wondered who buys those strange “off colors” like Dove Grey, Grey Green or Monotint?
One of the key reasons I signed up for Joseph’s class was to see how he achieves those rich but subtle color harmonies. Viewing one of his paintings is like discovering gems, little interactions of color everywhere.
The afternoon of the first day I was faced with uncorking these odd tubes of paint that were on our class supply list. Next, trying to figure out what to do with them. Ummm…Monochrome Tint Warm, kind of a khaki beige, maybe I’ll put it right here next to the Yellow Ochre on my palette. Green Grey, maybe next to Olive Green, Yellow Grey, a lot like Monochrome. These colors felt like total strangers to me.
It took me a full week with these colors on my palette to see the unique usefulness they offered.
Joseph talked a lot about suppressing white, holding the values close. The more I studied his paintings the more I saw the magic happened in those midrange tones.
The mid-range between values 4 and 7 also happen to be where most of these “off colors” live. Now I get it! These colors are just midtone greys, mixtures I would probably end up making on my palette eventually, but now I can could easily grab these to modify other tones. If I have a value 4 red that needs to be muted, I have a two-step process in front of me. First I need to add green, now it’s too dark, the value has slipped into 2 or 3, so I need white to bring it back to value 4, unless I use Holbein’s Green Grey which is already a value 4. Once I got the hang of these new colors they transformed from strangers to friends.
It’s always good to open up the possibilities of using new materials, seeing things a little differently. The painting below I did in open studio using some of these concepts, no white and only a small amount of Naples Yellow .