Workshops, friendly suggestions, something that caught my eye at the art supply store; all of these contribute to an overextended, bloated palette of colors. It can be a waste of time working this way. Like weeding through a stuffed closet of clothes in the morning, making too many choices is tiring.
At times like these I go back to the limited palette, like a breath of fresh air it clears my head so I can focus on the important aspects of creating a painting.
The Zorn Palette, made famous by the Swedish 19th century artist Anders Zorn is one of my favorites.
Yellow Ochre, Scarlet Lake (he used Vermillion), White, Ivory Black. Here I’ve separated the warms from the cools with white. This selection leans toward the warm side, having two warms and only one cool, which is useful because most paintings need warmth to give them life. But they do look a little lonely…
By mixing neighboring colors together, warms with cools and white, the palette is beginning to open up. These are not all the possibilities by any means, but it gives me a jumping off point.
I set this subject up in my studio, experimented with the lightly and elements until they worked together. The things I look for when putting something like this together are:
- Focusing on a “star”, one item that the painting is about.
- Other elements that visually or physically flow to the star, and around the picture plane, (the composition)
- A variety of angles and curves
- A variety of values; dark, medium and light
- A variety of textures, smooth, rough, etc.
- A dominant color, (usually the “star”)
Notice how color is the last consideration? Sometimes we get sidetracked into thinking that “it’s all about the color”, but if the first five on the list aren’t there, no amount of color will save a painting with a weak design.
Now that the preliminaries are ironed out, the next step is the actual painting which I’ll talk about in my next blog.