Harmony Through limited Color continued

In the previous post I discussed the set-up to start my limited palette painting using only Yellow Ochre, Scarlet Lake, Ivory Black and white.

The last step before the brushes come out is an important one, the value sketch. I’ve said it before; real life, a painting and a photograph are three totally different things.

Real life has no visual boundaries, a painting does. Those four edges matter to your design. The two horizontal, carry gravity, pushing down on your subject from the top and holding it in from the bottom. The two verticals, squeeze in from the sides or allow breathing room.

Real life contains a ginormous amount of value information from light to dark. Distilling it down to five or better yet, three, gives a painting strength and readability.sketch

The sketch is a visual road map to figure these things out and will be something I refer to often to keep me on track.limitedBlog-demo1

Because intense red was the focus here I wanted to infuse this color into other areas. “Real life” didn’t present this phenomenon but it’s good for “the painting”.

Moving from area to area blocking in shapes – is it darker or lighter than whats next to it, cooler or warmer? These questions lead me through the color mixtures. Since I only have three colors, it forces me to be resourceful and sensitive to what I’m seeing. If there were four reds on my palette I might opt for a warmer one, but with only yellow ochre to make adjustments it consolidates my decisions, concentrating on the value relationships instead.limiteddemo2

Time to take a cold hard look at:

Values – referring back to my sketch, I’m getting there but feel I’ve been a little conservative on the lights in the tissue, but I’m not ready to go there yet.

Composition – think I’m going to eliminate that step on the lower right, caution- lots of blank space to the left, going to think about options here.

Color – running a little too cold, warm up the background.greyshoe

After more working, a good way to check my values is by comparing a grey scale image  of the subject next to a grey scale of the painting. Need to push the lights now in the tissue, happy with the rest, time to put more interest toward the left.SoMe-lr

Finished.

I’ll be teaching a class- at the Scottsdale Artists’ School April 7 &14

Harmonize Your Painting with the Limited Palette

 

Experimenting with Color, Painting without White

I like to throw a challenge out to myself when planning a painting, it wakes me out of the trance of doing things the same way all of the time.

I began this painting by using only the paint colors that I had to in order to paint the subject. Being very conservative about my choices was a good way of experimenting with color.

The most obvious thing I needed was a red, Cad Red Medium wouldn’t let me get the warmer orange reds, so I decided on Cad Red Light.

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As I looked further I could see some rich cool reds would also help the painting so I went ahead and added Cad Red Medium (though later on in the painting I saw I could have done without it).

The darkest darks in the image where brown, so Burnt Umber made the list.

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The warm light in the image made Naples Yellow my choice, which is one of my favorite colors because of it’s buttery light tone and it’s opacity.

blo4 I grabbed my tube of white as if almost by habit, than stopped myself, can I get by using Naples Yellow in place of white? The answer was yes,using Naples Yellow instead of white kept the warm glow in the image. The opaque quality lighten up the Umber, while keeping some warmth, burnt umber can get very grey when mixed with white. The pinks that were made with the reds and the naples yellow kept the color harmony in the painting.

Lady in Red by Diane Eugster
Lady in Red by Diane Eugster