I did something yesterday that I've been wanting to do for a long time: work with a limited palette. For someone who thinks less is always more it took me long enough to get around to using a limited palette. I guess it was hard to get out of my comfort zone. Anyway, it took me two days but I learned a lot. I used Aureolin Yellow, Permanent Rose, Burnt Sienna, Cobalt Blue and Chinese White. At first I was going to just use the Burnt Sienna and Cobalt Blue but halfway through the painting I thought I'd allow myself just a bit of the primaries. Of course, these two colors are complementaries so that wasn't too much of a stretch for me but I felt I needed the punch of the primaries to finish up. It was real easy to lift these colors and I really took advantage of it. My first choice is not to have to lift paint cause it leaves a surface that is not totally clean and texture of paper is compromised so you don't get that real fresh look. I noticed that when using the Chinese White it stayed on the surface instead of melting into the paint underneath it. I used some fresh paint and maybe it wasn't as wet as I might have used it in the past. Such a miniscule amount of water in the paint can make a big difference. It brought me back to feeling like I was using oils. I like the contrast of opaqueness and transparency in the painting. I may use this palette on a set up that is not so neutral next time I get to paint.
I'm going to the Donnell Library across from MOMA to look at their watercolor books. I go to B&N quite often and have quite a few books myself but I'm hoping they'll have something either out of print or different. I love reading new books; it's so inspiring. It's the best part of working on a book and of course advancing in my own technique. Boy, I'm chatty in this post. Maybe a new direction for me. Ah, I think it may be a result of reading the Times article this past Sunday on the intimacies of blogging. I'll see if I can get the name of the article or author. She was great.
There were two reasons I chose this set-up to try the limited palette: it was there already and it was very neutral. Ah, laziness!! Would love to hear how you think it holds up to the previous post.
"White Pitcher", watercolor on paper, POR
This is the same image as the previous post. My husband got a new monitor so the other scanner was down for a day while he installed new stuff in order to get more gb for his new monitor. It's hard for me to tell which of my images will scan better on my older scanner. I just know that when it doesn't look as good as the image I should rescan it. I didn't have this problem with all my oils. The background on this image looked so grainy. Since I haven't used burnt sienna I was wondering if the sedimentary quality of the paint was creating the problem or if was the scanner. I think it looks so much better rescanned. Which brings up the question of substituting an orange or maybe the light red for the burnt sienna. Any ideas?
I did something yesterday that I've been wanting to do for a long time: work with a limited palette. For someone who thinks less is always more it took me long enough to get around to using a limited palette. I guess it was hard to get out of my comfort zone. Anyway, it took me two days but I learned a lot. I used Aureolin Yellow, Permanent Rose, Burnt Sienna, Cobalt Blue and Chinese White. At first I was going to just use the Burnt Sienna and Cobalt Blue but halfway through the painting I thought I'd allow myself just a bit of the primaries. Of course, these two colors are complementaries so that wasn't too much of a stretch for me but I felt I needed the punch of the primaries to finish up. It was real easy to lift these colors and I really took advantage of it. My first choice is not to have to lift paint cause it leaves a surface that is not totally clean and texture of paper is compromised so you don't get that real fresh look. I noticed that when using the Chinese White it stayed on the surface instead of melting into the paint underneath it. I used some fresh paint and maybe it wasn't as wet as I might have used it in the past. Such a miniscule amount of water in the paint can make a big difference. It brought me back to feeling like I was using oils. I like the contrast of opaqueness and transparency in the painting. I may use this palette on a set up that is not so neutral next time I get to paint.
So now I've done this set-up in all three palettes. Just changed the orange slice to a red and purple flower. This is also my first attempt at 300 lb paper in a real long time.
This is the same post as May 14th but on a different scanner. Makes a big difference.
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I've been getting together some paintings for a presentation (details to follow if it comes together). I came across this older piece and thought I'd post it since I haven't posted anything in a few days. I have such mixed feelings about sellling paintings sometimes. Hard to let them go. "Still Life with White Pitcher", 3x4 inches oil on board, POR
I didn't draw her this way, but after it scanned like this I thought it looked interesting. I now see some things I can change. Basically really easy. I'd like to soften some edges and make some of them disappear. I had my eyes dialated today cause of my glaucoma so didn't get a lot of work done. I am reading Jack Faragasso's book on the human figure which I think is helping a lot. The human body is just so complicated. "D0802", 9x12 inches, charcoal on paper, $40, $10 s/h in US. Contact me for purchase or shipping outside of US.
There's nothing like The Spring Street Studio in Soho for live models 7 days a week. They have morning, afternoon and evening session. I was there on Monday and pleased to find a beautiful dancer who was also a terrific model. I find it very inspiring at times when I'm not feeling up to painting at home and need a vacation from still life. Yes, my idea of a vacation is drawing.
