Another Grab Bag Palette - "The Grab"

I decided to try another Grab Bag Palette. I liked the challenge of the last one, but was looking for something a little more difficult.
Be careful what you wish for, right?
My pick this time was Raw sienna, Winsor Violet, Permanent Green Light, Olive Green, and Oxide of Chromium.
I guess my thoughts on greens came back to haunt me, or maybe it is just that all those greens were so lame that I never finished the tubes and that is why my paint box is full of them.
Actually the box is getting kind of low. These were chosen from about twelve or fifteen colors. I'll have to throw a few more not so bad colors in there for the next one.
If you did not read about my other grab bag palette see here and here.



The Olive Green was totally dried out, so I was down to four.
No loss.
I would have liked to toss out the Oxide of Chromium though.

All of the colors this time are similar in value. The Raw Sienna is my only "warm" color, so it will have to do a lot. See how those orange colors of the pure sienna plus white pop against all of the other mixes? The purple becomes my blue. What you have to do with a limited palette, is learn how the colors look when mixed, and in relation to each other. The last time I had two primaries to work with. This time the Raw Sienna is as close as I get to having one.
Cool.

I made up another ten step value scale in black and white along the edge of a 6x8 panel. This is a good exrecise too. Don't make a bunch of them all at once. The trick is to get good at making them. I didn't get the scale perfect, but it is good enough for my color/value board. However, my darks got a little cramped because my #6, 7 and 8 grayscale values could have been a bit darker ( 10 being the black).
Here is the color/ value board, and the same board in grayscale.
Thanks for the tip Kathryn. I did not realize that "grayscale" would show my values differently than "black and white". I was closer on that last one than I thought.




I ran out of painting time today, so this is all I got done.
Tomorrow I should have time to attempt a painting with this "Grab".

Grab Bag Palette - "The Painting"

If you did not read my intro to the Grab Bag Palette, see here.
This one was fun. I was able to get much better color than I had feared when I picked my tubes. Purple Lake was out, so I had Magenta, Terre Verte, Cerulean Blue, Chrome Yellow and White.
Mixing lots of colors first, like I showed in my last post, was the way to go. That way I knew what I could do with what I had.
After making the value board, I scraped what was left into three piles of "mud" that were helpful to me in the painting.


My palette, with a lot of the colors that I will use in the painting, pre mixed. They are reflecting a lot of blue sky since I shot this photo in the shade.
That is some liquin in the bottom right corner of the palette.
The thing with an odd limited palette like this is that the mixes need to be seen RELATIVE to the other colors that you will be painting with. Perfect place for pre mixing some colors.

Below is the finished painting and a detail.



"Team Work", 6" x 8" oil on board, 2008
$500. Framed, Available at Galeria Gardner



Detail of "Team Work"


We are going to a Camp Out / Birthday Party for one of my daughter's friends tonight and tomorrow.
Have a great weekend.
As always, thanks for stopping by.

Grab Bag Palette - "The Grab"

Today I painted with colors that were chosen blindly, at random, from a box of paints that I had not used in a long long time. The exercise is suggested by Kevin Macpherson in his book, "Landscape Painting Inside and Out". He suggests setting aside all of the colors that you normally work with, and pick three to five random colors from twenty or thirty tubes of what is left of your paints. I had about twenty in an old paint box. You then have to do a painting with JUST those colors, plus white, no cheating.

Kathryn Law has been doing some paintings like this on her blog here, here and, here. We were swapping comments the other day, and I decided that I would give it a try. I told her I felt like I was about to jump into a lake where I knew the water would be really cold.

The colors I chose were Purple Lake, Magenta, Terre Verte, Chrome Yellow, and Cerulean Blue. I limited myself to five grabs, but one was an un marked tube that contained French Ultramarine Blue, which is a color I use all the time, so it was out. I also chose two tubes of Terra Verte, so I dropped one of those as well.
Gotta give myself some kind of chance you know.
The Terra Verte must have been from the days when I was still looking for the perfect tube of green. I tried em all. They all stink. Throw out your greens and just mix them. Terre Verte is stupid. It has no tinting power at all and I had to put tons of it into my mixes to change anything. Cerulean Blue is not far behind in tinting strength and it is not my favorite blue. My Purple lake was from so long ago that it was very dried up. I could not mix with it. Another one down. There went my darkest dark. Magenta is almost the same color though, not quite as dark and a little redder. It was going to be my "red". Chrome yellow was the lucky draw of all of them. I would have been sunk without it. The white was a given, so there I had my Grab Bag Palette. I was not that excited.



The grab, with piles of gray "mud" that were left over after some practice mixing.

I decided to see what they could do, you know, take them out for a test drive. I just mixed as many colors as I could come up with until my palette was full. Then, for fun, I layed them on a 6x8 board like my "Value Board" that I talked about in this post.
I had a ten step black and white value scale that I made with my workshop painters. The values were arranged along the edge of the board . I tried to line up the colors that I mixed using the new colors, by value, next to what I judged to be the value of each mix. This is actually a valuable exercise on seeing value. I also found that I was able to get a lot of good colors. That water was warming up.



In photoshop, I switched it to black and white to see how I did. There are some that are obviously off, but some were right on.
You may want to open another window and view the two enlargements side by side to compare. I am not an expert in photoshop or I would have put them together for you.



I finished the painting.
I'm working on getting a post together so I can share it with you all.

pre mixing color - "The Sower"

"It is beautifully simple, painting - all we have to do is get the color notes in their proper relation." Charles Hawthorne

I am working on several posts based on the idea of pre mixing color on the palette before painting. There is so much to talk about here that I feel the best way to go about it is to do several posts. I don't want everyone to get bored, and I don't want to overload a blog post with too many ideas.
I'll try and not repeat myself too much. If you have not read my previous post on pre mixing color, it is here.

On this one I worked from a photo, mixing colors for about twenty minutes. I started by mixing my lightest shadow color, which is the woman's sweater in shadow. I compared the values of all of the other colors to that.
Then I blocked in the main masses of the painting for about thirty minutes without mixing any new colors.
After that, I began breaking those main masses up into smaller shapes for another ten or fifteen minutes. Mostly in the background trees. I realized that I was going beyond the purpose of this post so I stopped.
Photos below - (1) palette, (2) after 30 min., (3) after 10-15 min. more.




"The Sower", 10" x 8" oil on linen, 2008
Private Collection

I find that key issues that many students in my classes face are seeing color and value, mixing accurate color, working too slowly to catch the rapidly changing light, and painting the details before the main masses are blocked in accurately. I wanted to find a way to focus on these issues.
It is all about getting the right color, making it the right shape, and putting it in the right spot.


I would like to add a few quotes from "Hawthorne on Painting". If you don't have this book, get it. It is only like six bucks. I have read it at least twenty times. Each time I pick up on something new, something that helps me with where I am at the moment.

"The mechanics of putting one spot of color next to another - the fundamental thing."

"Remember, no amount of good drawing will pull you out if your colors are not true, get them true and you will be surprised how little else you will need."

"Do studies, not pictures. Know when you are licked - start another. Be alive, stop when your interest is lost....... It is so hard and long before a student comes to the realization that these few large simple spots in right relations are the most important things in the study of painting. They are the fundamentals of all painting."

"A mass either stays within the lights or it falls into the range of the darks, and by half squinting the eyes you can tell to which it belongs. Remember, the eye takes in all your big lights against all your big darks."

I'll stop there for now.

"Las Sombras del Ranchito"

"Las Sombras del Ranchito", 14' x 18" oil on linen, 2008
Private Collection


I am happy with the way this painting turned out. My method is not always the same with each painting. An artist should be like "Felix The Cat" and have many options in their "Bag of Tricks". That way, the process does not become too much of a formula.
In this painting, I wanted to get a lot of color into the shadows without breaking up the strong pattern of light and shade. I decided to start with one basic value for all of the shadows with lots of color changes not value changes. There is a lot of reflected light bouncing around in this scene. That made this part even more fun. I linked everything in the shadow into an interesting pattern taking care not to vary the values too much just yet. I did not paint any light colors until I was content with this step.
Sombras, by the way is Spanish for shadows.



Step One - Shadow Pattern


Below is the step one photo turned into black and white in Photoshop to show how there is pretty much just one value at this point. The only darker value is in the trees to the left, which I chose as my darkest shadow to judge the rest of my values against.
I checked the values in black and white as I was posting this, but you could take a picture of your painting along the way and try this to check your values. There are a few strays, but most of the values fall into a very limited range.
The next step was to add the color into the light areas. Again, I did not want too much variation in the values. I also did not put as much color variety into the lights. I wanted the shadow color to remain the focus.
Adusting the colors and values of both the light and shadow, I added some highlights and dark accents. This unified the painting a bit and made certain areas "read" better.
When I felt like I was thinking about the details too much I stopped.



Step One - Black and White

Value Board - Subtle Grays are not Mud

I love playing with color. On my palette I have a limited number of tube colors, but from these I can mix endless varieties of subtle grays. Some of these mixes can be classified as blue green, reddish purple, salmon, mauve etc. Others are harder to name. Because I mix my colors like this there is a harmony even among all these subtle grays.
Each of these subtle grays has a hue ( what color it is) and a value ( how light or dark it is). They also have chroma ( the intensity of the color).
As I paint, my palette fills with leftovers from my color mixes. To keep my mixing area clean I occasionally scrape leftover piles of similar color together and save them along the top of my palette. I'll use these grays to tint my new color mixes. (I'll write more on that and my palette in a separate post).
I have a little 6x8 board in my studio that I have been playing with. At the end of the day I'll take some bits from these piles of grays that are left and place them on my little value board. There is no real method to this madness, I am just playing. I want to practice matching different hues that are the same value and at the same time play with new color combos and see how they affect each other. I have been trying to place them in a kind of value scale from light to dark. It is not something super serious like mixing color charts. Sometimes I get them in the right spot, other times I really miss. It may look like a certain value to me when it is on my palette knife, but when I place it among the other colors on my board, it looks different than I thought it would. You see value is all relative. It all depends on the other colors that are surrounding. Sixty Minute Artist, Jerry Lebo, has great posts on relative value and learning to see values. If you are interested in learning more about this you should read what he has to say.
Some of these grays have a high chroma or are "purer" and others are "duller" or more neutral. when a high chroma color is placed amongst the "dull" ones it really pops. Like that orange one on the middle left or those lime greens along the top or that red on the top right. When seen in the black and white image they fall into place value wise. If I were to put a pure color straight from the tube imagine how it would look compared to all of these grays.
Along the bottom of this board I mixed a simple scale of ten values from black to white. My subtle grays are placed from light to dark in the opposite direction. There is no reason for that it is just how I did it. I have shown the same board in black and white so you can see the values without being distracted by the color. The ones I got in the wrong place really stand out huh?
I'll be writing more about my color mixing and limited palette soon.