Some more of my long lost notes….
Underpainting – an underpainting stimulates imagination . A black and white canvas is tedious and arouses very little initiative
Pigments for underpainting require little oil . It’s best to underpaint in neutral colors, grays or pinks.
For grays – use white lead and umber and prussian blue
For pinks – use white lead and venetian red
A midtone surface gives more flexibility than white as both dark and light will show up.
Thin color (glaze) is used for shadowand thick paint is used for highlights.
1. “basic” (caucasian) – equal parts burnt sienna & white
2. Add to ‘basic’ skin color for darker tones and variations – raw umber, cadmium red, alizarin crimson, cadmium yellow, lemon yellow ultramarine blue
3. for lighter white tones – white + burnt sienna & raw umber
+ cadmium red, burnt sienna
+ alizarin crimson & burnt sienna
+ burnt sienna & cadmium yellow
+ burnt sienna & lemon yellow
+ burnt sienna & ultramarine
I was cleaning out my storage shelves at school today and came across some handout sheets I’d forgotten about. I read over them and found them pretty interesting and helpful as far as painting goes…. I will post the information here hoping it will be helpful to others.
FYI – COLORS AND WHAT THEY DO
1. White mixed with other colors dulls their brilliance
2. Ultramarine blue + white,viridian green, barium, naples yellow = delicate atmospheric greens
+ ochres = dull greens
+ cadmium yellow, zinc yellow = vivid greens
+ umber, white = grays
3. Prussian blue + cadmium yellow = greens of great intensity
+ white = silvery, bluish greens
+ burnt sienna = deep green
+ iron oxide reds & white = grayish distant greens
+ naples yellow = cold luminous greens
+ ochre = dull greens
+ umber, white, = all variations of warm or silvery grays
4. Naples yellow + black = neutral greens
+ venetian reds,cadmium red , vermillion = warm pinks
5. Cadmium yellows + blues, blacks = greens
+ burnt sienna = more “fiery” sienna
6. Cadmium reds & vermillion + umber = duller reds
+ alizarin crimson = intensely fiery reds
1. Black and alizarin crimson make a deep velvety color suitable for glazing.
2. Pure viridian, alizarin crimson & burnt sienna are the most useful glazing colors”
3. The area to be glaze should be lightly moistened with painting medium. Apply medium to surface and wipe with hand or brush to a thin layer
4. If dried layer is too shin ( oily or varnished) use FINEST abrasive steel wool, or cheesecloth moistend with thurpentine – rub in parallel, horizontal strokes.
I have posted this article today that I got through a blog that I follow…. I always enjoy seeing other artist’s studios and their work in progress.
I am struggling these days with what I want the purpose of this blog to be. Last year whenI started it I had a different intention in mind. I went through wanting it to be a self promotion type of site, then an educational site, an inspirational site, and now, lately , I’ve been finding articles and writings that I like so much I want to pass them on. Maybe they’re all one in the same and I just have to be more – uh – regular with posting.
Enjoy the article.
STUDIO CRITICAL. This is a blog site I follow. I thought I would post this article as an example of stuff I read there. I love reading about how other artists work . I love the question /answer situation. There are more than the one interview so I encourage you to keep reading . ENJOY !
Just a little bit more about my Mom now that I’ve started. Her name was Ellen. She was a musician, playing the piano,violin, the celeste and the organ at our church,( she learned to play the organ from a nun named Sister Carola. Sister Carola , before she became a nun was best college friends with my grandma, Mom’s mom and they were “mischief makers” , or so I was told by my grandma !). At Christmas time I remember going to midnight service at our Methodist church and my mom would play the organ , while people sang the Christmas carols, then the gentle bells of the celeste during more meditative moments, the warm candlelight glowing , the mystery of the late night. I always felt so proud that it was my mom playing all the beautiful music. I grew up listening to classical music playing either on the radio or the phonograph and I had my own little classical 45 rpms that I would play and dance to in my bedroom. I would set the needle on the record, go into my closet and come out with a flourish when the strains of Beethoven would start, then dance as if I was the star ballerina. I was probably 5 at the time. Ellen loved reading and had lots of books that I got to read …. Grapes of Wrath, Jane Eyre, and lots of other “grown-up” stuff…. at a pretty early age. Ellen got to skip a grade in grade school because she was so smart. She went to college to become a teacher but went quit after a couple years and went into the army , hoping to make money and go back to school after she served.( She met my Dad instead and got married.) She was one of just a few women in the Springfield MO, army corps symphony. She worked as a secretary for many years so that she could put my sister and me through college. I never really thanked her for that appropriately and I will always regret that. She was a kind, thoughtful person and never spoke a bad word about anybody . I sometimes wondered , growing up , if she would have been happier had she not gotten married and had her two kids and could have played her music all the time. She was an artist and it could be where I got my love for art from . I have become an artist. I have become the teacher she wanted to be…..
So, these are just a few of the memories that have surfaced again, after having this big painting hung at my place of work. I feel like I’ve come full circle some how, having the painting about her “with” me everyday at work has given me even more of a reason to love what I do – TEACH!….. I’m still thinking about it.
“I notice that students often start laying in colors and paint just to cover the canvas, without being very attentive to what’s going down–colors and values all over the map! They are feeling they want to get started and hope to refine it later. The problem is, the surface of the picture plane is so alive and active that every inattentive mark you put on it is taking you away from what you had intended to paint faster than you can possibly realize . It makes a lot of sense to try and get it right the first time as if it really mattered, moving intelligently right now toward your idea. And it really helps to have an idea. But just laying in paint as an unhelpful foundation completely confounds our ability to see what we’ve accomplished and where we need to go next. Every part is now reverberating with every other in a chaotic and confusing jumble, and trying to dig ourselves out of that mess may be too much for any painter.
This brings up 2 points.First, so much of what we do while we paint is a reflection of our character and shows us, for better or worse, and if we choose to perceive it, our true nature. Not taking time to lay in a strong and meaningful foundation may be something that manifests in other areas of our life. Art can be a remarkable feedback mechanism for our life.
This is not the same as trying to get it perfect. It justs means trying to get it as right as you can as you go along. “Right” means being aligned to your idea. Trying for perfection takes the life out of expression. to be continued………..