Tag Archives: color theory

painting experiments with oils in progress

There are two experiments happening here, pointillism and masking fluid on oil paint.

I can’t find much technical advice on pointillism, like did the pointillists do an underpainting? Did they mix colors or use paint straight out of the tube? Are the dots supposed to touch, overlap or should there be space between all the dots? I’m going to have to guess. I know the rules of the academy. If I knew the rules of pointillism I’d try to stick to them for the learning process. Maybe there are no rules.

There’s an app for making dots if you like to do digital paintings, but I’m not into apps and it might be better for me to just wing it so I can improve my painting skill.

In this close up you can see the masking fluid dots which are covered by ultramarine blue.

I want to save some bright orange dots to represent shiny reflections of the sky on the water. It would be easier to have bright orange dots showing ( if this works) than if I paint the orange on top of the water when I’m finished with painting the water dots because the orange is a transparent color and if I want to put orange on top of blue and gray dots I’d have to underpaint them with white like I did with my azaleas, which are a transparent pink. I need to put water colored gray dots on top of the blue and that will make a thicker layer of paint on top of the masking fluid and also take over a week to dry before I can try to take the masking fluid off the painting to show the orange dots. It might not work out or it might work. Either way, I’ll post the results.

This is a color experiment in more than one way. I under painted my paper with orange because it’s the complimentary color of blue. The sky isn’t really blue but kind of hazy when I go to Back Bay lately. And the water isn’t really blue but kind of a mixture of two different grays.

You can see the underpainting of the foliage on the opposite shore. I did it with a red gray because it’s mainly a greenish gray and the red gray would be the complimentary color.

This was a real no no at the academy, tinting the painting with an unnatural color to start. They would call this “forcing color”. It might take away any depth and the academy was into creating the illusion of depth. Modern art doesn’t care about aerial perspective which is the illusion of depth. Pointillists were modern.

I often see a landscape with a bright tint showing that isn’t there in nature. Some artists like violet or red and will tint their canvas with a bright color because the landscape around here doesn’t have any bright colors and the artist doesn’t like to paint mostly grays. You can see spots of violet or red or some color showing through between brush strokes. It’s a modern look and it does take away any aerial perspective. When I see a bright tint showing through I say to myself, “forced color is weak.” Now I’m doing it.

This is 18 x 12. Dotting the whole paper will take some time. That’s ok. Patience is my super power! hahahah

underpainting for battery de russy

II might still make corrections on this perspective.

When I went back to the battery yesterday I meant to take a ruler and correct my lines but I forgot it, so I just thought, hell, I’ll try to paint it from what I got transferred. So much for perfectionism. I strive for it but will never achieve it and I don’t worry about it too much. This will come out looking more like my interpretation of the battery than any photo realism.

The underpainting is in the complimentary colors of the ones I’ll paint on top of this. The battery is a warm gray because it’s concrete and weathered, so I painted it with cool grays first. The sky is a light tint of burnt umber because that’s a warm color. Now when I paint blue on top of this the blue will look brighter. The ground is a slightly darker tint of burnt umber because that’s what I saw under the grass. Sand.

If you want to paint with grays you need a good black to start. An equal amount of burnt umber and ultramarine blue make the best black. You’re mixing the darkest warm color paint with the darkest cool color and your black isn’t a dead black. Then you can mix white in for grays and make neutral grays or you can add any other color you want to and your grays will have some life. If you layer the grays warm then cool or cool to warm you’re also layering tints of complimentary colors which makes the grays look kind of pearly. The art viewer might not realize why the colors are pearly they just won’t get tired of looking at it as soon as they would if you only used flat grays. It makes the grays vibrate visually on a very subtle level that film can’t capture and computers can’t show you either.

Next step. I can do the sky at home. I’ll go back to mix colors for the grass next week. If I get my grays and greens mixed in plein air and start putting the colors in with my palette knife in plein air I’ll be able to see if it’s working out and might be able to work on it at home next week.