A Limited Color Palette Part I

Why use a limited palette when there is conceivably every color of paint under the sun made by a plethora of art companies at our disposal?  While artists will no doubt debate over the brand of products, I adopted my painting teacher's limited palette and have been thrilled with the success.  What I found were limitless possibilities in color mixing, but more importantly, in incorporating a limited palette I learned how color is created.  In this age where color is readily mixed by computers or selected from computer palettes of thousands and thousands of colors this might seem like insignificant brain-training.  I don't believe this color creating knowledge to be obsolete or useless and offer to you, the reader,in the next few posts, some of benefits of learning from a limited palette.

With just several hand picked colors of pure pigment one can paint any color under the sun.  When computers were first making their debut, folks were excited by the possibility of sixty-four thousand colors.  My immediate thought was that the human mind can manufacture and infinite number of color combinations!  Sixty-four thousand is actually a small number when compared to infinite.  I'm not slamming the use of computers.  To the contrary, I use them for art endeavors on a daily basis.  But I do not have to depend on computers to create color.  I learned that with a limited palette of paint, an easel, a canvas, a mixing tray and daylight.  It was an intellectual exercise that took quite a bit of time - years!  But mixing color, like many art based endeavors, teaches the mind to problem solve - and that ability pays dividends in many areas of life.  This is a big reason I believe the reduction of art programs in the schools - visual art, creative writing, drama, and music - to name a few - is terribly short-sighted!  Who would not benefit from intellectual exercises in problem solving?  The human gift of creativity is perhaps more multi-sided and useful in all areas of life than the decision- makers of these programs give credit.

"I Can Only Draw Stick Figures"

Most artists, no matter what their field of endeavor, are at some time told, "wow, I could never do that, I can only draw stick figures, or I can only play "Chop Sticks."  The words are intended as a compliment, which is fine.  But behind the comment lies the thought that artistry is just something one has or does not have.  While every human being is gifted in different capacities by their Creator, one must also develop their God-given gifts for them to have meaning for other people.  How sad to be given a gift and not develop that capacity!  It's kind of like loving someone, but never expressing one's feelings to the object of their affection.  It goes unnoticed and without meaning.

Developing those gifts requires time, commitment and determination. To move forward one may see the need to receive instruction from another, or to work in concert with a few other artists, exchanging ideas and encouragements and thoughtful critique.  If one waits to be "inspired" the development of one's artistic gifts will suffer.  It's best to plow through those times we do not "feel" like painting, or writing or practicing that instrument.  A painter paints, a writer writes, a musician plays whether or not they feel like it...that is part of commitment.    

The Apostle Paul teaches us that our gifts are not given for our own pleasure.  They are given for the benefit of others.  Although Paul was focusing on "spiritual gifts" the same can be said for "natural gifts."  If we developed our gifts with the benefit of others on our mind then our art can have great meaning both as we work and as we consider how to brighten someone elses life by the things we create. 

As an artist we all appreciate when someone likes our work enough to pay us for it, for that says something significant about the way the art makes them feel.  Far better however, are those times when someone is brought to tears because of something we have worked hard to develop and create.  If someones heart is deeply touched and we have communicated something so tender or thought-provoking that an emotional reaction ensures, then that is like applause to a performer, like a metal to an athlete, like a diploma to a student.  It is worth all the long hours and practice of our craft to be a part of making something that effects another in a positive way.  

Introduction to Drawing Part I

Drawing is the basic componet of any artwork.  Like piano playing to a musician, a knowledge and growing skill of drawing gives a good foundation and raises the maturity level of our artwork.  A few components to consider as we pursue drawing:

• Draw everyday!  We artists tend to think that inspiration has to hit us before we start to create.  Nonsense!  That approach will make the creation of art sporatic and will elongate the learning process unnecessarily.  If at all possible, try to draw, even a little bit, everyday.  An athelete practices, a musician practices, a writer writes and an artist draws (or paints or sculpts, etc.).  If we want to take our skill level up it becomes something we habitually do and we work it into our rhythm of life - on purpose.

• Use the whole sheet of paper.  Start to think overall composition and how to make each area of the paper or canvas attractive.

• Really observe shadow and light.  Make sure there is enough contrast.  Squint your eyes to see the polarization of black verses white.  If you can't differientate your sketch when you are squinting then there is more contrast work to be done. 

• Make special note of the outline of your subject.  Again, observe intently the shape of the lines and imitate what you see.  Would your drawing be interesting if it was only the outside lines?  Are the shapes attractive? 

• Look at the negative space.  The areas around your subject - are the outlines and negative shapes interesting? 

• Consider texture.  Is the texture of the subject you are replicating convincing?  Need more observation and practice?  Remember to draw what you really see (not what you 'think' you see.)  Don't make assumptions about the texture of a familiar object.  Try to observe it as for the first time.

• Enjoy what you do.  Be encouraged with progress!  Keep older drawings for a sense of history to see how far you have come. And don't forget to sign and date your drawings for the same reason.  You have a unique way of viewing the world - so sign that paper or canvas! 

Vibrant Color Part III

We learn the color wheel as children.  The most basic version of the wheel has the primary colors of red, yellow and blue and the secondary colors of orange, green and purple.  We look at that wheel to see how secondary colors are mixed from the primary and to see the complimentary (opposite) colors. 

To learn to mix color effectively we break down any color we see into these six colors.  In this way we understand the composition of each color and how to use it in our artwork.  For example, instead of saying "brown" we observe that the most dominant color in brown is orange and to make brown we would mix blue in with the orange.  So instead of saying "brown" we say orange-blue (or as Jim Faber used to say "orangish-blueish."  It tells us how to mix the color.  With much experimentation we learn how to compose color.  With time we begin to recognize exactly how much of what color needs to be used.

It is absolutely necessary to have pure pigments or our color mixing will end up with muddy or grayed colors.   While these colors are useful we won't understand how they were made and how to mix the exact color we are trying to attain.  In the "Introduction to Acrylics" post I explain the paint colors I use from Liquitex.  No, I was not asked to do a commercial for this brand.  I have just had such great success with it, that I prefer to use it because it's colors are so pure.  I'm sure there are many other fine brands.

Complimentary colors (the opposite on the color wheel) cause the juxtaposition of the two to create a real visual spark.  Opposite colors sing when seen next to each other.  This is something Vincent Van Gogh understood in a magnificent way.  I have been told to see his later paintings in person in a museum setting almost hurts the eyes because the colors are so vibrant.  "It pops" as we artists would say. 

Speaking of Van Gogh, to grow in one's knowledge of color, pick out a favorite artist's work and really study what you see.  Remember to really look at the color - not just what you "think you see." 

Vibrant Color part I

I grew up with the term "artist" attached.  My parents were the most encouraging parents in their support of my artistic endeavors that I could imagine.  And so I am very blessed.  My mother did (and still does at age 87) paint portraits and my father was an extraordinary craftsman.  I attended good schools with strong art programs and drew everyday of my life for over thirty years.  My husband and I owned and operated a successful stained glass studio for seven years in Southern California.

All that to say that when I had been painting seriously after a few years I came upon some teaching on color that made me realize that I had missed a significant part of an art education.  I thought at first - what's to know about color?  Blue and yellow make green.  I understood contrast and could put together a strong black and white composition.  Color, so I thought, was just kind of like colorizing a black and white photo, in effect.  Shadows were just a darker version of the local color.  Right?  Not right.

One evening in the small Northern California town to which we had moved to escape the pressured city life, we walked into a small business that was holding an opening for a local artist.  His work was stunning.  It was more impressionistic than mine.  Even though I admired it I was very comfortable with my tighter style of realism.  It wasn't that aspect that caught my eye.  In fact, I wasn't sure what caught my eye.  I just knew that he possessed, artistically, something I didn't have.  There was a maturity and vibrance about his work that was a bit mysterious to me.  I wanted that "something" in his work that I did not have, and so I met the artist and asked for lessons.  He enthusiastically invited me to a new class he was starting at the community college.  There began color lessons under the tutelage of Jim Faber.

It didn't take me long to hear what that "something" was that my work was missing.  It was a knowledge and application of color.  Thinking that the color wheel was kind of like learning one's abc's, I could not have been more mistaken.

Jim started by explaining to us that the world was filled with color and light.  And that light has an effect on everything.  Even in shadow there is marvelous color.  In addition he explained that in light there is all colors (think of a prism) and so that what we know to be true about color (even if we don't totally see it) we can apply to our paintings.  Therefore nothing on our canvas should be a section of one plain color.  In everything there is all kinds of colors jumping around.  That was a revelation.  And that was the beginning. 
  

Introduction to Acrylics

What is Arylic?

"The dictionary tells us it is a glassy thermoplastic made by polymerizing methacrylic acid and is used in castings, moldings, coatings and adhesives.  But as a painting medium, acrylic can best be defined as versatile.

An acrylic painting can resemble anything from a watercolor to an oil, though the techniques used in applying this medium are its own.  With a great variety of brushes, as well as a palette knife, sponge, tissue paper or even your fingers, you can apply acrylic in any consistency ranging from thin washes to virtually sculpted impasto.  It is workable on paper as well as fabric and wood.  Acrylic can be used with a whole spectrum of techniques from glazing to crosshatching, including scrubbing, sanding, spraying, bubbling, collaging.  There are acrylic paintings in every style and genre, created in the studio or on location outdoors.  To top off the list of acrylic’s attributes, it is extremely durable and colorfast when finished, and it is correctable by a variety of methods at any stage".

 -Earl Grenville Kileen, The North Light Book of Acrylic Painting Techniques.

Liquitex Paints (my favorite – a little commercial – they are my favorite because they are true to color – limited palette).  From the Liquitex Paint website:  Liquitex.com 

Liquitex is a professional range of products developed for the acrylic art specialist by the world leader and authority in acrylic innovation. Our colors and mediums have been developed as a comprehensive system for work on virtually all surfaces and with an unlimited range of specialty effects, from thick sculptural techniques to thin permanent watercolors or inks and everything in between. The range is renowned for its versatility and is exceptionally well suited for all applications, from traditional to experimental to cutting-edge contemporary. Our palette includes Medium and High Viscosity Professional Grade Paints, BASICS and BASICS MATT Student Colors, Specialty Paints, Surface Preparations, Additives, Mediums and Varnishes for artists.

Drying Time:
The dry time for all water based artists acrylic media depends on how quickly the water can evaporate from the application. This is dependent on –

• The thickness of the product. For example, fluid varnishes will dry much more quickly than thick gels.
• The thickness of the application. For example, thin applications will dry much more quickly than thick applications.
• Relative temperature and humidity of the environment. For example, applications on warm, dry days will dry much faster than on cold, damp days.
• Absorbency of the substrate. For example, applications on absorbent surfaces will dry more quickly than on a hard, non-absorbent surface.

There is a difference between dry time and cure time.
Dry time is when the surface feels dry to the touch.
Cure time is when the acrylic film is fully stable, close to its maximum durability, water resistant and less vulnerable to attack by mild solvents. This usually takes at least three days for thin applications and may take much longer (up to two weeks or more) for thick applications such as with Liquitex Super Heavy Body Color .
For paint applications other than blending, wait until the surface is touch-dry before applying more paint. Thick applications should be firm and no longer 'springy,' with no obviously wet portions remaining beneath. Dry time can be accelerated by using a hair dryer.
For varnish application, paint must be cured before varnishing. For two coats of varnish, wait until the surface feels completely dry to the touch before applying a second coat. This means that there should be no feeling of dampness to the hand when placed on the surface. Dry time can be accelerated by using a hair dryer. A good rule of thumb is to wait at least 12 hours between applications of varnish.

Colors:  Color theory from my painting teacher, Jim Faber
Limited palette:

Napithol Red Light

Cadmium Yellow Light

Hansa Yellow Light

Phthalocyanine Blue

Acra Magenta (used to be called Acra Violet)

Titanium White

Yellow Oxide (optional – convenience color)
 

Resources:
Paint, brushes, canvases, artist materials

Locally (Humboldt County), I recommend Ellis Art and Engineering Supplies – owned by Darryl LaTorre.  For online sources I have always used Dick Blick art materials (dickblick.com).
 

Favorite Books:

Heart of the Artist book  (optional, recommended) by Rory Noland.

The North Book Light of Acrylic Painting Techniques by Earl Grenville Killeen (optional, for extra enrichment).  Available through Amazon.com – new and used books.  (published in 1995).  Also available through abe.com (used books).  I was a contributing artist.

The  Bible (the book of books)
 

Other helpful items:

Easel 

Water containter

Paper towels

Hair dryer

Spray bottle with glycerine

Palette (enamel trays are excellent)

Plastic wrap

Spray bottle – plain water

Good lighting

Reasons to Explore Creativity:

Have fun – creativity is a good and gracious gift from God.

Grow in appreciation for others unique gifts and talents

Glorify God – dedicate your giftedness to Him for His purposes.