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 II

A key in learning to paint color vibrantly is observation.  When we are young we learn that the sun is yellow, tree trunks are brown, the leaves are green and the sky is blue.  After we learn this elementary approach to color we tend to stop looking.  We really don't observe in large part how light affects everything.  The local color of that tree trunk may be brown (we will term colors differently in the future, but for now I'll say "brown"), but take a closer look.  Look at the side the light hits.  Now I'm going to say one of those "Jimisms."  Don't say what you think you see, but what you really see."  In other words, really observe what you see and throw out your default that says that tree trunk is brown.  Look.  Chances are where that sunlight hits the trunk there is sections that are yellowish, orangish...maybe even some pink.  I know, you are thinking I'm crazy by now, but really look.  Stare at it.  And check out those shadows.  Not just dark brown.  You may see cool shades of blue, purple, green - yes maybe muted blue, purple or green but nonetheless colors that would be best described by those terms! 

It takes awhile and concerted effort in observing to start to see the vibrancy of colors all around.  And yes, at first I thought my teacher was a little loony at first until it clicked one day and I too, started to really observe color in objects.  Many an artist has described this as "scales falling off the eyes."  All of a sudden what was not seen is in clear view.

Observing - it is a key to much as we learn to paint pictures of the world around us with realism and vibrancy. 

And that reference to 'scales falling off the eyes," - that is a direct quote from the Apostle Paul's life - when he was blinded by the light as he encountered the risen Christ, and then was healed and given his eye sight back.  Powerful stuff.

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.