"The weather outside is frightful." As I write, our "Spring" weather in Maryland is raining/sleeting and snow is forecast. I want to paint but plein air is not what I want to do at this time. During these times I like to do what I call a Memory Painting. I have no problem in working from my photos. My goal, however is not to reproduce a photo-realist image but to work on my color theory, capture a spontaneous moment, and I must add, to recapture a joyful memory. How do I mix these odd and unexpected colors? In working out my issues with with color mixing in my studio I have found my I can mix colors faster and make decisions much faster when I go outside. . For instance, The orangey green found in the trees is a combination of a golden ocher (a new find) and permanent green. Morning sun on summer grass can actually be a from the tube hansa yellow if it is next to greens made with a color I found called Arylide yellow. I think I could even push it more. I also like to see how much information I can leave out and what kind of marks I can make that suggest information without being explicit. oil 10x10in
Thursday, March 31, 2011
Robin Hood Flats
"The weather outside is frightful." As I write, our "Spring" weather in Maryland is raining/sleeting and snow is forecast. I want to paint but plein air is not what I want to do at this time. During these times I like to do what I call a Memory Painting. I have no problem in working from my photos. My goal, however is not to reproduce a photo-realist image but to work on my color theory, capture a spontaneous moment, and I must add, to recapture a joyful memory. How do I mix these odd and unexpected colors? In working out my issues with with color mixing in my studio I have found my I can mix colors faster and make decisions much faster when I go outside. . For instance, The orangey green found in the trees is a combination of a golden ocher (a new find) and permanent green. Morning sun on summer grass can actually be a from the tube hansa yellow if it is next to greens made with a color I found called Arylide yellow. I think I could even push it more. I also like to see how much information I can leave out and what kind of marks I can make that suggest information without being explicit. oil 10x10in
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3 comments:
Oh yes--The old catamaran in the grass trick. Sweet. Hey Mike just checking in. Great piece! \\///\
Hey Thanks, I think. I remember something we were discussing as illustrators a long time ago. As long as you are in the studio with a brush in your hand it almost doesn't matter what you are painting. The important thing is that you are painting.That gave me the freedom to use a photo when I want to. I get such pleasure out of playing with color. I have also learned over the years that it isn't what you paint but How you paint. It's also clear that you have to have some idea of what you want the painting to be about. Right now I seem to be affected by bright shiney objects. Must be a guy thing.
Thanks for slapping me around with my own words. I needed that. I am getting closer to icing up a few panels, I promise. Wild ideas are brewing.
I have been writing this blog for three months now, though, pretty much full time. I think it has actually become the art in many ways. The same head stuff is happening--perhaps even deeper. I feel like I'm being rejuvenated.
Anyway, you can clearly see in your work that you are having a blast with color and light (I might add). That you paint leads to how you paint leads to greater facility and ease with the syntax of it all. You can see that progression in your work just over the past three years. I'm so amazed and inspired by this. What to paint? Follow your bliss and that takes care of itself.
As for shiny objects, we talking bling here (Irish bling? Hmm.)? Or are we talkin serious coin as in art sales? Or maybe you've got wild ideas of your own brewing. I'm bettin the later.
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