Monochromatic Vase6x6
Oil on Panel
Raw Umber and Titanium White.
Playing with transparencies and the cool/warm effects of them on this. Raw umber all alone is warm. Raw Umber with a tiny bit of Titanium White is warm. Raw umber with a lot of Titanium White is cool and Titanium White all alone is cool. This all sounds pretty simple, but can be kind of tricky in practice. The real key is that if you really want a warm, you must put a cool next to it and vice versa.
I am on a quest to really learn the qualities of the paints I have at my disposal and the effects that they have in a painting. I don't think this is something that can be explained in mere words. I think this is something that has to be built into instinct. (then later claim it is pure talent and brag about my gene pool) Aaron Coberly posted some limited palette paintings on the Conceptart forums that are truly inspirational. CLICK HERE Although his are not the first I have been amazed by, his are a fantastic example of what can be achieved if you really know your tools.
On page 29 of Art and Fear
the authors talk about a ceramics class that was split into two groups. One group was told to produce one perfect pot for their grade and the other was told their grade was dependent upon the quantity of pots they produced. As you can guess, the quantity group produced much better results. A little further in the book on page 35 it says "What you need to know about the next piece is contained in the last piece."
That is what is happening here. Every day I head out to my studio and look at the last piece and figure out how to manipulate what I learned the day before into the next piece. My vase is crooked and I am still off perspective. I kind of like the way I put more detail in the drapery. If I had it to do again, I would...
Wait.. I do have it to do again! Never mind, that is tomorrows post.
I am on a quest to really learn the qualities of the paints I have at my disposal and the effects that they have in a painting. I don't think this is something that can be explained in mere words. I think this is something that has to be built into instinct. (then later claim it is pure talent and brag about my gene pool) Aaron Coberly posted some limited palette paintings on the Conceptart forums that are truly inspirational. CLICK HERE Although his are not the first I have been amazed by, his are a fantastic example of what can be achieved if you really know your tools.
On page 29 of Art and Fear
the authors talk about a ceramics class that was split into two groups. One group was told to produce one perfect pot for their grade and the other was told their grade was dependent upon the quantity of pots they produced. As you can guess, the quantity group produced much better results. A little further in the book on page 35 it says "What you need to know about the next piece is contained in the last piece."That is what is happening here. Every day I head out to my studio and look at the last piece and figure out how to manipulate what I learned the day before into the next piece. My vase is crooked and I am still off perspective. I kind of like the way I put more detail in the drapery. If I had it to do again, I would...
Wait.. I do have it to do again! Never mind, that is tomorrows post.
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