both 10x10 pastel on BFK
I continue to search for two trees and their color. Morning color, especially early morning is so neutralized (the land lacks light)..except the sky which glows pink, yellow orange with a touch of green depending on time and weather. I keep trying to work with purer colors and make my neutrals. It's more the feel of the light...but how much local color is needed? How much intuitive color? How much warm color and how much cool? I posted both the doomed one from yesterday for Nika (left) and today's equally doomed.
Meanwhile I play with the shapes. I think I need to go back to the site to study.
Today I looked at my studio wall of small works and I realized how my recent work stood out (at least to me.) My recent use of higher chroma hues grabs attention. I just need to learn to harness it.
7 comments:
I'm looking at your wall of small studies and saying, "Ahhhhhhhh..."
What a wonderful set and glad you showed these.
I commiserate with you about mixing neutrals from pure tones. Very nice!
Thanks Casey, it is always good to commiserate with a friend. You know all about mixing neutrals from pure tones. Don't you feel they become more interesting with a vibration not found in a neutral stick? The flip side is mud is easy to make too. Thanks also about my wall.
Hi B, As I look at the two color versions I go back for a look at the value study. Something is missing here.
There is a softness in the value study that is not evident in the color versions. Maybe the color studies are just too bright. For me the softness is missing, the colors seem to shocking. As I squint my eyes and compare all three, the values are more extreme in the color versions. The value studies values are much closer together which to my eye creates the look you seem to be searching for I think. I think the color temperatures are just too strong and far apart. In my opinion a more minimal approach with color would work better. Almost like taking the value study and just over laying a very soft tint over the value allowing the value study to show through. Now I seem to be rambling and will think about this some more. I know you're playing with shapes and moving things around, again the value study seems to still have the most effective composition. I think you're searching for something that is already there.
Hope you don't mind the lengthy critique. I feel strongly about this one.
Your painting buddy
p.s.
B, did you start with an underpainting or did you use the value study?
Loriann, thanks for posting these. I disagree about the second color painting being doomed, it seems much stronger then the first. It definitely holds it's own and the balance of warm and cool hues is beautiful.
Surprisingly, compared to the previous value study, it has less "information" in spite of having color. The value study is richer in nuance, it has a way of making your eye to go around and want to wonder in and out of the various areas of the painting. The color painting doesn't seem to do that as successfully.
I hope I'm making a little bit of sense:)
PB,
You are so right. The softness is missing because of the values not being in alignment. The first (left) one done without the value study was a real failure and the second done after the value study, was only a little more effective. I see you also noticed I did no underpainting and did not paint on the grisaille. This time I didn't use the grisaille because I want a different color to come through ...you will see more of what I have in mind in today's post (Sunday). Thank you for the lengthy critique. I REALLY appreciate ALL your insights!
b
Hi Nika! I think you see how important it is to really think out the painting and that value is the absolute most important. Thanks for your comment!
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