I love palm trees and have had to practice quite a bit in order to capture a semblance of one. I’ve been procrastinating on this beauty for a number of years — based on a photo I took in LA.
We’ve got a fabulous clump of red native tulips nestled under a crepe myrtle tree in our front yard. It’s one of the first shows every Spring and it’s hard to beat. I did a digital portrait of them several years ago on the iPad using the Art Rage app and painted them again in watercolor a few days ago. Thought you’d enjoy comparing them!
Came across an old photo I took years ago of Multnomah Falls outside of Portland. Since I’ve been practicing my watercolor skills lately, I decided to give it a go.
While on a trek to visit a tobacco farm in Cuba some years ago, I spied this diminutive lady trudging down the dusty road, clutching a load of huge tubers. I snapped a quick photo of her as she moved away and finally got around to painting her as homework for my watercolor class with Ed Praybe. Sweet memory.
Painters have a wide variety of ‘tube colors’ to use in trying to achieve their desired hues. I’ve got 30 or 40 tubes of almost every color you can imagine, most of them untouched. For quite awhile, I’ve opted to limit the number of tubes I use, challenging myself to mix a broad variety of colors from a handful of basic hues. Painters call this a ‘limited palette’. It lightens the load of what you have to carry around with you and it helps give a unity of color to your painting. Nice attributes.
There’s no specified set of colors for a limited palette. In the past, I’ve typically used a ‘split primary’ group, which includes two versions of each primary color, plus white and maybe black. Each of the two selected primaries ‘bends’ toward a different adjacent secondary color. For instance, cadmium red tends toward orange (yellow), while alizarin crimson tends toward a purple (blue). Blues may include phtalo or cerulean blue which tend toward green (yellow) and ultramarine blue which leans toward purple (red). Split yellows might include cadmium yellow light, which tends green (yellow), and cadmium yellow, which tends toward orange/red.
If you want to mix a bright saturated orange using such a palette, you’d combine cadmium red and cadmium yellow, rather than alizarin red and/or cadmium yellow light – a combo that produces duller, less saturated oranges. And so on.
Here are a few of my paintings using the split primary palette.
More recently, as a result of a zoom class with Bernie Dellario and a number of painting buddies, I’ve been working with an even MORE limited palette — just three primaries + white & a neutral earth red: Hansa yellow; pyrole red; ultramarine blue; transparent red oxide and Titanium white. What a challenge, but I think I’m getting the hang of mixing a broad range of colors from these meager starting points. Here are some recent paintings using this palette.
Here is the series of monochrome studies, all 6″ x 8″, done during the workshop with Bernie Dellario. Such a concentrated repetition of that exercise was useful in helping us spot values quickly.
I just finished an intensive four day workshop with outstanding local artist and teacher, Bernie Dellario. We were expected to make up a ‘color chart’ exploring the ways in which 3 tube colors (yellow, red & blue) + white could mix together to make virtually all the colors you might want.
We also painted ten 3-value monochrome paintings; ten 3-value color paintings; and a plein air painting which we then translated into a larger ‘studio painting’ (hopefully retaining the 3-value structure of the studies). Here’s my 16″ x 20″ studio painting of our cannas, through which we can enjoy our neighbor’s yard.
Here are the initial monochrome and color studies. Note that I included the bushy Joe Pye plant (?) in the black & white study; left it out of the color study; and then re-inserted it in the larger piece. Am glad I did – it’s now my favorite part of the painting!
New work to share! Here’s what’s on my easel, about to be signed. Sons Sam & Will, with their families, and Pat & I visited the Virginia side of Great Falls on the Potomac River last Christmas. I finally got around to making a studio painting of the magnificent scene!
I’m not great at landscapes, but I think I made real progress on this one!
For Day 4, here’s another recent painting — based on an early morning drive south of Half Moon Bay in California around Christmas. I loved how the masses were knit together in form and color by the nestling mist — and the interesting, barely-there trees out on the cliff point. I’m still ‘California Dreamin’. With this coronavirus stuff, I don’t know when I’ll be able to fly out there again. Road trip???
This is the second painting I entered in The Tonalist Society competition.
For day 2 of the challenge, I posted a more recent piece which includes some of those gorgeous pines(?) in downtown DC. I call it ‘Lighting a Candle’ . . .
A new art society was formed in the last year or so ~~ The Tonalist Society, which encourages and recognizes artists who work in a ‘tonalist’ style. As you can tell from earlier posts in this blog, I admire the work of Terry Miura and Marc Hanson who often paint in this style. I decided to enter two paintings in the first annual juried show. This is one of the two.
