COLOR CHANGE INSTEAD OF VALUE CHANGE CONTINUED.

Here is my painting of a child update.
     I am going to critique my own work and would hope that others will add their constructive opinions.

* the shoes are too dark and pull away from the over all focus point of the face
* the blonde hair should have more color variation ( pull in some of the background color)
* the facial features are too stiff (use more soft edges)
*the dress needs to be more intense to hold its own with the rest of the painting
* the hair flowers need a dark edge at the bottom so they feel grounded

Your Turn:
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* Thanks

www.verobeachartclub.org      Artist Gallery
koserme@gmail.com
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COLOR CHANGES INSTEAD OF VALUE CHANGES

     Watermedia Focus Workbook, Christopher Schink;... " employing color and intensity changes rather than using strong value changes. To keep the interior of shapes interesting I've alternated areas of warm and cool hues and bright vs neutral intensities".

Pink Under Painting

Today I want to paint a child in a free painterly style using the warm cool shift instead of the value shift. The color choices are more symbolic that realistic, in other words it will not look like my granddaughter in the photograph.  My focus will be to use warm and cool color to get my message across.

Enlarging the image

For the second step I used white chalk and a diagonal grid to draw a larger version of the photo.


Next I blocked in the cool colors and I am still using the Lori Snow-Hein limited color palette.

It is slowing taking form but I feel I am losing my original color focus. The background color still bothers me but I can't decide what cool receding color to use.

http://www.verobeachartclub.org

 I'm lost but will not give up.
I have no clue when using color instead of value flew out the window and I just kept on painting! The painting of my granddaughter has morphed into a more realist style than I had in my mind when I  started out. This will not be a finished product by my self imposed Sunday publishing date but I'd rather take my time and be pleased with the results.

To be completed at a later date:)

Please check out my web site at: www.verobeachartclub.org

HOLY MAXIMUM CHROMA

     Maximum Chroma is the highest amount of pigment that a color can have; which is straight out of the tube. I keep trying for a high key pastel painting and every time I get highjacked into something else.

Stage One.

This started out as a total yellow canvas and I was planning on going pastel with clouds and sea. Actually it took me a week to decide on the subject.


The next thing I knew it has morphed into a jewel toned, in your face painting. My usual MO is to go on to overwork a picture so I need to learn when to stop.

Stage Two

Stage Three

It is growing more pastel and high key but the clouds are too much in one clump and there are too many shapes and colors competing with each other. To unify the sky I made up a light blue glaze and painted over the entire sky area. That should make it read as one unit instead of many small units.

The red band was intensified and a spot of complimentary green was added to make the red focal point pop out more.

Final Painting: The last critique is in your hands.

SKY HIGH

Try, Try and Try Again

     As stated in my last post, I was going to practice painting glowing, luminous paintings.
Here was my first attempt. Please note it was on used watercolor paper so the paper was compromised, I made no attempt to try and make a finished work of art; just practice.

It looks better in the photo than real life.

* Used a transparent, complimentary cool color for the wall
* Used a cool transparent color for the table
* Placed a dark purple at the base of the fruit to ground them
* Use white crayon to block out the white of the paper ( did not work well and I did not have a liquid frisket on hand)
* Used transparent colors on the fruit, let it dry then layered over with more transparent colors.

RESULTS: Just OK


This time I exaggerated the colors and added white just to see if it helps the luminosity.

I'm not impressed.
I will try again.

With a different subject I painted a cool transparent background using only two colors and desperately trying to utilize one stroke painting.
The Windmill Easel is great for directing the flow of the juicy watercolor paints; it turns 360 degrees.

I need to give it a rest!

Please view my web site at:       http://www.verobeachartclub.org/gallery.php

LUMINOUS, GLOWING, SATURATED COLOR PAINTINGS

     After watching You Tube videos, scanning Handprint.com, reading art magazine articles and searching my art book collection I have gained some knowledge about glowing/luminous/saturated color paintings.

1. I did the test where you crisscross all the paints on your palette
    ( watercolor using the Steven Quiller palette)

Messy but homework done!

2. Use transparent watercolors
3. Glaze over dried paint with another transparent color
4. Keep the brush strokes to a minimum; like one stroke
5. Don't layer warm colors with cool colors

complementary / neutral surround

6. Colors seem more glowing next to a complementary color or a neutralized color

 7. Only combine a maximum of 2 colors; 3 gives mud

2 color/ 3colors & analogous colors

8. Paining with colors adjacent on the color wheel will remain clear and bright

   9.  I have chosen three transparent colors to do a test painting.
 Painting #1 uses: Magenta, Cerulean Blue & Cad. Orange (diluted down to be transparent)
               #2 Yellow Green, Red orange & Cobalt Blue
               #3 Indian Yellow, Yellow Green & Ultra Marine Blue

    RESULTS:   I did not achieve the "glow" that I see in other artist's paintings but I won't give up. I have observed that using any yellow/ orange color plus leaving some of the white paper adds to the glow illusion, that you can add 3 colors and not get mud and that I have a long way to go before I sleep on this lesson.

My next blog will be watercolor attempts at luminous, glowing, saturated color paintings!