Paint lends itself to expressive color. The intuitive landscape has long been a purpose of professionals. We wish to find the flow and charm that results when a painting appears to paint itself as we work. It can happen when we can trust our instincts and get carried away. Getting comfortable working in this way requires knowledge of the components of a good painting: shape, balance, contrast, composition, and color. However, color is a very intimate and personal viewpoint of painting. It often involves the observer on an obscure sensitive level. When I started to paint, first in oil and then in watercolor, I was lucky enough to study with masters of color, very much in tune with color’s impact on a painting.
They taught me to become sensitive to color, feel the emotion that comes from using and combining various colors, and react to them while painting. I also discovered that doing a confined palette and original or non-local colors could free me to paint more intuitively and reinforce my work. Today, I think color to be one of the main concerns of my work. And it contributes significantly to a piece when worn well. They are often related to some aspect of the natural world. It begins as a flow of feelings, intuition, and spirit. Rather than carefully reviewing my paintings, I let them grow and emerge. May I suggest its forms, which I develop through many layers of enamels?
I don’t work from photos or easy drawings, although I sometimes look to my archives for inspiration. Something will click in my mind; I will be ready to start painting what has moved and inspired me. Working in this way allows me to express more in my paintings. I usually begin a painting by sprinkling the whole surface of the paper with water and then drifting in pure, unmixed colors. I do not design or do a value study; Instead, I prefer to indicate the overall rhythm of my composition using my hands in a sweeping motion. I look at my palette to see what color is calling me at that moment, and I jump right away. I respond to what appears on the paper to decide what the following colors will be or where to place the next shapes. In establishing my general color scheme and the general composition of my work with the initial wet-on-wet process, I have provided myself with an accessible roadmap for what follows.
Using this technique to start painting allows me to take risks and “feel” my way as I go, as I can immediately pick up an offensive color or make changes before the paint dries. I can also take advantage of the unplanned color combinations or quirks, which are essential for watercolor, and let them guide me in new directions. While this first phase is a bit hectic, with no real-time to stop and think about what I’m doing, that’s where I’m making my painting more intuitive. I try to trust my emotions and abilities, and I don’t worry about its problems. I tell myself, I’ll take care of that later. This part of the art is the greatest pleasure. It is a pleasant time to let go, full of possibilities and unexpected beauty.
Listen to it
After the base coat dries, I apply a range of finishes and then use negative or subtractive systems, such as raising with a damp sponge, to eliminate some color and create shapes and define shapes. It is a slow process, during which I continually ask myself, what does this paint need? And what do I feel about this art? I also watch work in progress for a long time and intensely. I often put it on the floor with a mat around it. As I do this, the shapes seem to present themselves to define themselves. Now and then, I place a sheet of colored construction paper over my painting to help me imagine a color or shape in a particular area.
I also use my fist or fingers to block a possible offensive zone and indicate where I want states or stress in a painting. Pointers held this way or another can even help me visualize the direction of elements in a piece. Using my hands, I believe that I physically respond to my work, engaging another of my senses in a “dance” with painting. I’m not entirely aware of doing this, but my students say they find it fascinating. I make many changes to my work on the fly, adding or subtracting, to develop it and correct mistakes. Doing this gave me the confidence to trust my instincts. Not all paintings are as successful when I am working as I do, but I would not change the surge of energy and emotion that I feel when I start work, and I hope they are apparent to the viewer.
A limited palette
You will most likely base your palette on the local color or the actual color of the subject. However, a limited palette forces you to experiment with various color combinations. Create moods and emotions that are often more interesting than the local color arouses. A restricted palette allows a productive way to classify and approach color. It also increases your understanding of the value and harmony of colors.
The choice of color is called color matching and, if chosen well, creates color harmony. The harmony of colors brings unity to the painting and gives personality to the overall feel of the work. Your choice of theme can also dictate how you choose your limited palette. Be willing to try various color schemes, as the four mentioned here, and change the individual colors to your liking and desired result.
A one-color palette pushes you to remember about using the right conditions in your painting. The sketch, painted in mauve, has a wide range of light and shadow; a light shade like cadmium yellow or raw sienna would not have the range of values needed for a monochromatic paint. There is always harmony of colors when using a monochrome palette.
To create a complementary palette, add a compliment or a close complement to a monochrome palette. Since these colors are opposite or nearly opposite on the color wheel, they provide the most substantial contrast. Create more excellent contrast with value changes in mixes. Grays made by mixing colors create a harmonious color scheme.
The analog palette is an expanded color scheme that uses three or four closely related colors. The close color relationship creates color harmony. There are no complimentary colors in this palette to blend grays or fade any of the colors. Since the colors are closely related, a chromatic distortion is established. The bias will be hot or cold. The contrast is set with the values.
Adding another to your analog palette opens up many possibilities. Now color-coded for clarity and contrast, including numerous vibrant grays. Adding this complementary color gives an overall sense of color balance and is a good color combination to try before taking the next step towards full color.
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