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Sunday, 5 February 2012
Colour struggle
With the background in a painting. Must resolve today. Browsing artist work for help!
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- Posted using BlogPress from my iPad
Hockney book- A Bigger Picture
Not seen the exhib yet but am going with the tutored group on 14 Feb.
Interesting to read the book/ catalogue in advance. I find the use of large blocks of colour quite dynamic in some paintings. They challenge expectations of where colour 'should' be placed. Wonderful.
In the large Winter Timbers 2009, oil on fifteen canvases, fhe colour is fascinating. Violet foreground, blue trees ( aqua m. with White mix) mid ground GREEN with a rose colour band that sings against the ice blue pale sky. Logs in tones of ochre and cad yellows with touch green.
Certainly grabs attention. Patterned foregrounds evident in plenty of his work on the Wolds. H picks up on patterns of foliage, as well as the greater pattern and landscape rhythms. Love the colour.
He uses few tones, rather perspective and pattern to delineate distance.
Uses pink and brown, dark oranges for the mid band of the landscapes as in A Closer Winter Tunnel, Mar 2006
Clear that he ('sees) the natural patterns of the scapes, as in Looking East 2006. Here the horizontal structures are beautifully drawn and patterned against 'candelabra' hedge growth purple branches and tiny green shoots.
- Posted using BlogPress from my iPad
Interesting to read the book/ catalogue in advance. I find the use of large blocks of colour quite dynamic in some paintings. They challenge expectations of where colour 'should' be placed. Wonderful.
In the large Winter Timbers 2009, oil on fifteen canvases, fhe colour is fascinating. Violet foreground, blue trees ( aqua m. with White mix) mid ground GREEN with a rose colour band that sings against the ice blue pale sky. Logs in tones of ochre and cad yellows with touch green.
Certainly grabs attention. Patterned foregrounds evident in plenty of his work on the Wolds. H picks up on patterns of foliage, as well as the greater pattern and landscape rhythms. Love the colour.
He uses few tones, rather perspective and pattern to delineate distance.
Uses pink and brown, dark oranges for the mid band of the landscapes as in A Closer Winter Tunnel, Mar 2006
Clear that he ('sees) the natural patterns of the scapes, as in Looking East 2006. Here the horizontal structures are beautifully drawn and patterned against 'candelabra' hedge growth purple branches and tiny green shoots.
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Studio
Not north facing but light tends to be fairly consistent. Big window helps.
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- Posted using BlogPress from my iPad
Saturday, 4 February 2012
Composition in Practice- mid ground
I have tried in this painting of Winter on The Sandstone Trail - Peckforton Gap, to ensure that the mid ground colour is there, by blending in the tones and proportions used across the painting and foregrounding with ochre in the main.
Learnt? Well I have still to learn not to complicate with details. Colour shape is more important. Must look again tomorrow.
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Learnt? Well I have still to learn not to complicate with details. Colour shape is more important. Must look again tomorrow.
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Colour work, Composition in Practice, Life study,
Painted a red area as under colour on background to vertical composition. It came through beautifully under the aqua marine blue but then I messed up the effect by painting over again to adjust the background colour against the figure study.
You just can t get the spontaneity and dynamic warmth back.
Well I have learnt!
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You just can t get the spontaneity and dynamic warmth back.
Well I have learnt!
- Posted using BlogPress from my iPad
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