We will be discussing color theory. There will be a very quick review of the principles of composition and the value studies we have been doing. I will talk about the need for doing color macchie. Then onto color theory in depth.
"Imaginary Landscape" 2010
"Loiano, Italy" 2010
Agenda:
1. Use and mix complements correctly 2. Understand values and saturations for various hues 3. Use color in greys and middle values 4. Identify and use color harmonies 5. Use special color techniques to enhance a painting
August 23rd: Preparation for Next Weekend's Fishing and Painting Workshop:
Review and Assignment: We emphasized composition and "macchia" or pattern during our first weekend. Please continue to create macchia (both mass and line) and exporatory drawing with the large brush. Example:
Note: This can also be done in a very subtle way. Keeping the pure sienna color and going light (mix sienna with white) and spending more time drawing until your composition and "concept" comes through. Example:
Practice: Keep trying to use color pool mixing. Use the palette knife or brush to "drag" colors into one another as shown:
We also talked about the importance of studying "old" masters like Constable and the need to strike a balance between realism and abstraction. Here is one of my Constable studies:
Try some line macchie:
Or attempt a line macchia and then add some watercolor notes for colors as shown below in this example;
Some quick work done last weekend:
"View From Up High", finished in studio from plein air notes (2010)
Describe historic phases of landscape painting theory
Use mass macchia and creative space divisions
Use large brush drawing with expressive strokes
Use eye movement and focal point techniques to create compositions
Use counterpoint and other line techniques to create compositions
Create basic color pool mixtures based on seasons
Narrative:
Although landscape painting has a long history, we will arbitrarily begin with Corot and the French school. Corot mixed his colors and utilized value changes very skillfully, his colors were muted and soft. He anticipated impressionism and introduced a high level of romantic naturalism. A Corot study:
Constable introduced a more impressionistic style both based upon the Dutch tradition and, at the same time, exploratory techniques of abbreviated statements and expressive brushwork. His oil sketches were very avant-garde for his time and his mastery of freedom and observation unexcelled. His work represents the beginnings of abstraction and expressionism in landscape. A Constable study:
My own work is highly influenced by both of these painters. Here is a recent plein air painting in progress based on painting sessions off of Willamette Street (cemetery near 43rd Street):
One aspect of this approach is color pool mixing (described below) in which broken color is created by dragging adjacent colors into one another in a circular color pool. Highly saturated browns and reds intensify in relation to the greens and ligher areas.
