Kruispoorte version #1, 2009, a lovely painting but perhaps the development of the greens was a little flat.

Anyone who attempts to paint landscape has to deal sooner or later with the problem of green. Of course, some might not even consider it to be a difficulty – but I do. So what’s the problem? In a nutshell: #1) the profusion of greens in the natural world contrasted to #2) the difficulty of rendering them to any degree of accuracy on the pallete/canvas/panel.

Kruispoorte version #2, 2010, blue level, I'm struggling with my differentiations here.

From a pigment point of view, there are relatively few tube greens out there in contrast to the wide arrary of tube choices for other colors. Viridian, the strongest green pigment, is widely used, otherwise if you need something different, you just mix it up from some combo of yellow and blue, or even yellow and black. However, if you attempt (as I do) to arrive at a beautiful green through color layering (for example, a blue glaze over a yellow substrate) then you might indeed create a wonderful green, but find yourself unable to modulate it very much to it’s other (very green) surroundings. Hence an indirect technique for color development is a bit too inflexible.

Kuuispoorte #2, 2010, brown glaze level, a solution of sorts.

Thus, my current approach, to painting in general, but also to green in particular, is to minimize my pigment choice, decide on an approach and then modulate my color relations to it. For painting greens, this can mean using or mixing a master green, modulating a master chartreuse, blue green and/or gray green from that. Then tints and shades from each of those. If I am painting wet into wet, then the color of my glaze will certainly have a direct (color) effect. If it is an earth glaze (umber or sienna), the effect is quite grounding (no pun intended). Nevertheless, color is absolutely relational (a la Josef Albers) and nowhere is this more true than in the attempt to render the multitudinous greens of the natural world.

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I’d rather be blue…

July 14, 2010

My theory of painting is simply this: travelling has to be at least as interesting as finally arriving. It helps to have a numinal idea of what arriving should actually look like, but it wouldn’t be “art” if I already knew, would it? Thus, I always experience a certain kind of hesitancy as I approach the final levels in a painting. Do I really want the journey to end? Will this level “do” it? Or will it need more? And if so: what, where, how? Will the final image end up looking like a bored adult in comparison to its earlier youthful promise? Should I have stopped at some earlier vantage point along the way and just grabbed the ‘chute?

Additionally, imposing a chromatic structure on image development allows for lots of lateral exploration at each level of additional color. Or to put it in even simpler terms, it helps me to control chaos. Chaos of my own emotions and my emotional reactions either to the subject matter or the developing image in front of my nose. But too much control results in lifelessness, too little, and it’s just chaos.

Riding the surge of that inbetween space, of that wave, is richly rewarding: both exhilirating and terrifying. Committing myself to it involves a kind of surrender and also a kind of trust. If I imagine that the landscape I paint is essentially external to me, if I imagine that the paints I use are essentially “other”, if I imagine that the world itself is not a part of me and myself a part of it, then there is fear.

So, instead of experiencing distance to it all like some alien stranger, I’d rather be blue (thalo or ultramarine, to be exact)…

I am curious, yellow?

June 17, 2010

It isn’t often that I have numerous paintings completed to the same level at the same time. However, since I am preparing for an exposition and have entered into production mode on a number of pieces, right now I have four paintings drying in their yellow stage. There is something particular and special to be seen in these “monochromatic” stages which soon will be integrated into full blown colorful images.

It is a curious level, one of overall hue reduction, of lowered value contrast too, of subtle nuances and above YELLOW, contrasted against gray (which of course becomes pushed towards its complement, purple). The underpainted hues that have been developed in the egg tempera stage shine through subtly, as gentle reminders of potential futures, still yet to be heeded or ignored. Who can tell?

Even an abstract background that I know is intended to become a “blue” sky will have elements of the sun’s yellow light within it. If I state it now, it will always be there, ready to rise to the occassion by the brush’s trumpet call.

Thus, succcessive stages build back upon the basic statements made in the yellow layer. Warm reds and vibrant greens depend upon a good solid yellow. Yet sometimes, I find myself satisfied with the yellow layer just as it is. Fini. Perhaps it’s only my insatiable curiosity which keeps me wondering about what’s round the next bend, keeping me from lingering with the yellow level and just calling it “done”. So, I document it here: an interesting level, worthy of note, even if today it’s only electronic.

Light and Color

May 19, 2009

To talk about color divorced from whatever medium in which it is suspended means necessarily taking a theoretical approach. So, a small digression here:

There are many ways in which both the painter and the scientist approach color. For the scientist, a rational model is constructed to categorize and describe it as a phenomena. At colorsystem.com there is an excellent presentation of the various scientific theories that have been created over time. At rationalpainting.com I recently discovered an online community of realistic painters who apply the Munsell Color Theory in a very practical way to their working methods. Additional to scientific theories, artistic color theories tend to be more relational, more psychological, and ultimately more visceral. The theories of Josef Albers, in ‘The Interaction of Color’ and Johannes Itten, in ‘The Art of Color’ are two such 20th century examples.

Another way to approach color involves viewing it from the standpoint of light itself, that is, additive and subtractive light.  Notebook has an interesting resource page on the topic of Light and its qualities. Thus, while the painter’s craft necessarily exists in the world of subtractive light, by manipulating mediums and pigments to experientially stimulate thoughts, emotions and sensations, it derives – as does life itself – from the world of additive light.

additive primaries

additive primaries

The primary colors for additive light are red, green and blue. Thus, if three different spotlights are focused together upon one location, and one light is covered with a filter of red, the second of green and the third blue, the location itself will reveal white light to the human eye. The technologies of television, computer screens and color separation in the printing industry are all based upon additive light theory or RGB (red, green, blue).

subtractive primaries

subtractive primaries

The primary colors of subtractractive color theory are yellow, red, and blue. Every young child learns this in kindergarden. He/she learns quickly that yellow plus red makes orange, yellow plus blue makes green, red plus blue makes purple, and all three together create black (or a very mucky brown).  I call this kindergarden primary color.

process pramaries

process pramaries

A further refinement to subtractive color theory are the primary colors of the printing industry. Rather than the yellow, red and blue of kindergarten, the printing industry uses process yellow, magenta, cyan and black. Process yellow actually contains the slightest bit of green in it – a cool, translucent, lemon yellow. Cyan is a translucent and dark turquoise kind of blue. While magenta is a cool, translucent ruby red, similar to the external fleshy covering of pomegranate seeds. These subtractive primaries, derived from additive light theory combine in different ways – principally through layering –  to create the whole gamut of visual color that we experience in 99% of our printed material.

If magazine green never comes from green ink, then why should an artist mix his or her colors so easily on the pallette? Similarly, a painter’s green created from superimposed layers of yellow and blue is qualitatively a different experience than that of a mixed green on the pallette. Since painting occurs in the world of reflective light, and subtractive color combinations are experientially clear, it’s also reasonable to ask, how much pallette mixing is truly necessary if the beauty of light itself is the goal? Any color we see in the natural world is always more beautiful in the degree to which it can transmit light. The ancient techniques for creating imagery are time tested procedures for isolating, cherishing and showcasing the spectral purity and luminosity of individual pigments. The medium of oil itself being particularly adept at transmitting light through layers.