While on a trek to visit a tobacco farm in Cuba some years ago, I spied this diminutive lady trudging down the dusty road, clutching a load of huge tubers. I snapped a quick photo of her as she moved away and finally got around to painting her as homework for my watercolor class with Ed Praybe. Sweet memory.
Here’s a quick watercolor done on some super soft and absorbent handmade paper I had laying around. It’s based on a photo of some darling little girls dancing at their school’s holiday production. It only took a couple of minutes and it was a ton of fun!
In the most recent session with Bernie Dellario, my ‘7 Palettes’ buddies, sister Ceci and a few other folks, we made speedy, simplified interpretations of several Old Master paintings. With a limited palette of the 3 primary colors and about 20-30 minutes each, I painted these images :
A figurative, after the nude Venus of Urbino, painted by Titian (1538); a floral, after a magnificent bouquet by van Veerendael (1662); and a quick gouache study of Madonna and Child, after a beautiful one by Bellini (1510).
Painters have a wide variety of ‘tube colors’ to use in trying to achieve their desired hues. I’ve got 30 or 40 tubes of almost every color you can imagine, most of them untouched. For quite awhile, I’ve opted to limit the number of tubes I use, challenging myself to mix a broad variety of colors from a handful of basic hues. Painters call this a ‘limited palette’. It lightens the load of what you have to carry around with you and it helps give a unity of color to your painting. Nice attributes.
There’s no specified set of colors for a limited palette. In the past, I’ve typically used a ‘split primary’ group, which includes two versions of each primary color, plus white and maybe black. Each of the two selected primaries ‘bends’ toward a different adjacent secondary color. For instance, cadmium red tends toward orange (yellow), while alizarin crimson tends toward a purple (blue). Blues may include phtalo or cerulean blue which tend toward green (yellow) and ultramarine blue which leans toward purple (red). Split yellows might include cadmium yellow light, which tends green (yellow), and cadmium yellow, which tends toward orange/red.
If you want to mix a bright saturated orange using such a palette, you’d combine cadmium red and cadmium yellow, rather than alizarin red and/or cadmium yellow light – a combo that produces duller, less saturated oranges. And so on.
Here are a few of my paintings using the split primary palette.
More recently, as a result of a zoom class with Bernie Dellario and a number of painting buddies, I’ve been working with an even MORE limited palette — just three primaries + white & a neutral earth red: Hansa yellow; pyrole red; ultramarine blue; transparent red oxide and Titanium white. What a challenge, but I think I’m getting the hang of mixing a broad range of colors from these meager starting points. Here are some recent paintings using this palette.
Here is the series of monochrome studies, all 6″ x 8″, done during the workshop with Bernie Dellario. Such a concentrated repetition of that exercise was useful in helping us spot values quickly.
For Day 6, I posted a more conventional figurative piece ~~ a young visitor who plopped herself down to wait til her mom finished visiting. She was such a sweet ‘Patient Reader’.
Day 5 brings another experiment off my beaten path. We were told in a workshop to draw a wandering line around our canvas without looking — and then turn it one way and another to see what it might suggest. We developed and painted expressive compositions out of our simple lines. I like how this turned out. I imagined the figure on the right as a mother and the other figures her sons, heading outside. She’s saying ‘Be Safe, My Sons!’ Now she’d probably be saying: ‘WEAR YOUR MASKS — and be EXTRA CAREFUL!!’
My Day 3 painting hearkens back to a trip to Havana a few years ago. This striking statue guards the ornate staircase of a decrepit mansion, now serving as home to a dozen families. We trekked up four floors to reach an avant garde ‘paladar’ (privately-owned restaurant permitted by the government in an experiment in capitalism). It was good, but not as memorable as this ‘Decayed Beauty’!
I’ve been busy on other things for quite awhile (largely grantwriting for the Ohr-O’Keefe Museum of Art in Biloxi, MS), but want to catch you up on my art doings, such as they’ve been since my last post.
Here’s a fun iPad/ArtRage portrait I did of grandson Ben sitting on a big boulder. I loved the pose and colors. Palm trees are also a favorite of mine, but they’re a particular challenge. And foreshortened legs and feet? Another opportunity for close observation ~~ and a little fun exaggeration.
In the last post, I included a photo I took of Dad during our July 4th party in 2010. I have always treasured that shot. Back in 2014, when I was beginning to experiment with gouache, I decided to hazard a rendering of the fuzzy image. I got it to this stage in my first session and put it aside for further work. I have never had the nerve to do more on it because I was afraid of messing it up or not doing Dad justice. I’m now declaring it ‘officially unfinished’. It’s not gonna be changing. I like it ‘as is’, shortcomings and all.
