A big shout-out to SIP team member Karen's homework. I don't think much about colour or even how my palette is arranged. It's second nature and actually never thought much about it either. If anything, I'm playing colour against each other like a chess game looking for the third colour that completes the picture.
So, as a recent painting coach for me colour is simple, I paint light and connect that with a prism....case closed! Not so much for the team.... they often struggle with piles of premixed colour trying to reference match or on a bad day, producing dirt in the process. Basically floundering with a palette that has no relationship to one another than visual chaos.
So, as a recent painting coach for me colour is simple, I paint light and connect that with a prism....case closed! Not so much for the team.... they often struggle with piles of premixed colour trying to reference match or on a bad day, producing dirt in the process. Basically floundering with a palette that has no relationship to one another than visual chaos.
Karen brought it to the forefront for me with a simple palette "map" placed under her glass palette. What that meant to me was a New Google Search!
GLASS PALETTE
(split layout - warm left, cool right)
Thank you Karen!
(colour bar should be reversed)
WOW! Lots of colours! But, I don't use all of them at the same time, if I were to, this would always be my arrangement. Warm Left with green separating cool right.
RAINBOW
PRISM
GREY SCALE/COLOUR
SAME VALUE
Okay! Fun graphic project about "Visible Light". Gotta love google! But the most interesting thing I found were these colour chips below. They showed clearly how related tonal colour will "POP" clean colour. There is no mud..... one of my favorite comments. As long as you have a decisive tone, the eye can compare to another colour, there is no such thing as mud.
I mix all colour from a single pile and when it spreads out a bit too far or into thin patches of different mixtures I use a paint scraper to bring it back into one single toned pile and start the process over. It's a great work process because everything on the canvas will be colour related....plus no paint waste! Better to blend paint on the canvas than the palette. Also why a constant palette layout is beneficial...it becomes intuitive (less thinking). Often we are cooling or warming up a colour so it makes sense to group cool and warm colours separately, as in a split palette.
RELATED COLOUR TONED - COLOUR POPS!
(mix from a single pile = colour relationship)
TRIAD COLOUR SCHEME
(third colour)
My "third colour" comment revolves around a triad colour scheme typical in my work as a designer and a painter. I never really know what or when that "POP" colour will reveal itself but it always does! The basics of colour are learned in kindergarten and grade school painting/art classes....yellow and blue makes green and so on. The triad is shown clearly on the wheel below. We most likely have every colour shown below on our palette as a norm. Note: I use no earth colours like umber tones and no reason to have them on my palette. During the mixing process there will be more than enough neutral tones available without the premixed burnt umber's or even black. If I remember right, Yellow, Blue and Red make Black! My personal favorite black is Prussian and Alizarin Crimson and a more recent one added, Dioxin and sap green.
- A colour scheme that includes any (3) colours equally spaced on the colour wheel.
- One dominate colour, a secondary colour and one to POP! (The third colour)
JAX'S PLAYROOM
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