Thursday, Week 18: Kenny - Complementaries (?), Oil on Linen (14/05/2020)
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- Опубликовано: 13 май 2020
- Today we remind ourselves that color doesn't necessarily equate to saturation. I'm completely aware of the fact that if we start from a saturated pigment we can gray it down, but if we start from earthier pigments we cannot saturate them. We can work really hard at trying to make them look saturated relative to all the colors surrounding them, but we cannot change their nature. So for today, just to try something different, instead of using a high chroma orange, we're using a, let's call it, earth orange. I mixed yellow ochre with transparent red oxide, which pretty much mixed a raw sienna which LOL, is a color that I'm not really fond of using!!! For the blue hue, ultramarine blue is making a combat, but now offering different possibilities than the ones from yesterday, by not mixing it with titanium white too much and letting it's blue-violet nature shine in all its glory. So, are these complementaries??? No, it doesn't quite work that way, because we're already cheating by starting out with a grayer orange, so there's no sense of achievement by mixing it with a blue (particularly ultramarine blue which is a very "sober" blue) and getting a neutral gray as a result. Regardless of this obvious fact, it was fun to take the opportunity to understand orange as an earthier alternative and see how it behaves with ultramarine blue. And because it was a far more controlled paint from the start, I thought I would just have a blast and push shapes with this portrait of the awesome fellow painter Kenny Harris. Today's effort then is an example of yes, finding far more forgiving relationships when we start with lower chroma pigments, but reminding ourselves of the possibilities that lie within the fundamentals of representation, that allow us to push gesture, character and shapes, shapes, shapes!
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This is impressive, I love these exaggerated shapes! There are so many painting colours I have hardly ever used. Making very limited palettes with just 3 or 4 colours, especially colours I've never used before is honestly the most fun I ever have with painting.
“Once you set your ways into what the purpose of a color is...you’re dismissing an entire universe of possibilities that that color has to offer.” (6:17) ❤️❤️❤️
Nico I love when you push forms and push the wonk, those are some of my favorite portraits of yours, also I have soooo much respect for caricature those guys are extremely talented and their knowledge and discipline is actually something to admire!! Those artist doing caricatures at fairs are actually extremely talented fine artist and most people don’t realize how hard it is to push form that far and making it function still as a whole!
Levine and Kruger are amazing artists, thanks for this and all your other lessons, full of gems every time. You’re one of the most amazing teachers I heard!
Awesome painting.... I will look at complimentaries now with the realization that there is so, so much to explore and discover! Thank you.
Agreed this is a great painting. I love the finished product!! It is beautiful!
Nicolas, I’d love to learn more what a “lake” paint is. I hear you speak about it yesterday and today...my google research isn’t getting me very far. At first I thought you were referring to a category designed by a brand, but now I’m gathering its more of a category such as how “cadmiums” share grouped properties. Anyway...this is the first I’ve heard of “lakes” and I’d love to understand it better! Thank you-thank you! 🙂
Got it. Thanks!
I always learn something when I watch and listen to you. Thanks!
Learn more every day from you. THANK YOU !
Fantástico, sorprendente, flipante! Bravo!!
me gustan tanto tus videos que yo no se si escribo en inglés o portugués o espanhol. vou fazer uma mistureba então. saludos querido! graciasssss you r paintings and the things you say make an huge impact in the things that i choose to do as an artist.
Primeroooo :)
Nice painting.
But is it realy linen? Looks like cotton to me.
Could Burnt Sienna been a preferred choice?
What do you consider a “cheaper” yellow ochre? Would you say a standard Gamblin or Utrecht or Windsor newton to be “cheaper”? PS. I disagree with the critics, I think your charicatures are not lesser to your “disciplined work”. 👍 keep it up
Usually this is pretty objective, it's not my "opinion". Cheaper colors are less expensive for two reasons. They either have less pigment to binder ratio, so you're getting a pigment with far too little tinting or covering strength which does not exemplify what a well produced version of the color can do. Or they are referred to as "hues" or imitation pigments which are usually less expensive alternatives to more expensive pigments (less expensive as in cheaper to produce), or colors that have been mixed to try and get close to the hue of a single, purer pigment. I think while it's not entirely always the case, cheaper pigments are less expensive and purer pigments are more expensive That's a simple rule to follow. But, like I always say, buy whatever you can afford, and make the best of it :)
Our Painted Lives thanks for your beautiful clarification. I was wondering if you were referring to the hues and “student” grade stuff. 👍👍👍
check out this post on James Gurney's blog about John Singer Sargent's portrait of Coventry Patmore. It's a wonderful example of how caricature can manifest in fine art...
gurneyjourney.blogspot.com/2010/09/caricature-and-likeness.html