SMALL COLOR STUDY

Today was another turn at sitting at Gallery Concord. I had borrowed an out of print book by Christopher Schink on color from a friend, so this was my opportunity to read it carefully and try out a few of the principles. I felt like I needed to be more conscious in my use of color. I revisit this subject from time to time. It seems like I glean a little more each time. Something registers that didn't before even though I know it was discussed and/or covered in a class. So, this little study was done in my Aquabee sketch book 6" x 9" using my little travel kit. I finally loaded the second tin with 6 more colors. New Gamboge, Quin Burnt Orange, Tiziano Red (Maimeri Brand), Peacock, Ultramarine Blue and Fog (an opaque off white from Cheap JoeMy idea was to have mostly lowered intensity colors with a contrast of a few pure hues in the focal area and mostly warm colors with a contrast of cool. It was a pleasant way to spend the afternoon.

THE DEFINITIVE WORD ON COLOR VS. VALUE!

Mike Bailey (http://www.mebaileyart.com) has sent me his considered explanation of the difference between a "color painter" and a "value painter" It is beautifully explained by one of the best teachers around. I have his permission to share his thoughts with you. Mike has a current discussion on his blog regarding design which you should definitely check out as well!


"Topher brought this up under the following context: That the only way painters can delineate *volume* or *form* is by manipulating values. That is to use values as light and shadow would behave. Alex Powers is a Value painter. He establishes form using little color and a lot of value changes. He augments his work with some textural qualities, but the image is value based. Value painters (the most common among us) us extremes of value (dark vs light) to hold the eye in an interest center or focal point.

On the other hand, colorists, are not always interested in the idea of form or volume. Instead they are more interested in showing off color differences, (hue, temperature or intensity), WITHOUT showing value shifts . . . . .that is holding the values constant . . .no indication of light and shadow . . .just flat space with color, not value, shifts.

What Powers and Schink are saying is that in a "value painting" the value differences distract the eye from the more subtle color shifts, such as a slight temperature change in red, for example. If a significantly darker space was near that temperature shift, it would not appear as obvious because of the distraction of the value contrast.

This goes to the "order of seeing." Where we see value differences first, pattern or texture second and THEN color differences. Physiologically, our eyes are made that way. We don't have a choice in the matter.

So, color painters, or colorists, rely on subtle or no value changes in order to show of color variance in temperature or intensity or hue. Luminosity, where the appearance of light coming FROM an object or surface (versus illumination . . .where light is shining ON a surface) is painted by keeping values very close, no darks, no whites . . . .using pure color tints in the luminating area and surrounding that area with near neutrals. This is an intensity change, not a value change.

Skip Lawrence a few years back was on a chase to paint "color as value" where he would use the natural value of colors as they came from the tube to show value changes and ignored the actual hue. for example, in a light and shadow situation, he might use a peach tint for light and a deep purple in shadow. The value difference was the key in his paintings. Where there were subtle color shifts in his paintings such as a change from cool red to warm red, it could not hold the eye . . .and was often missed by the viewer because of the value difference between the peach and purple.

Can painters do what Myrna did in her portrait? Absolutely. She used color as value in her peice and shows off big differences in warm hue versus cool hue . . .but the value structure is still intact. So, Alex Powers would (probably) say that hers was a value painting with colored textural elements exciting the surface.

The key in what Topher was talking about was to decide between flat versus form."

Finally, a clear definition of "Value vs. Color" that finally gets it through my brain! Thank you, Mike. I have taken Mike's class "Watercolor Beyond the Obvious" 3 times (see "series" on my website) and I remember this discussion, but I don't think I truly understood it until now. I think color may be the most complex subject in art. So great to realize that learning never stops and there is so much more to explore! I guess I am a colorful value painter. Very few of my paintings are truly "flattened". I have posted one of my exceptions. At the time I thought I was doing "color as value" and working with pure hues but now I see that although the color has value, the value is not used to define the form in a 3 dimensional way so it is a color painting with pattern as texture. My previous post of Preston Metcalf was more of a true example of color as value.

SCVWS DEMO BY "TOPHER" SCHINK

Sunday, the Santa Clara Valley Watercolor Society had a wonderful demonstration by Christopher Schink. Everyone calls him Topher, so I shall use that name as well. He is the co-author of the "Palette" magazine, along with Skip Lawrence. With names like Topher and Skip, how can you go wrong. These guys have to be loads of fun! I keep meaning to order the magazine. I let my subscription lapse. Every page is valuable, without advertising or editorial. There are those annoying cards in some of the art magazines that are stuck between the pages and often fall out. One of them is an order form to subscribe to this publication. You can also order it from Cheap Joe's. Those are the only two ways to come by it.

I took lots of photos of his demo painting. Fortunately, I have finally solved the problem of not being able to post photographs. That kept me off the blog for 3 days while I was tearing my hair out and screaming curses. Now, if I can just get the printer to print, I will be back in business.

The first photo posted here is his palette. He uses fresh paint each time. You can see he is very generous in loading up the thing. He has some unusual colors that he must use on a regular basis. He paints with very saturated color using a "Skipper" Brush which has stiff bristles. Not your wimpy watercolor approach, to say the least. Here is the final result along with some of his words of wisdom.

"A photograph shows us everything a painting isn't"...Picasso

The "what"of the painting is not as important as they "why" you are painting it.

There are no born geniuses in art. You have to work your way up to "Genius".

and lastly: Everyone is influenced by others. Borrow then make it your own!