Showing posts with label complementary color. Show all posts
Showing posts with label complementary color. Show all posts

Thursday, August 4, 2011

Hazy Sunshine on Lake Superior

Hazy Sunshine 5.75" x 7.5" Oil



Here is another look out onto the great inland sea that is Lake Superior. It was a cloudless afternoon at the cabin. The sky was faintly hazy and yet the lake sparkled like diamonds. A brilliant contrast to the purplish-brown rock. The small spruce tree hangs tight to this rocky, lichen covered outcropping above Lake Superior. It is battered by the elements but its roots go deep into the cracks in the basalt.




This painting is done on book board primed with three coats of vermilion colored clear acrylic gesso. It give me a nice toothy surface, a little rougher than regular gesso. I started using clear acrylic gesso as a ground for my pastel paintings and find it is also nice for oil.




I will be showing this painting along with several others at the Phipps Center for the Arts in Hudson, Wisconsin. The show will run August 19 to September 26. The opening reception is Friday evening, August 26 from 6:30 to 8:30. More details about the show next week.

Friday, July 8, 2011

Luminous Twilight Colors

Lake Superior Sunset, Peach Pastel, 4.25"x4.25"




This small painting was done looking west along the shore of Lake Superior to what is known as the Sawtooth Mountain Range.




I started this painting with a watercolor wash to lay in some complementary colors to the pastels used to render the final image. You can see the texture of of the cold pressed Arches watercolor paper. The texture worked out well to help me show both the small waves on the water and the rough rocks of the shoreline. I primarily used Rembrandt and Unison pastels and then put in some details with Carb-Othello pastel pencils.




Pastels work especially well to capture the luminous colors of the long twilight along the north shore of Lake Superior. We are located about forty miles from the Canadian border where in midsummer twilight lasts until after 10 PM on the summer solstice--noticeably longer than twilight in Minneapolis and St. Paul. Not quite the same as the "White Nights" of a Scandinavian summer, but almost.




As I sit here describing this painting, I realize the titles of this series should have been "twilight" not "sunset." Too late: the titles are posted on the gallery walls. If you want to see them in person go to Betsy Bowen's gallery in Grand Marais, Minnesota. The Summer Underground Show will be there until July 27.








Sunday, September 20, 2009

Thompson Lake Again, and More on Grounds


Here is another small painting done the second afternoon I was at Thompson Lake. It is the same scene as the last post but the view is widened to take in more of the shore. Again, it was done on panel primed with clear acrylic gesso tinted with cadmium red.

Since my aim is to do 100 oil paintings as quickly as possible I decided to use up some pieces of bookboard that are about 1/8" thick. Too thick for the books I make but perfect for doing the little paintings. Most are now primed the warm cadmium red. The red is a good ground color since many of the paintings will be landscapes that are predominantly green. Red, the complement of green makes a nice vibration in those spots that are not covered with paint.

Some panels are primed with white acrylic gesso to which I have added a bit of pumice. The white is appealing since a painting can be blocked in with the color (or its complement) of the subject. As a pastel artist I almost always use white Wallis sanded paper. My process is to block in the painting with pastel and then wet it down "melting" the pastel into the paper. You could get the same effect by doing a watercolor underpainting. At any rate, there is something familiar about looking at a fresh, white panel. And the color just seems to sparkle on it. I have been using the same process with the oils by putting down an underpainting of thinned paint.

Other panels have been primed with the clear gesso (untinted), that way I end up with the natural, gray color of the bookboard. Having a medium value gray makes it easy to establish the values in a painting since your eye is not fooled by the stark white of the ground if that is what you are starting with. I tried one painting on this gray panel today. When I get it scanned I'll post it.