For the first class we began exploring all the beautiful greens we could make mixing different yellows, greens, and blues and accenting or neutralizing the green with Quin Gold or Perm Rose. For the above color reference, we created greens that can be used to make leaves appear to be "forward", "middle", or "background" by varying the pigments used. For example, leaves that appear "forward" were mixed using the most intense yellows (New Gamboge and Hansa Yellow Light) and most intense green, Winsor Green (or Phthalo G). For "middle area" greens, we mixed pigments that are both intense (the yellows) and the less intense glazing pigments or granulating pigments (Viridian and Ultramarine Blue, respectively). The middle ground greens developed with much more texture. "Background" greens were a mix of glazing pigments, Aureolin Yellow, Viridian, and Cobalt Blue. When developing a repertoire of greens, I considered a few principles of color perspective; properties of pigments that will give a painting perspective with color. (i.e. intensity pulls forward, neutrals recede; light values expand, dark values contract; warmness pulls forward, coolness recedes, etc.) We will incorporate these beginning techniques into our leaves painting next week.
Monday, May 4, 2009
Painting "Green" Workshop, Day 1
Study of Greens in watercolor
For the first class we began exploring all the beautiful greens we could make mixing different yellows, greens, and blues and accenting or neutralizing the green with Quin Gold or Perm Rose. For the above color reference, we created greens that can be used to make leaves appear to be "forward", "middle", or "background" by varying the pigments used. For example, leaves that appear "forward" were mixed using the most intense yellows (New Gamboge and Hansa Yellow Light) and most intense green, Winsor Green (or Phthalo G). For "middle area" greens, we mixed pigments that are both intense (the yellows) and the less intense glazing pigments or granulating pigments (Viridian and Ultramarine Blue, respectively). The middle ground greens developed with much more texture. "Background" greens were a mix of glazing pigments, Aureolin Yellow, Viridian, and Cobalt Blue. When developing a repertoire of greens, I considered a few principles of color perspective; properties of pigments that will give a painting perspective with color. (i.e. intensity pulls forward, neutrals recede; light values expand, dark values contract; warmness pulls forward, coolness recedes, etc.) We will incorporate these beginning techniques into our leaves painting next week.
For the first class we began exploring all the beautiful greens we could make mixing different yellows, greens, and blues and accenting or neutralizing the green with Quin Gold or Perm Rose. For the above color reference, we created greens that can be used to make leaves appear to be "forward", "middle", or "background" by varying the pigments used. For example, leaves that appear "forward" were mixed using the most intense yellows (New Gamboge and Hansa Yellow Light) and most intense green, Winsor Green (or Phthalo G). For "middle area" greens, we mixed pigments that are both intense (the yellows) and the less intense glazing pigments or granulating pigments (Viridian and Ultramarine Blue, respectively). The middle ground greens developed with much more texture. "Background" greens were a mix of glazing pigments, Aureolin Yellow, Viridian, and Cobalt Blue. When developing a repertoire of greens, I considered a few principles of color perspective; properties of pigments that will give a painting perspective with color. (i.e. intensity pulls forward, neutrals recede; light values expand, dark values contract; warmness pulls forward, coolness recedes, etc.) We will incorporate these beginning techniques into our leaves painting next week.
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