Letters to Students #7
This 'Letters to Students' blog is composed of replies to real people who were studying with me at the time. They have been lightly edited, mostly for clarity.
On color limitations in mixing ---
Since blue and orange neutralize each other --that's one of the hue limitations of our paints. We can't really do a truly blue shadow on something that's bright orange but you can give that illusion by vibrating some of the color rather than thoroughly mixing it. Emphasize the blue in one area--the orange in another and let them visually mix.
Composing using a range of values ---
I think I've mentioned this before but you have a tendency to compose with objects that are very close to the same middle and dark values. Without some value contrast and some places where white can be used effectively , it's more difficult to try to create form or a center of interest and that might be leading you to try to overcompensate with color? Just a guess, but the more successful paintings you've done have objects with more of a range of values.
Off white objects ---
This may be sort of a personal taste thing but I usually won't compose with off-white pottery unless I have something else in the painting that is white. Otherwise it tends to look like a white object that the artist didn't quite know how to pull off.
Working with Mars violet ---
I rarely use Mars Violet for shadows because generally I'm trying to keep those areas more transparent and it's a very opaque pigment.
On color mixing and matching what you see ---
The thing is--these mixtures are never right in and of themselves. You aren't matching this one and then matching that one.The notes of color are only right if they are related to everything else and if you are capturing the effect you're after.
Strong value patterns and center of interest ---
I think the difficult thing with this composition is you have the detail and color in the upper right but the more compelling contrast in value is really the cast shadows in the lower left, so the viewer isn't really sure where to look. As you paint more you'll get a better feel for how you are going to interpret things in paint and that will help you to choose photos that will translate better into a painting. Squint at the photos before you begin. Then turn them sideways/upside down and squint again. Your eye should be going to the same spot and hopefully it's where you are planning to have your center of interest.
Progress and frustration ---
When I first open your reference images I think 'Uh oh!' and then am pleasantly surprised at how well you have handled things. I'm really not someone to be overly complementary but I can clearly see that you have assimilated a lot of the lessons I'm teaching and have done so pretty quickly -- the notes of light and shadow, transparent/opaque, definite centers on the flowers, keeping notes of color apart from each other, etc. You are comparing edges, color and values well. I can relate to the frustration though! When I was in school I always wanted to stop once I saw a bunch of mistakes. My teachers would sometimes have to force me to keep going but often I couldn't see what was good about my work. As long as I see someone continuing to make progress , I feel a student should keep listening to what fits with their personality as that is what will guide them to paint in their own voice. I know it's terribly frustrating trying to improve when you want to so badly, but you are doing it and I wouldn't say so if it weren't true. The students who aren't frustrated enough are the ones who concern me. You don't want to get so frustrated you quit though, so some sort of middle ground is what to aim for there.
