The Twain Shall Meet
9X12, Oil on Panel
#10 of 50
Showing posts with label mood landscape. Show all posts
Showing posts with label mood landscape. Show all posts
Monday, February 19, 2018
Saturday, July 11, 2015
Still Pumpin', Version 2
Still Pumpin'
8X10, Oil on Panel
Available
This is one I decided I would rework. I had really liked the initial concept and had liked my first version of it but as time went on I became less satisfied with it. I had tried to work it as a larger piece but was not happy with that either. This version is a direct repaint right on the original version.
Friday, December 5, 2014
Memories of Woolum
Memories of Woolum
8X10, Oil on Panel
SOLD
This is a studio piece based upon daytime pictures and my memories of firefly filled night at Woolum on the Buffalo River.
Tuesday, February 4, 2014
Misty Womble Stream, Montgomery County
Misty Womble Stream
11X14, Oil on Panel
This is based on a photo taken by my wife on the Womble mountain biking trail.
Tuesday, August 6, 2013
Carver, Buffalo National River, Newton County
Carver, Buffalo National River
18X24, Oil on Panel
SOLD
Here is another one of my entries into this year's Arkansas League of Artists Juried Show. I have very fond memories of camping here at Carver on the Buffalo River as a teen with several of my friends. It isn't one of the more frequented campsites on the river but we sure had fun here.
Tuesday, November 13, 2012
Slowing it Down, Hwy 65 Northbound
Slowing it Down, Hwy 65 North
8X10, Oil on Panel
SOLD
Right before winding into Searcy County, Highway 65 plunges down into the Little Red River Valley. It's a potentially treacherous descent for semi trucks, especially in the rain.
Wednesday, January 11, 2012
Blue Hill, Pulaski County
Blue Hill
11X14, Oil on Panel
SOLD
Lately, I have been having a lot of trouble with my camera overemphasizing blues in my paintings. No such problem here. I am also very pleased to say that I was able to use more than 1 blue in this painting! In fact, all 3 of my major blues are here: cobalt, ultramarine, and prussian.
Wednesday, October 12, 2011
The Soul of Blues
I don't really practice any precise "-ism" but if one were to ask me what type of art it is I create, I suppose I would answer with the term "tonal impressionism." I say this because I think that colors have specific moods and qualities and when used together in certain manners, a synergy can be achieved that sets the stage for the subject matter. The subject matter is somewhat secondary to the general overall impression of mood which is achieved via the interplay of carefully selected and limited color palettes.
It is from this standpoint and mode of thought that I conclude that the selection of blue in a painting is perhaps the single most important aspect in the color palette. I am finding that while I may use several yellows and possibly a couple of different reds, one single blue produces the best result for me. Two blues are competitive with one another. The intrinsic mood or soul of the painting is contained in the blue. I do think that sometimes a second blue may be used if in very small quantities for a specific purpose. For instance, I will sometimes find myself needing a touch of cerulean to give a summer sky a bit more power but other than that, the second blue is very very rare.
Some of the characters that I find in blues are:
Cobalt (PB28) - Earthy but bright and warm
Ultramarine (PB29)- Cool and serene
Prussian (PB27)- Unpredictable, wild and moody
Phthalo - I don't have much experience at all with pthalo and it comes in both a red (PB15:1) and a green (PB15:3) shade. But painters I know who use it exclusively tend to have results that are soothing and deep.
Cerulean (PB35)- powerful and transcendent but being opaque and high value out of the tube not a candidate to carry a painting solo. This is the only blue that will augment another well.
There is also the difficult to find Manganese blue that while I've never used I would probably put in a similar category with cerulean. It is relatively opaque and high in value compared to other blues and this makes it difficult to wield in the shadows.
Phthalo is considered to be a Prussian replacement. Due to the unpredictability of the pigment for Prussian blue, it can vary rather wildly in character from batch to batch. Also, it behaves very differently in tints from phthalo which retains it's character more readily while Prussian can have a tendency to get smokey when highly tinted.
I want to caveat the above information: these are my impressions from my experience with mixing and working with color. Even if you have used the same pigments as I have, you may have an entirely different mindset on how you want to accomplish your goals and this may be totally useless to you. But from how I approach and think about color and the goals I want to accomplish, these are my conclusions. I also want to state these characters I perceive are really only useful when you consider how they mix and interact with other pigments and not on their own.
It is from this standpoint and mode of thought that I conclude that the selection of blue in a painting is perhaps the single most important aspect in the color palette. I am finding that while I may use several yellows and possibly a couple of different reds, one single blue produces the best result for me. Two blues are competitive with one another. The intrinsic mood or soul of the painting is contained in the blue. I do think that sometimes a second blue may be used if in very small quantities for a specific purpose. For instance, I will sometimes find myself needing a touch of cerulean to give a summer sky a bit more power but other than that, the second blue is very very rare.
Some of the characters that I find in blues are:
Cobalt (PB28) - Earthy but bright and warm
Ultramarine (PB29)- Cool and serene
Prussian (PB27)- Unpredictable, wild and moody
Phthalo - I don't have much experience at all with pthalo and it comes in both a red (PB15:1) and a green (PB15:3) shade. But painters I know who use it exclusively tend to have results that are soothing and deep.
Cerulean (PB35)- powerful and transcendent but being opaque and high value out of the tube not a candidate to carry a painting solo. This is the only blue that will augment another well.
There is also the difficult to find Manganese blue that while I've never used I would probably put in a similar category with cerulean. It is relatively opaque and high in value compared to other blues and this makes it difficult to wield in the shadows.
Phthalo is considered to be a Prussian replacement. Due to the unpredictability of the pigment for Prussian blue, it can vary rather wildly in character from batch to batch. Also, it behaves very differently in tints from phthalo which retains it's character more readily while Prussian can have a tendency to get smokey when highly tinted.
I want to caveat the above information: these are my impressions from my experience with mixing and working with color. Even if you have used the same pigments as I have, you may have an entirely different mindset on how you want to accomplish your goals and this may be totally useless to you. But from how I approach and think about color and the goals I want to accomplish, these are my conclusions. I also want to state these characters I perceive are really only useful when you consider how they mix and interact with other pigments and not on their own.
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