oF go hah 5, ATte ee

cee Mae Tes Reels he tee 6

$22.99 U.S.A./$26.99 Canada

This painting by Stephen Quiller—one of dozens in Color Choices—illus- CADMIUM

trates what can be done with a triadic color scheme. The accompanying ORANGE
\
circular diagram identifies the specific colors used. It also shows how COBALT \
those colors were chosen and relates them to the Quiller Wheel, the GREEN °

author's precise guide to planning harmonious color relationships.

PRUSSIAN
4 VIOLET GREEN > CERULEAN
A personal color sense is a wonderful asset. It enables an artist to express subtle shades of feel- GREY BLUE
\ |
ing through color, to apply just the right hue intuitively. If you—like most other people—wish you
could use color more effectively, Color Choices is for you.
A unique feature of this book is the Quiller Wheel: a special fold-out color wheel designed by COBALT
author Stephen Quiller. No other wheel provides so much useful information. Finally taking the VIOLET

guesswork out of mixing colors, the Quiller Wheel demonstrates how to interpret color relation-
ships and mix colors more clearly—in any medium. Quiller then explains, step by step, how to
develop and master five structured color schemes, apply underlays and overlays, and use color
in striking, unusual ways. This book—with text that has been newly updated for this paperback
edition—will bring out every artist's unique sense of color, whether you work in oil, watercolor,
acrylic, colored pencil, gouache, casein, or pastel.
Stephen Quiller is an internationally recognized artist, author, and instructor
whose paintings are represented in many corporate, public, and private collec- Watson-Guptill Publications
tions. He teaches workshops throughout the world, juries shows, and lectures www.watsonguptill.com
on color and water media to art associations and watercolor societies through-
out the United States. His other Watson-Guptill books include Acrylic Painting ISBN-13: 978-0-8230-0697-7
ISBN-10: 0-8230-0697-2
Techniques and Painter's Guide to Color. His work is available at the Mission 52299
Gallery in Taos, New Mexico, and the Quiller Gallery in Creede, Colorado,
where he lives.
Nva

Printed in Malaysia 80823"0069

 CADMIUM
YELLOW LIGHT

QUILLER WHEEL”
AUREOLIN YELLOW
HANSA YELLOW LIGHT
CADMIUM YELLOW PALE
NEW GAMBOGE © 1989 Stephen Quiller. All rights reserved
CADMIUM YELLOW DEEP. YELLOWISH GREEN
INDIANAyers
YELLE WW (YELLOW ORANGE AZO} \ PERMANENT
GREEN LIGHT
CADMIUM ORANGE
LEMON
(CADMIUM YELLOW ORANGE) YELLOW
(PERMANENT ORANGE) NAPLES
YELLOW
GREENISH
YELLOW EMERALD GREEN
INDO ORANGE RED
YELLOW
OCHRE SAP GREEN
HOOKER’S
BRIGHT RED GREEN LIGHT
RAW
CADMIUM SCARLET SIENNA
HOOKER’S
(CADMIUM RED ORANGE) GREEN DARK VIRIDIAN
GREEN
BURNT :
SIENNA 2 COBALT
: @-

OLIVE GREEN

VERMILION PHTHALOCYANINE GREEN

TERRE VERTE PRUSSIAN

(CHROMIUM GREEN
OXIDE GREEN,
CADMIUM RED LIGHT GREEN EARTH) BRIGHT AQUA GREEN

COBALT TURQUOISE

SCARLET LAKE
VANDYKE
BROWN

CADMIUM GREEN BLUE

RED MEDIUM (PHTHALO TURQUOISE)
BROWN MADDER
ALIZARIN
GERANIUM LAKE

PERMANENT RED
(WINSOR RED, ACRA RED,
QUINACRIDONE RED)
INDIGO CERULEAN BLUE

MARS
NAPTHOL CRIMSON VIOLET

ALIZARIN CARMINE PRUSSIAN MANGANESE BLUE

BLUE

PERMANENT ROSE
(QUINACRIDONE) PHTHALOCYANINE
(PERMANENT ALIZARIN CRIMSON)
BLUE (WINSOR BLUE)

ROSE MADDER OBALT BLUE

CARMINE MADDER
PURPLE MADDER ALIZARIN
FAIENCE BLUE
QUINACRIDONE VIOLET
PERMANENT MAGENTA
COBALT VIOLET

MAGENTA ULTRAMARINE
BLUE
PERMANENT VIOLET
(WINSOR VIOLET) DIOXAZINE
PURPLE

ULTRAMARINE VIOLET
a
Lethiana a
 ee
miata
Painting on front cover:
Detail of Autumn Field Patterns, Acrylic and casein on 555 |b.
Arches cold-pressed paper
27" x 39" (68.6 x 99.1 cm)

Painting on back cover:

Spring Run-Off, Watercolor and gouache on 555 |b.
Arches rough paper, 23" x 34" (58.4 x 86.4 cm).
Courtesy of Dr. and Mrs. Robert A. Varaday.

Art on first page:

The Picnic, Transparent watercolor on 300 |b.
Arches rough paper, 29” x 21" (73.7 x 86.4 cm).
Collection of Barbara and Sam Dehlinger.

Art on title page:

October Chamisa, Acrylic on Crescent watercolor board No. 114,
23" x 34" (58.4 x 86.4 cm). Collection of les and Marilyn Graf.

All art in this book, unless otherwise noted, is by Stephen Quiller.

Copyright © 1989 by Stephen Quiller

First published in 1989 by Watson-Guptill Publications

Crown Publishing Group, a division of Random House Inc.,
New York, NY
www.crownpublishing.com
www.watsonguptill.com

The Library of Congress has cataloged the hardcover edition

of this book as follows:

Quiller, Stephen
Color Choices / Stephen Quiller.
p. cm.
Bibliography: p.
Includes index.
ISBN 0-8230-0696-4
1. Color in art. 2. Colors-Analysis. 3. Color-Psychological
aspects. 4. Painting-Technique. |. Title.
ND1488 .Q55 1989
752—dc20 89-5799
CIP

ISBN (pbk) 0-8230-0697-2

All rights reserved.

Printed in Malaysia

First paperback printing, 2002

16
 TO MARTA, CHRISTOPHER, AND ALLISON

Many people have provided their assistance and support during Cloyde Snook, art department chairman at Adams State
the development of Color Chotces. Without their efforts this College, for general support over the last six years.
book would not have been possible. I would like to thank the Adams State College for providing a facility, students, and a
following people: positive environment.
Bonnie Silverstein for her enthusiastic directives and support The Mission Gallery in Taos, New Mexico, for the use of
in the initial stages of the book. paintings that were reproduced in this book.
Candace Raney for her guidance throughout the book’s Collectors of my work, who over the years have made it
development. possible for me to pursue my paths as an artist and author.
Janet Frick for her invaluable suggestions and editorial Wayne Thiebaud and Wolf Kahn for their assistance in
directives. providing autobiographical material and transparencies used in
Marta Benson Quiller for her editorial expertise in the Chapter 6.
polishing of the manuscript. The Denver Art Museum, the Museum of Western Art, the
Artisan Art Supply in Santa Fe, New Mexico, for assistance American Hispanic Society, the Phillips Collection, and the
with supplies during my research on the Quiller Wheel. Glasgow Museum and Art Galleries for providing transparencies
Allison Sheldon, art hardware manager in Fort Collins, used in Chapter 6.
Colorado, for additional assistance with the color wheel. Barbara Whipple for correspondence with museums in
Ruth Beckworth for providing me with extensive notes taken developing Chapter 6.
from my color theory class, and for further research. Finally, Joe and Jane Clarke for the beautiful home, study,
James Schaaf for providing photography equipment and studio, and incredible environment that were used during the
general support. development of this book.
CONTENTS
Introduction

THE COLOR WHEEL -

What Is a Color Wheel?
My Color Wheel Specifically
Colors on the Quiller Wheel « Table of Colors and Paint Manufacturers
Locating Colors on the Outside of the Quiller Wheel 18
Primary, Secondary, and Tertiary Complements * Other Pure Complementary
Colors That Create Beautiful Semineutrals
Locating Colors on the Inside of the Quiller Wheel 20
Earth Colors and Their Complements - How to Find Colors Not on the Wheel
- Using This Color Information for Other Media
Mixing Fresh, Vibrant Color 22
Organizing a Workable Palette 23
Paintings Based on a Pure Color Palette 24

MONOCHROMATIC AND COMPLEMENTARY COLOR 26

SCHEMES
The Monochromatic Color Scheme 28
Value and Color Relationships - The Range of the Monochromatic Scheme *
Black * White - Organizing Values in a Monochromatic Color Scheme * Six
Studies » Paintings Using the Monochromatic Color Scheme +» Workshop:
Monochromatic Color Schemes
The Complementary Color Scheme 38
Complements in Nature - Warm and Cool Complements + Creating Balance
Through Warm and Cool Colors + Ways to Mix a Neutral - Applying Color to
Create Semineutrals - Semineutrals Make Pure Color Sing - Dominant and
Subordinate Color + Six Studies - Three Paintings - Workshop: Complementary
Color Schemes

ANALOGOUS AND SPLIT-COMPLEMENTARY COLOR 52

SCHEMES
The Analogous Color Scheme 54
Using Analogous Colors in a Study « Selecting Analogous Colors + Analogous
Color Schemes Create Harmonious Color * The Full Range of the Analogous
Scheme + Using Dominant and Subordinate Color + An Analogous Scheme in a
High-Key Relationship - One Pure Accent, with Two Semineutrals - Analogous
Semineutrals - Analogous Colors of Full Intensity + Six Studies - Three
Paintings - Workshop: Analogous Color Schemes
The Split-Complementary Color Scheme 66
Selecting Colors for the Split-Complementary Color Scheme + Color
Relationships in the Split-Complementary Color Scheme « Mixing Semi-
neutrals with the Split Complement + Mixing Semineutrals with Direct
Complements + Color Proportions in the Split-Complementary Color Scheme +
Applying Split-Complementary Color in a Transparent-Opaque Manner -
Interaction of Transparent, Translucent, and Opaque « Glazing with Split-
Complementary Color « Six Studies - Three Paintings - Workshop: Split-
Complementary Color Schemes
4 TRIADIC COLOR SCHEMES 78
Choosing Colors for a Triadic Color Scheme 80
Dominant, Subordinate, and Intermediate Color * The Primary Triad— Yellow,
Blue, and Red + Secondary Triadic Color Schemes - Tertiary Triadic Color
Schemes + Other Possibilities of Pure Hue Triads « Triads Using Pure Hue and
Semineutral Tube Colors - Semineutral Triadic Color Schemes - Three
Paintings - Workshop: Triadic Color Schemes

5S GOING BEYOND STRUCTURED COLOR 95

Working on Location 96
Using the Quiller Wheel to Set Up a Palette - My Painting Approach on
Location + Altering the Traveling Palette - Other Palette Arrangements

Developing Studio Paintings from On-Location Color Studies 104

Four Paintings

Paint Applications 110

Glazing Methods for Transparent and Translucent Color » A Controversial
Combination: Transparent and Opaque Color + Tips for Combining Trans-
parent and Opaque Color - Interaction of Transparent, Translucent, and
Opaque Color - Energizing the Painting Surface
Inner Vision 118
Workshop: Going Beyond Structured Color Schemes

6 MASTER COLORISTS 124

Dutch Painters 126
Rembrandt van Rijn + Jan Vermeer
English Painters 127
J. M. W. Turner + William Blake - Samuel Palmer

Impressionists 128
Claude Monet » Edgar Degas » Mary Cassatt
Postimpressionists 130
Paul Cézanne « Vincent van Gogh + Paul Gauguin - Henri de Toulouse-Lautrec
+ Pierre Bonnard

Late 19th- and Early 20th-Century Painters 132

Joaquin Sorolla y Bastida + Winslow Homer - John Singer Sargent - John Henry
Twachtman + Arthur Melville

The Eight and Its School 135

Robert Henri + John Sloan
The Taos School 136
More American Painters 137
Newell Convers Wyeth - Edward Hopper « George Bellows - Georgia
O’Keeffe - Andrew Wyeth - Wayne Thiebaud » Wolf Kahn
Historical Perspective on Color Theory 141
Epilogue 142
Bibliography 143
Index 144
 INTRODUCTION

Ce is magic! It can stimulate the eye and create a variety of emotions in viewers of
paintings. And what a gift it is to be able to use color in a way that truly expresses
what the artist feels! Some painters have a natural color sense. They “feel” by instinct
what colors harmonize, without understanding the theory behind it. But most painters
can become colorists only by a long process of growth. This process involves reading
about color, studying master painters and how they used color, and then applying these
ideas to their own work.
A few.years ago, I was asked to design a new course to teach at Adams State Col-
lege, where I work part-time. It could have been anything I wanted to teach. After a lot
of thought, I decided to organize a class on color theory. The reason was entirely
selfish: Color has always been exciting to me and this gave me an excuse to learn more
about it. After much research and experimentation, I developed a course that is now
part of Adams's art curriculum. The structure of the class reflects the way I first
learned about color.
When I first started painting, I was most interested in technique. Then as I became
~ more familiar with the media, composition became more important to me. As I started
to understand composition, expression became important. And to express myself
effectively in painting, I needed to know an astonishing amount about color. Thus I
began the process of studying color and working with structured color schemes in my
painting. The more I worked with these color schemes, the more exciting color became
to me. I found that the impressionists and postimpressionists used color in a similar
way. I discovered that the more I worked and applied these theories, the more my color
sense developed. I was training my eye! As I began to understand structured color
schemes more fully, I started to use color more subjectively. But I began to use color
subjectively with knowledge. To me the knowledge of color is the key. The more the
artist knows about color, the more personal the color can become.
When I teach workshops on color, I approach the subject in a similar way and have
had great success. I start with structured color schemes and train the students’ eye.
Then we move to using color subjectively. By the end of the week, students are seeing
color in nature that they have never seen before and are applying color to their paintings
more harmonically.
In Color Choices, I have the opportunity to approach the subject of color the way I
teach it. The first chapter of this book introduces a rather sophisticated color wheel that
I have developed over the last ten years. I call it the Quiller Wheel. There are sixty-
eight colors specifically arranged on the color wheel in order for the artist to diagram
color relationships as accurately as possible. This color wheel will be referred to
throughout the book and is the same wheel that I use in my studio. The next three
chapters will develop structured color schemes. These schemes are monochromatic,
complementary, analogous, split-complementary, and triadic. Each of these concepts
will be explained through illustrations, diagrams, color studies, and finished paintings.
Chapter 5, entitled “Going Beyond Structured Color,” describes how I have per-
sonalized color and how I get some of my ideas for color. This section includes: (a) my
approach to color while working on location; (b) studio painting that is inspired by my
on-location studies; (c) painting applications of underlays and overlays using color
transparently, translucently, and opaquely; and (d) paintings that are inspired by an inner
vision. Chapter 6 is about certain artists past and present, nearly all considered
colorists, whom I admire and who have influenced me. Most of these artists have been
chosen because they use color in a very personal way. Books about each artist, and
galleries and museums that exhibit their work, are also listed for the reader’s further
reference.
One of my greatest joys is to go to museums and study great works of art. In my
eagerness to research the masters and learn how they approached color, I found that all
these great painters had one quality in common: They were students their whole lives!
Vincent van Gogh studied the seventeenth-century Dutch painter Jan Vermeer and
commented on how beautifully the artist used the colors yellow and violet. Winslow
Homer carried M. E. Chevreul’s book The Principles of Harmony and Contrast of Colors
with him always and referred to it as his “bible.” (This book is still available from Van
Nostrand Reinhold, republished in 1967.) At one point in his life, Rembrandt had a
tremendous collection of Italian Renaissance paintings. Degas was a student and
admirer of Ingres. And this list of masters who studied masters could go on and on.
What really brought this idea home to me was a trip to the East Coast. I was at the
drawing and print study room at the Museum of Fine Arts in Boston and asked to see a
portfolio of Winslow Homer watercolors. As I was going through the paintings, I
commented on a certain area of one of them. The curator remarked that Andrew Wyeth
had been in the day before and made a similar comment about that area of the same
painting. I told him I had chosen the wrong day to be there! But the point is that a living
master, one of the most legendary painters of our time, is still studying and growing. It
is my hope that this book can be the start of an exciting adventure for many readers. I
believe that by reading this book and actually applying the ideas on color to your own
painting, you will develop your work to richer and more powerful expressions.

YELLOW SKY Transparent watercolor, gouache, acrylic, and casein on Crescent

watercolor board No. 114, 23” x 34” (58.4 cm x 86.4 cm). Artist’s collection.
1 THE COLOR WHEEL

or many years, I have been extremely interested in color as it is used for painting.
As I teach water media workshops and discuss technique and paint quality, I notice
that many students are struggling with color. And as I read and study, I find that there
are many books on the science of color, color and light, nature and color, and color
optics; there are also specialty books advocating the use of specific colors to get
beautiful effects in painting. What to me has seemed most important and most needed
is a book supplying a sound foundation of color for the painter. With this foundation, the
artist can then use the color more intelligently and even intuitively.
I was introduced to a book in the mid-1970s entitled Gist of Art, by John Sloan. (Its
full title is Gist of Art: Principles and Practise Expounded in the Classroom and Studio,
New York: Dover, 1977.) John Sloan was a great painter and teacher who lived from
1871 to 1951. He was a member of the Ashcan school of painters, who painted the
everyday, ordinary life in and around New York City, and was also a member of a group
called “The Eight.” During much of his career, he taught at the Art Students League in
New York City and at one time was its president. His book is about his philosophy
concerning all areas of art, including painting and color. In the section on color, he has a
chart called the Dudeen Color Triangle, developed by Charles A. Winter. This is a chart
designed to help the artist discover which colors will complement each other and work
together best.

Y
CADMIUM LEMON

AUREOLIN YELLOW
CADMIUM GOLDEN

Ye
CADMIUM YELLOW-ORANGE nner GREEN
ight
j:
e

, @ NAPLES YELLOW #
a 4 x 2
MARS YELLOW, $
YELLOW OCHRE’
RAW SIENNA @ hc OF CHROMIUM
VERMILLION ry i {opeque)
CADMIUM RED ; VIRIDIAN
Wight) MARS ORANGE S@/RAW UmBER
COBALT GREEN
‘BURNT SIENNA
ge \f
r ) BURNT UMBER
‘i
RO
CADMIUM RED °°°°@ ULTRAMARINE GREEN
(dork)
MARS VIOLET ‘ CERULEAN BLUE
(Caput Mortuum) **
INDIAN RED
o ~, PRUSSIAN BLUE
CADMIUM RED “ sey
(purple) ’ * ’ COBALT BLUE
ULTRAMARINE RED @ ULTRAMARINE VIOLET
R ’ MANGANESE VIOLET WINSOR BLUE
3
ALIZARINE CRIMSON ALIZARINE RED-PURPLE COBALT VIOLET ULTRAMARINE BLUE = JD
(dork) BP

The Dudeen Color Triangle, developed by Charles A. Winter. Painter John Sloan found this color
diagram useful. From John Sloan, Gist of Art: Principles and Practise Expounded in the Classroom and
Studio (New York: Dover, 1977), page 121. Used by permission.
10
 SNOW SHADOWS Acrylic and gouache on Fabriano cold-pressed watercolor
board, 29” x 21" (73.7 cm x 53.3 cm). Artist's collection.

I experimented with this chart and used it in my paintings of that period, and soon I
started to use the triangle in the color theory class that I teach at Adams State College.
However, I found that the triangle was confusing. Students were used to a color circle
where color relationships were more easily understood and located. I began to develop
my own color wheel and found that I had to relocate many of the colors that were on
the triangle. In fact, this present color wheel bears little resemblance to the triangle
except in its intent to help the artist use color in a beautifully sophisticated way.
My color wheel has sixty-eight pigmented colors, most of them common to water-
color, oil, and acrylic. In cases where different manufacturers use different names for
the same color (or virtually the same color), many of these names are given on the
wheel itself; even more are listed in the chart beginning on page 15. All the colors used
are artist quality; it is important that the reader also use artist quality rather than a
student grade, because the color can differ greatly. This wheel and the concepts in this
book can be used by the artist in any medium. The color wheel represents over ten
years of research and experimentation to find the best relationship of colors for the
artist.
In this chapter, I will explain what this color wheel is about and why it works. As you
go through the subsequent chapters, this color wheel will be referred to many times.
Once you become familiar with this chart, you will need to rely on it less and less. Your
intuitive color sense will be developing. But even today, I use my color wheel from time
to time when I am stumped as to which color to use or when I am searching for the
“perfect” color to complement my painting. I always have the color wheel in my studio
and carry it with me most of the time on my travels.
11
Ms WHAT IS A COLOR WHEEL?

This may seem very elementary and redundant, but I feel that it three colors are the foundation of the color wheel, and all other
is important to mention the general idea of what a color wheel is colors can theoretically be mixed from them.
and how it works before becoming involved in the specifics of Secondary colors can be mixed from the primaries and are
how my color wheel works. located exactly midway on the outside of the color wheel
Colors are arranged around and inside a circle. All the colors between each pair of primaries. There are three secondary
on the outside of the circle are pure, bright colors, and those on colors—green, violet, and orange. Green {is a mixture of yellow
the inside of the circle are more neutralized, or duller, colors. and blue; violet is a mixture of blue and red; orange is a mixture
There are three primary colors—yellow, blue, and red. of red and yellow.
These three colors are absolutely pure and have no other color Tertiary colors, sometimes called intermediate colors, are
in them. That is, yellow has no red or blue in it, blue has no located between and are a mixture of the primary and
yellow or red, and red has no blue or yellow. These three colors secondary colors. They are also located on the outside of the
are set equidistant on the outside of the circle with yellow at the color wheel. There are six tertiary colors—yellow green, blue
top, blue on the bottom right, and red on the bottom left. These green, blue violet, red violet, red orange, and yellow orange.

YELLOW

YELLOW ORANGE
YELLOW GREEN

ORANGE |
GREEN

RED ORANGE

RED

RED VIOLET
BLUE VIOLET

VIOLET

This is an example of a typical color wheel. Notice that the secondary colors green, violet, and orange are located halfway
primaries yellow, blue, and red are located on the outside of the between the primaries, and the six tertiary colors (yellow green,
color wheel, with yellow at the top, blue on the right, and red on blue green, and so on) are spaced halfway between the primariés
the left. They form the three corners of an equilateral triangle. The and secondaries.

12
me WY COLOR WHEEL SPECIFICALLY

You could learn the information just described from any color some are orange yellows, and some are neutral yellows. But
wheel. But as a painter, I have found it extremely important to which yellow would work best as a primary yellow that is
become much more specific about the relationships of colors on located equidistant from a particular blue and red? That is the
the color wheel. I could not just say that yellow, blue, and red reason for this wheel: to locate all the colors specifically so that
are primary colors. There are many pigmented names for they can work best as an instrument for the painter. These
yellow—that is, manufacturers’ names for various gradations of colors have been located for the best optical color balance. As
yellow hues. For example, in an art supply store you could buy a you go through each specific color, keep in mind that it has been
tube of cadmium lemon, cadmium yellow pale, new gamboge, selected for the best relationship with other colors—and
Indian yellow, or yellow ochre. The same holds true for the ultimately, for the best possible color orchestration for the
many, many blues and reds. Some yellows are green yellows, artist.

CADMIUM
YELLOW LIGHT

PERMANENT
CADMIUM GREEN LIGHT
~ @

CADMIUM VIRIDIAN
SCARLET GREEN

GREEN
CADMIUM RED 3 BLUE
MEDIUM

Ps
3 PHTHALOCYANINE
BLUE
PERMANENT
ROSE

ULTRAMARINE
BLUE
MAGENTA

ULTRAMARINE
VIOLET

This color wheel identifies the pigmented names of the primary, (yellow green), manganese blue (blue green), ultramarine violet
secondary, and tertiary colors. The primaries are cadmium lemon (blue violet), permanent violet or Winsor violet (red violet),
(yellow), phthalocyanine blue (blue), and alizarin crimson (red). cadmium red deep (red orange), and cadmium orange (yellow
The secondaries are viridian green (green), mauve (violet), and orange). These colors are chosen for best results in color mixing
cadmium scarlet (orange). The tertiaries are permanent green light for the painter.

13
MY COLOR WHEEL SPECIFICALLY

COLORS ON THE QUILLER WHEEL

Here is a list of the primary, secondary, and tertiary colors. All Violet: Ultramarine violet. A beautiful violet that is not
the other colors located on the outside of the color wheel are too red or too blue. There is not a good substitute for this
placed accurately in relation to them. Again, remember that all ~ secondary.
the colors used in this chart are of artist quality, so you should
Orange: Cadmium scarlet (Cadmium red orange). A beautiful,
use a similar quality to ensure accuracy. rich orange. Do not let the name fool you. We are used to
thinking of scarlet as a particular color, but this is a true
PRIMARIES. These colors are represented with a large orange. Bright red or possibly vermilion will substitute.
triangle on the Quiller Wheel.
Yellow: Cadmium yellow light. A beautiful pristine yellow not TERTIARIES. These colors are represented with a large
to be confused with lemon yellow, which is a somewhat square on the Quiller Wheel.
neutralized, semi-opaque color. Hansa yellow light or cadmium
Yellow green: Permanent green light. Perfectly located
lemon can substitute. between yellow and green. There is no true substitute.
Blue: Phthalocyanine blue. A beautiful, highly staining and
Blue green: Green blue. This color is an equal mix of phthalo-
concentrated color that is a touch on the green side but is in
cyanine green and phthalocyanine blue. Phthalo turquoise can
perfect alignment for the blue primary. Winsor blue is the
substitute.
same color. The truest blue is a cobalt blue. Prussian blue,
although somewhat neutralized, can be used to substitute as Blue violet: Ultramarine blue. This is a rich red blue and
the primary. neutralizes nicely with cadmium orange.
Red: Quinacridone rose (permanent). A rich, deep color that is Red violet: Magenta. Beautiful warm violets that gray out
a touch on the blue side but aligned as the perfect red primary perfectly with permanent green light.
for the painter.
Red orange: Cadmium red. Sometimes called cadmium red
SECONDARIES. These colors are represented with a large medium, it grays out perfectly with its complement green blue.
diamond on the Quiller Wheel. Yellow orange: Cadmium orange. A nice, lively color. Do not
Green: Viridian green. A beautiful green that is halfway let the name fool you. We tend to think of the color orange as
between the yellow and the blue. Phthalocyanine green can that of the skin of an orange, but that color—like cadmium
substitute, but it is a touch to the blue side; it is also more orange—is really a yellow orange. Permanent orange can
staining and harder to work with. substitute.

CADMIUM
YELLOW LIGHT
Here is the Quiller Wheel,
CADMIUM ORANGE PERMANENT
showing sixty-eight colors and (CADMIUM YELLOW ORANGE) » GREEN LIGHT
the pigmented names of the
primaries, secondaries, and
tertiaries. See also the larger
version of this color wheel after CADMIUM SCARLET VIRIDIAN
(CADMIUM RED ORANGE) GREEN
page 16, and the chart on
pages 15 through 17.

| __ GREEN BLUE
CADMIUM
RED
(COBAIT TURQUOISE]

PERMANENT ROSE PHTHALOCYANINE

(QUINACRIDONE) BLUE (WINSOR BLUE)

MAGENTA ULTRAMARINE
BLUE

ULTRAMARINE
VIOLET

14
TABLE OF COLORS AND PAINT MANUFACTURERS
Here is a table listing all the colors on my color wheel and large red dot, with small black dots for other brands. There
some of the brands of paint that manufacture each color. are separate sections for acrylic, watercolor, and oil. Some
Because there can be minor color variations among brands brands are used for all three media, while others are used for
of paint, the brand used for this color wheel is shown by a just one or two. This is a good but not all-inclusive list.

ACRYLIC

A D A|B| Cc E|F|G
PERMANENT GREEN LIGHT | @ PERMANENT RED elel elo
YELLOWISH GREEN ° CADMIUM RED (MEDIUM} mlalawlselalas|s
EMERALD GREEN e e CADMIUM RED LIGHT e e e e e e e

PHTHALOCYANINE GREEN CADMIUM RED ORANGE e

A, B, C, D, E, F: PHTHALO. @ e
GREEN; G: THALO GREEN INDO ORANGE RED e
BRIGHT AQUA GREEN CADMIUM ORANGE ele |=) =| = [l
COBALT TURQUOISE ° ° YELLOW ORANGE AZO e
PHTHALO TURQUOISE CADMIUM YELLOW DEEP al «lel se P
chaise:
AB: TURQUOISE GREEN; @
CADMIUM YELLOW LIGHT el «lelele|e
CERULEAN BLUE e ° LEMON YELLOW ° e
PHTHALOCYANINE BLUE SAP GREEN & ej °
A, B, C, D, E, F: PHTHALO BLUE; e e HOOKER’S GREEN LIGHT e e e e

G: THALO BLUE
COBAIT BLUE - HOOKER’S GREEN DARK ele
ULTRAMARINE BLUE " OLIVE GREEN J |e
DIGNAZIME FLIEFLE ; CHROMIUM OXIDE GREEN | «| © | @| «| © .
ULTRAMARINE VIOLET INDIAN RED e
MAGENTA ; RED OXIDE e
PERMANENT MAGENTA ° LIGHT RED OXIDE e
QUINACRIDONE VIOLET e ; are — e{e/e|[*/e*{ele
QUINACRIDONE ROSE . : URNT SIENNA a | ew ee
D: PERMANENT ROSE RAW UMBER e e @e|eje e e

ALIZARIN CRIMSON - RAW SIENNA el) elelele|e

NAPTHOL CRIMSON e ° YELLOW OCHRE ° elelelel|e

KEY
A BRERA
B LIQUITEX
€ GOLDEN
D WINSOR & NEWTON
E REMBRANDT
F M. GRAHAM
G GRUMBACHER
 WATERCOLOR

Alsp|c|p|el/Frlo/xH
HANSA YELLOW LIGHT COBALT TURQUOISE el ele].
olen PHTHALOCYANINE GREEN
CADMIUM YELLOW LIGHT B: BLOCKX GREEN; C: CUPRIC; | @ | «| «| kl we | «
CADMIUM YELLOW PALE re a Pale GEN
CADMIUM LEMON VIRIDIAN GREEN @e|e|]e}le}]e}]e}]ele
CADMIUM YELLOW DEEP EMERALD GREEN a? oP
AUREOLIN YELLOW D: WINSOR EMERALD

emen TE YELLOWISH GREEN

NAPLES YELLOW. C: PERMANENT GREEN e e e
YELLOWISH;
NEW GAMBOGE F: PERMANENT GREEN #1
CADMIUM ORANGE GREENISH YELLOW . e|-
H: CADMIUM YELLOW ORANGE SAP GREEN L ra : [ a : . 2

aE aA HOOKER’S GREEN LIGHT | © | ° ole ele

coo HOOKER’S GREEN DARK . ‘
CADMIUM RED ORANGE OLIVE GREEN fl Rede eft PCa el
BRIGHT RED TERRA VERTE e ele °
VERMILION CHROMIUM OXIDE GREEN e °

CADMIUM RED LIGHT COBALT GREEN ej;e}ejele

CADMIUM RED MEDIUM PRUSSIAN GREEN :
SCARLET LAKE PRUSSIAN BLUE olmialwiere
PERMANENT RED INDIGO we des 2a a ta 2d
PERMANENT ALIZARIN VIOLET GREY e
_ CRIMSON MARS VIOLET e

fa Eis tal INDIAN RED el ell.

PURPLE MADDER ALIZARIN GH Bee Pe at ig :
CARMINE MADDER SURAT Liane ctaletaelwlara te
pes al BURNT SIENNA efelelelele]ele
PERMANENT MAGENTA eee i Neh Se i roel
COBALT VIOLET batt : al 9 lal Ml
RAW SIENNA ° blelelelels
MAGENTA
PERMANENT VIOLET eae Gee ln 3 i Mle a aK
D: WINSOR VIOLET NAPTHOL CRIMSON (RED) | @
ULTRAMARINE VIOLET
ULTRAMARINE BLUE
FAIENCE BLUE KEY
(ANTHRAQUINONE) A M. GRAHAM
COBAIT BLUE B BLOCKX
PHTHALOCYANINE BLUE C MIAMERI BLU
oc F HOBEIN
by id 2 F HORADAM SCHMINCKE
BAASIGAINESE BOGE G DANIEL SMITH
CERULEAN BLUE H_ SENNELIER
GREEN BLUE
D: PHTHALO TURQUOISE

16
 A|B|C|DI/E G
PERMANENT GREEN LIGHT VERMILION e |e °
ee CADMIUM SCARLET/
D: PER,

EMERALD GREEN CADMIUM RED ORANGE

A: WINSOR EMERALD A: CADMIUM SCARLET: e|e@]e|]e
B, C: CADMIUM RED ORANGE;
VIRIDIAN GREEN D: PYRROL SCARLET
PHTHALOCYANINE GREEN
A: WINSOR GREEN; BRIGHT RED e
B: BLOCKX GREEN; CADMIUM ORANGE ele@|e|e ele
C: CUPRIC GREEN
A oaait TSE CADMIUM YELLOW DEEP e|/e@|e e |
PHTHALO TURQUOISE elie i Mller an. ;
C: GREEN BLUE; E: TURQUOISE BLUE CADMIUM YELLOW PALE ele
MANGANESE BLUE CADMIUM YELLOW LIGHT @|e|el/el}lel]|e
CERULEAN BLUE CADMIUM LEMON ° e e
PHTHALOCYANINE BLUE LEMON YELLOW
a
A:
W ‘Bs ;
AUREOLIN YELLOW . .
COBALT BLUE GREENISH YELLOW °
FAIENCE BLUE SAP GREEN id e e {ce
ULTRAMARINE BLUE HOOKER’S GREEN °
ULTRAMARINE VIOLET OLIVE GREEN e °
DIOXAZINE PURPLE TERRA VERTE ° e °
MAGENTA CHROMIUM OXIDE GREEN | @ ° °
her GREEN EARTH - |e
PERMANENT VIOLET
(WINSOR VIOLET] aad tne ll a a
Saar Viner PRUSSIAN GREEN e
QUINACRIDONE VIOLET PRONE : ° Th
C: VERZINO VIOLET INDIGO @lie e
PURPLE MADDER ALIZARIN VIOLET GREY ®
PURPLE LAKE MARS VIOLET ele] elele
QUINACRIDONE ROSE BROWN MADDER ALIZARIN | @
St INDIAN RED ° e|s
a ROSE LAKE LIGHT RED = o

ALIZARIN CRIMSON BURNT UMBER Pe A en es ee

PERMANENT RED BURNT SIENNA Tee | Se eT
tli a VANDYKE BROWN ° e e |e
CADMIUM RED (MEDIUM) RAW UMBER : setats | @
SCARLET LAKE
G: NAPTHOL SCARLET RAW SIENNA bi e in . 7

CADMIUM RED LIGHT bis mimes i Rl dl At il Ml

NAPLES YELLOW ° ° e |e |e

KEY
A WINSOR & NEWTON
B BLOCKX
C MIAMERI PURO
D DANIEL SMITH
E HOLBEIN
F REMBRANDT
G GAMBLIN

17
Mm LOCATING COLORS ON THE OUTSIDE
OF THE QUILLER WHEEL
It is known that true opposite colors on the color wheel com- cadmium lemon and mauve, and mix them. They should reach a
plement each other and work visually together very well, as we point where they gray each other out and neither color can be
will see in the following chapters. How can one determine which seen. Now let’s take the same cadmium lemon and mix it with
colors are true opposites and thus perfectly compatible? In ultramarine violet. Because they are not true complements and
referring to my color wheel after page 16, you can locate a truly ultramarine violet is on the blue side of mauve, the neutral
opposite or complementary color by going directly through the should have a greenish mud look, confirming that they are not
center of the color wheel. This is the small gray circle that is complements. Now let’s take cadmium lemon and mix it with
labeled “neutral.” Thus, cadmium lemon’s true complement is permanent violet. Because permanent violet is located on the
mauve, and alizarin crimson’s is viridian green, and so on. To red side of the true complement mauve, the neutral should have
make sure this is true, let’s take the two complementary colors an orange mud look.

This diagram shows how exact comple-

ments totally gray each other out. The two
colors at the far left are cadmium yellow
light and ultramarine violet, which are true
complements. Notice that when they are
mixed together, there comes a point where
they are neutralized or grayed out: When
the middle wash is looked at closely, nei-
ther the yellow nor the violet can be seen.
The next two studies use the same cadmi-
um yellow light, but the central study uses
magenta, which is located on my color
wheel to the red side of ultramarine violet,
and the far left study uses ultramarine blue,
located on the blue side of ultramarine vio-
let. See how the neutral color mixed in the
central study is a reddish mud and the nev-
tral color on the far right study is a green-
ish mud. This means that neither of these
two colors it the true complement to cadmi-
um yellow light. This same process of
experimenting can be done with every
color to find its true complement.

PRIMARY, SECONDARY, AND TERTIARY COMPLEMENTS

The same graying out can be tested with all colors to see 2. These two colors will create beautiful semineutrals and thus
whether they are true complements. By the way, do not an appealing visual quality when mixed correctly.
confuse the term graying with the color gray. This term means
In case you are wondering about the difference between
strictly that in the mixed neutral, neither complementary color
neutrals and semineutrals, semineutrals are the intermediate
can be seen. It is simply a neutral color, not necessarily gray.
steps as mixtures of pure colors approach a neutral. In neutrals
When two colors do gray each other out, it means two very
neither complement is visible; a semineutral contains more of
important things:
one pure color than the other. This idea is illustrated in the
1. These are true complementary colors that will create accompanying chart showing how the primary, secondary, and
optimum optical color balance if used together well. tertiary colors form semineutrals and gray each other out.

OTHER PURE COMPLEMENTARY COLORS THAT CREATE BEAUTIFUL SEMINEUTRALS

Not only do the primary, secondary, and tertiary colors create complements. They will mix to form beautiful semineutrals and
pleasing semineutrals, but they also create all the remaining can be very effective in painting.
pure colors (those located on the ‘outside of the color wheel, Here are a few that are located on my color wheel. In addition
between the primaries, secondaries, and tertiaries). Again, the to the colors shown, try any of the colors on the outside of the
way to test whether these colors complement is to try graying color wheel that have a color directly opposite to see whether
them out. If they truly neutralize each other, they are they will gray out.

18
 CADMIUM PERMANENT VIRIDIAN GREEN PHTHALOCYANINE ULTRAMARINE
YELLOW LIGHT GREEN LIGHT GREEN BLUE BLUE BLUE

SEMINEUTRAL

NEUTRAL

SEMINEUTRAL

ULTRAMARINE MAGENTA PERMANENT CADMIUM RED CADMIUM CADMIUM

VIOLET ROSE MEDIUM SCARLET ORANGE

This illustration shows how all the primary, secondary, and tertiary complements. The rows immediately above and below the neutral
colors and their complements on my color wheel gray each other row are semineutral colors that have been mixed from the two
out. The top and bottom row of colors are the pure colors, and the complements. True complements create beautiful semineutral
middle row is the grayed-out neutral created by mixing the colors.

GERANIUM CADMIUM VERMILION BRIGHT RED YELLOWISH EMERALD

LAKE RED LIGHT GREEN GREEN

SEMINEUTRAL

NEUTRAL ae

SEMINEUTRAL

COBALT CERULEAN ANTWERP COBALT DIOXAZINE QUINACRIDONE

TURQUOISE BLUE BLUE BLUE PURPLE VIOLET

Here is a diagram of some other pure colors on my color wheel beautiful semineutrals that the complements can make. Inciden-
that are true complements and gray each other out well. If you tally, there are a few colors that neutralize each other very well,
refer to my color wheel after page 16, you will see that these but when the actual mixture is put on the watercolor paper, the
colors are located directly across from each other. Again, the top colors tend to separate. One of the colors will stain the paper
and bottom rows are pure complementary colors located on the evenly, while the other (whose pigment is more granular) will settle
outside of the color wheel. The middle row is the mixture of the two into the pockets of the paper. One example on this chart is
complements when they are completely neutralized, and the rows cadmium red light and cerulean blue. Cerulean blue has a
immediately above and below the neutral row are examples of the granular quality, settling in the recessed areas of the paper.

19
gags LOCATING COLORS ON THE INSIDE
OF THE QUILLER WHEEL
All the colors located inside my color wheel are semineutral toward yellow orange by the amount of cadmium orange that
colors that can be purchased by these names at various art was added. Then I determined how far toward the center
supply stores. Every one of these colors has been somewhat neutral to place the color by the degree the color had been
neutralized, and that is why they are located on the inside of the neutralized by its complement. Incidentally, the two light gray
color wheel. But how did I decide exactly where to put them? dotted circles inside the color wheel help identify the degree of
I had a great time experimenting and was somewhat sur- neutrality of the color. The larger light gray circle is less
prised to find how exact this procedure can be. For example, I neutralized, and the smaller inner circle is more neutralized. All
would choose an earth color such as burnt sienna; knowing it these semineutral colors were located in the same manner. You
was warm, orangish brown, I would start by painting a swatch might try to mix a few of these earth colors yourself to find how
of the tube color burnt sienna and then take the complements exacting this can be. Many times in the actual painting process,
cadmium scarlet and phthalocyanine blue and try to mix a semi- the mixing of a semineutral is more effective than using color
neutral that would match the swatch. The neutralized warm straight from the tube because of the mingling of the various
brown made by these two colors was too red, so I added some colors of pigments that make up the mixture. Here is a chart
cadmium orange, which is really a yellow orange, until the color showing a few of the manufactured earth colors and mixtures of
matched perfectly. I could determine how far to move the color complements that match them.

PHTHALOCYANINE EMERALD
BLUE ULTRAMARINE GREEN GREEN
BLUE BLUE

HOOKER’S
GREEN
DARK

INDIGO

RAW UMBER

INDIAN RED

TOUCH OF
CADMIUM
SCARLET

CADMIUM ACRA
SCARLET VIOLET
CADMIUM RED
CADMIUM
MEDIUM
ORANGE

Here are four manufactured earth colors and their complementa- The complements ultramarine blue and cadmium orange with a
ry mixtures. Starting at the far left is the color indigo. The isolat- touch of cadmium scarlet will duplicate this color. Hooker's
ed round color swatch is the actual tube color of indigo. To its green dark can be matched by the complements emerald green
left are the complements phthalocyanine blue and cadmium scar- and acra violet. Finally, Indian red can be duplicated with the
let, and the matching color their mixture creates. The next color complements green blue and cadmium red medium.
is raw umber.

20
EARTH COLORS AND THEIR COMPLEMENTS
Now let’s take a look at some manufactured semineutral earth Complementary earth colors can be used together in an exciting
colors and their complements to see how they will neutralize way whenever pure color is not needed. Various subdued
each other. Some of these colors have another manufactured atmospheric conditions or somber scenes are appropriate for
earth color that is in the right location to neutralize. Refer to these color combinations. Try these color complements and see
my color wheel after page 16 to see how they are located. what kind of results you can achieve.

Here are some manufactured

VIOLET GREY BROWN MADDER LIGHT RED BURNT SIENNA
semineutral earth colors and ALIZARIN
their complements. Some of the
complements are also man-
ufactured earth colors. The
manufactured semineutral
color is located at the top, and
the complements (which are
sometimes pure color and
sometimes semineutral) are at
the bottom. The central row of
gray washes shows the neu-
tralized mixture of the comple-
ments, and the rows
immediately above and below
are the partially neutralized
semineutrals.

HOOKER’S PRUSSIAN PRUSSIAN ULTRAMARINE

GREEN LIGHT GREEN BLUE BLUE

HOW TO FIND COLORS NOT ON THE WHEEL

Colors not listed on the Quiller Wheel can easily be located by different companies. For instance, permanent red, Winsor red,
placing a swatch on white paper and seeing where the color lies Acra red, and quin or quinacridone red are all located in the
in relationship to the colors already on the wheel. The color same spot but known by different names depending on their
could easily be the same color as one already on the wheel but different media and manufacturers. The same is true for
have a different name. Actually, some of the colors on the wheel phthalocyanine, thalo, Winsor, Rembrandt, or Shiva blue or
are already known by different names when purchased from green.

USING THIS COLOR INFORMATION FOR OTHER MEDIA

The Quiller Wheel and the information in this book are meant pastel, or colored pencil, the overlapping or layering of the
for artists in all media. I am primarily a water media painter, so medium may be used to mix color or neutralize color, rather
the majority of the studies and paintings in this book are done in than premixing the color on the palette as one could in
water media. How then can this wheel be used for other media? watercolor or oil.
Many of the colors used in the other media, including gouache, The information regarding the principles of color is common
casein, pastel, oil pastel, and colored pencils, are also common to all art media. The considerations of value, intensity, and
to this color wheel, and color relationships can be determined in color proportion are the same. So with very little adjustment,
exactly the same manner. The differences may be in the names an artist using any medium or combination of media should
of colors and how they are mixed. For example, in oil pastel, benefit from using this book.

21
Ma MIXING FRESH, VIBRANT COLOR

Have you ever tried to mix a rich, fresh, vibrant violet with a like permanent red and cadmium red deep, are warmer and are
red and a blue, only to have the resulting color look dead or yellow reds.
neutralized? By referring to my color wheel, you can determine To mix a fresh, vibrant violet, the red and the blue colors
how to mix fresh color. should be on the same side of the primary red and blue—that
Within each color family of reds, blues, greens, oranges, is, within the same one-third of the wheel bounded by them.
violets, and yellows, there are warmer and cooler colors. As an Good examples would be permanent rose as the red and
example, let’s look at the color family of blue. If we look at the ultramarine blue as the blue. These two colors will make any 2,
Quiller Wheel after page 16, the primary blue is phthalocyanine beautiful red violet, violet, or blue violet.
blue, sometimes referred to as Winsor or thalo blue. As An example of poor choices for mixing a violet would be
mentioned earlier, it is a touch to the green side but still is the cerulean blue and permanent rose. Because cerulean blue is to
best blue for a primary because of its location in relation to the the yellow side of primary blue (in other words, it is a greenish
other two primaries. The blue colors to the left of phthalo- blue), the mixture has a third color besides the blue and the
cyanine blue, such as cobalt blue, ultramarine blue, and red. The green in the blue deadens the red, resulting in a
ultramarine violet, have increasing touches of red as they move somewhat neutralized violet.
toward the primary red, which is alizarin crimson. They are This also happens if the choice of red is warm, such as
referred to as warm blues or “red” blues. On the other side of cadmium red deep. Because this red is to the yellow side of
phthalocyanine blue are “yellow” blues such as Antwerp blue, primary red (in other words, it is an orange red), the orange in
cerulean blue, and manganese blue. As they move closer to the it will tend to neutralize its complement of blue, resulting in a
yellow primary, which is cadmium lemon, the color has increas- dead violet.
ingly more yellow, giving it a green-blue cast. This same principle can be used to ensure fresh, vibrant
The same is true with the reds. Colors to the right of alizarin mixtures of oranges or greens. Always choose colors on the
crimson, such as rose madder or permanent rose, are cooler same side of the primaries. Here is an illustration clarifying this
blue reds, while the colors on the other side of alizarin crimson, point.

Here are some studies showing ——Ka e—_——~.

ROSE MADDER PURE VIOLET MIX ULTRAMARINE BLUE
mixtures of vibrant pure violets,
as well as neutralized and
dead violets. The top study
shows rose madder and ultra-
marine blue, which are both in
the lower one-third of the color
wheel, bounded by the same
two primaries (red and blue).
This combination results in
beautiful violets. In the subse-
—> NEUTRAL VIOLET MIX » CERULEAN BLUE

quent studies, permanent red

and cerulean blue are located
to the yellow side of the pri-
mary red and blue, respec-
tively, resulting in somewhat
neutralized to dead violet
mixtures.
PERMANENT RED ULTRAMARINE BLUE

PERMANENT RED a DEAD VIOLET MIX CERULEAN BLUE

22
Qe ORGANIZING A WORKABLE PALETTE

In learning to understand color, one thing that can greatly help should be substituted when painting with acrylic. (For sug-
is organizing a color palette. My palette is based on the gested brands of each color, see the table on pages 15 through
primaries, secondaries, and tertiaries on my color wheel. Each 17.) It is a good idea to organize your palette systematically so
of the colors has a true complementary color that is also on the that you know exactly where each color is. Eventually this will
palette. This helps painters to think of complements as opposite let you mix the color and paint almost intuitively, like a musician
ends of the same color, and to neutralize color instinctively by whose knowledge of his instrument is second nature.
adding the complement. I recommend this palette to any artist The palette shown is for transparent watercolor, but it will
who wishes to develop a stronger color sense. It it set up work just as well for oil or acrylic. For these media, use a glass
especially for color mixing and will work wonderfully for all the palette resting on a white mat board, so that the actual color
color schemes discussed later in this book. can easily be seen. Also, oil painters will need white. Your
The table below shows the colors on my palette, any colors white will stay cleaner if you use two dabs: one for mixing warm
that may be substituted for them in a pinch, and colors that colors, the other for cool colors.

PALETTE COLOR POSSIBLE ALTERNATE COLOR(S) SUBSTITUTE COLOR(S) FOR ARYLIC

Cadmium yellow light Cadmium lemon Cadmium yellow light; cadmium lemon
Cadmium orange Permanent orange None
Cadmium red orange Cadmium scarlet Indo orange red
Cadmium red medium Permanent red None
Quinacridone rose Permanent alizarin crimson None
Magenta Cobalt violet (redder) Acra violet; quinacridone violet
Ultramarine violet None Dioxazine purple
Ultramarine blue None Mix cobalt blue and dioxazine purple
Phthalocyanine blue Cobalt blue Cobalt blue
Green blue Phthalo turquoise Phthalo turquoise
Viridian green Phthalocyanine green (more highly staining) Phthalocyanine green
Permanent green light Emerald green (cooler) None

74 ~ ia MAGENTA PERMANENT
PHTHALOCYANINE BLUE ULTRAMARINE —— ULTRAMARINE ROSE
BLUE VIOLET
SPACE
CADMIUM RED
MEDIUM
GREEN
BLUE Notice that | have left extra
space around the primary col-
i. afi CADMIUM
ors. This is to facilitate color SCARLET
within mixing and to make it easy to
GREEN see the organization of sec-
ondary and tertiary colors be-
tween the primaries. CADMIUM
ORANGE

PERMANENT
GREEN LIGHT
SPACE

CADMIUM
YELLOW LIGHT
Mumm PAINTINGS BASED ON A PURE COLOR PALETTE

My palette will change according to the subject, medium or same location. In doing so, I have become very familiar with the
media, and direction of expression. When I travel and work on location of all my colors. This knowledge is essential for the
location, however, I use the palette shown on page 23. It works mixing of closely related and contrasting colors. An artist who
well because virtually any color can be mixed from these knows his or her palette is freer to focus on the subject and on
primary, secondary, and tertiary colors. Also, each color has a expression instead of the mechanics of mixing colors.
direct complement to ensure beautiful semineutrals. When I use Here are two paintings done on location in two very different
this particular palette, I always place the colors in exactly the areas, using a palette of pure colors.

This painting was done on lo-

cation at a small fishing village
on the Oregon coast. | was
there in November and ex-
pected to encounter drizzly,
gray weather but instead found -
clear skies and little wind. | .
ended up doing a series of on- -
location studies, trying to cap-
ture the feeling of light and the
color of boats, the harbor, and
reflections in water.
In this particular painting, |
was interested in the vertical
patterns of the masts and their
reflection against the horizontal

AOI,
dock and boat shapes. Most of
the color in this painting was
mixed from this set palette. Be- 0 pilin et
cause | was working in trans-
parent watercolor, many
decisions about composition,
color mixture, and value
needed to be made very
quickly before the color dried.
By having my palette colors
organized, | could mix and ap-
ply the paint quickly and with
confidence. Notice the shimmer
of the myriad colors that are
repeated throughout the paint-
ing, giving a feeling of light,
gentle movement, and color
balance.

Y a) ae /

BANDON BOAT PATTERNS Transparent watercolor on 300 Ib. Arches rough paper,
22" x 15" (55.9 cm x 38.1 cm) Courtesy of Mission Gallery, Taos, New Mexico.

24
SOMERSET, ENGLAND Transparent watercolor on 140 lb. Whatman cold-pressed paper, 11” x 15” (27.9 cm x 38.1 cm). Artist’s collection.

A short while back, | was in Great Britain during the month of brushes, and a jar of water in my day pack made it easy to roam
May. The fresh spring air was invigorating, and flowers bloomed the countryside and paint.(The biggest problem was driving on the
everywhere. | found the color there to be very heavy on the greens opposite side of the road!)
and violets, totally different than in any other area | had painted. | In this particular painting, notice the simplicity, the directness,
worked small on quarter sheets and treated each subject as one and the use of greens and violets, as well as the value of color. |
would in a diary, recording the uniqueness of the area. | ended the can refer to any one of these works today and recall the light and
trip with twenty-two watercolors from throughout the area; | also atmosphere, along with many of the events that happened that
visited many of their beautiful art museums. particular day.
This study from the Somerset district is typical of the rest of my Working with the greens and violets of England also helped my
paintings done there. The fields and hedgerows were every tone painting in the Colorado mountains. | had always had trouble with
and shade of green. The slate roofs, stone buildings and walls, the greens of summer, but after this trip | noticed and used more
and the general atmosphere were filled with mauve. Carrying this violets in the dead snags of the forest to mix with my greens. The
set palette, a quarter-sheet block of watercolor paper, a few results have been much more pleasing.

“=,
—
 MONOCHROMATIC
AND COMPLEMENTARY
COLOR SCHEMES

Hx: you ever noticed when browsing through an art museum or gallery that some
paintings use very little color, yet have tremendous impact? Artists working in this
way are using a limited palette. Throughout history, such artists as Rembrandt, Jan
Vermeer, Gustave Courbet, Claude Monet, and Winslow Homer have used limited color
to create powerful expressions. I have looked many times at Homer’s oil paintings of
seascapes painted from his studio in Prouts Neck, Maine, and on close inspection found
these powerful paintings to have been produced with simply blue green, red orange, and
white.
Two color schemes that use a very limited palette are monochromatic and
complementary. When teaching color, I like to start with these two schemes. With
either of them, the artist can learn the relationship between value and intensity and not
have to worry about using too much color. They are the simplest color schemes to
explain, and there is a close relationship between the two. However, in actual
application, both of these schemes are difficult to execute. Because each scheme
requires only one or two colors, the artist does not have a full palette with which to
“decorate” the painting. The painter must rely mainly on value to make the composition
work. Value, the relative lightness or darkness of the paint, is what creates the
structure of the painting and is without a doubt the single most important element to
learn in painting. Intensity, the relative brightness or dullness of a color, is also very
important and must be considered in both the monochromatic and complementary
schemes.
I will demonstrate in this chapter how to approach these color schemes and to
consider their many aspects. Each color scheme will be developed through the use of
diagrams and studies, and three finished paintings serve as examples for each. By
reading through this chapter and doing one’s own studies, the artist can master these
two color schemes, thus laying the foundation for the more complex color schemes of
the later chapters.

26
WINTER FROST Acrylic over r ice paper collage on 300 Ib. Arches rough paper, 27” x 21" (68.4 cm x 53.3 cm). Collection of Glenda and Barry Fe insm ith

27
gus THE MONOCHROMATIC COLOR SCHEME
The monochromatic color scheme is the simplest of all color must ask not only whether the color should be orange but also
schemes. Mono means one and chroma means color. Most whether it should be light or dark orange. By contrast, an artist
simply, this is a one-color color scheme. But that color can be using the monochromatic color scheme cannot change color if
lightened or darkened in value, and brightened or dulled in the painting is not working; there are only the lightness and
intensity. darkness to structure the painting and make it work. I recom-
Value is the most important aspect of this color scheme. If a mend that students of color spend a lot of time working with the
painting is not working, most artists will change a color—try a monochromatic scheme. In doing so, they must come to
red or an orange in hopes that, magically, that will be the cure. understand value, and value is truly the most important factor i
But the answer is usually in the value of the color. The artist making a painting work.

VALUE CHART

WHITE HIGH LIGHT LOW MIDDLE HIGH DARK LOW BLACK

LIGHT LIGHT GRAY DARK DARK

MIDDLE
HIGH LOW GRAY HIGH LOW
WHITE LIGHT LIGHT LIGHT (RED ORANGE) DARK DARK DARK BLACK

In the black and white value chart, notice that there are nine steps might refer to the shapes as analogous light values or analogous
from white to black. Actually there are an infinite number of dark or middle values. Values that are far apart on the value scale
values, but for teaching purposes let’s use just nine. Each of the such as high light and low dark, are referred to as contrasting
seven values between white and black has a name: high light, - values. In painting they can be used to direct attention to an area
light, low light, middle gray, high dark, dark, and low dark. Any of emphasis. On the second chart red orange is placed in the
three consecutive values can be referred to as analogous values. middle gray area. This is because red orange is actually a middle
Thus when talking about a particular area of a painting, an artist gray value.

28
VALUE AND COLOR RELATIONSHIPS
Color and value are generally thought of as separate, but these values do not always hold true. For instance, red violet is
actually every color has a specific value. Generally speaking, considered a dark value, and Winsor violet is in that range, but
yellow is the lightest-value color and violet is the darkest. Red cobalt violet, also considered a red violet, is much lighter. So
orange and blue green are both considered middle-value colors. when looking over this value chart, keep in mind that these are
The chart on this page will be good to remember for the general fundamental values for colors, but there are always
general values of each color. But within each family of colors exceptions.

VALUE-COLOR RELATIONSHIPS
WHITE

HIGH LIGHT:
YELLOW

LIGHT
YELLOW GREEN,
YELLOW ORANGE

LOW LIGHT:
GREEN, ORANGE

MIDDLE GRAY:
BLUE GREEN,
RED ORANGE

8 ome am oo, EA Or OG = Ga on «2 we oF OP ES et ois CE 6 EE hee we mone coe

HIGH DARK:
BLUE, RED

2 BE EAS TH Se OM ERS Qe. Bi OY) ET ET OE 8 es ce a a eee

DARK:
BLUE VIOLET,
RED VIOLET

OS OR CS ws oe ee me «ae

LOW DARK:
VIOLET

om er awe et em OH con EN a wee ney, /

BLACK

This chart shows the relationship of each color to the vertical value low light values, red orange and blue green are middle gray
chart to its right. Yellow is considered a high light value, yellow values, blue and red are high dark values, red violet and blue
green and yellow orange are light values, green and orange are violet are dark values, and violet is a low dark value.

29
 THE MONOCHROMATIC COLOR SCHEME

THE RANGE OF THE MONOCHROMATIC SCHEME

In the monochromatic color scheme, the painter can lighten
the color of the painting with white (or water in the case of
transparent watercolor painting), darken the color with black, or
neutralize the color with its complementary color. Even though
this sounds very simple, a variety of moods and effects can be
achieved.

This illustrates the range of a

monochromatic color scheme WHITE
using cerulean blue. The value
of the color is changed by
lightening with white or darken-
ing with black. In addition, the
color is neutralized with its
complement cadmium red light.
Note that each semineutral
and neutral color can also be
lightened or darkened with
white or black.
CERULEAN NEUTRAL
BLUE

BLACK
Black is the most controversial color in painting. I am including black while still reflecting light and being consistent with the
it in this chapter because the artist can theoretically darken rest of the paint surface. One mixture I have found particularly
colors in value by adding black to the color. In showing the effective is alizarin crimson, viridian green, and phthalocyanine
range in a monochromatic or complementary color scheme, blue. I use this whenever a strong dark is needed, or some-
black must be included. However, black is actually the absence times when darkening others colors.
of color. It absorbs light rather than reflecting light as all other The idea of black, though, is interesting, and some artists use
colors do. I never use black in my work, and this includes the it well. Although most of the French impressionists did not use
family of blacks such as Payne’s gray, neutral tint, lamp black, black in their palettes, Renoir was an exception. He called black
ivory black, and so on. the queen of colors, and used it in a very effective way. In his
I have judged many national, regional, and local art exhibitions large canvases he would use a solid black as a foil to emphasize
and viewed many, many paintings. Paintings that have been a shape. In other words, he was not mixing black with color to
created using black to mix with color are easy to pick out. The darken and dull the color but emphasizing the color by having a
color seems dead. This is because black is subtractive rather black background. Black—or any strong dark—surrounding a
than additive. It takes away from the pure color, absorbing it as colored shape will make the shape seem lighter, brighter, and
well as the light. larger than it really is. It is this principle that Renoir used so
There are other ways to get a strong dark that resembles effectively to emphasize his figures.

30
WHITE
White is the presence of all color and reflects all light. It acts
just the opposite of black when surrounding a color: It makes
the color appear darker, duller, and smaller. Also, adding white
to a color lightens and neutralizes the color. This is an excellent
way to create neutrals, because the color looks softer and has a
pastel quality about it. I mix white with pure color a lot. This
gives a clean, pure, pastel visual quality that is particularly
effective when placed next to neutrals of mixed complements.

This is an example of how a white or light field and a black or dark

field can affect a color. Both red orange circles are exactly the
same color and size. But on the white field the red orange circle
looks smaller, darker, and duller. On the black field the same circle
appears larger, lighter, and brighter.

ORGANIZING VALUES INA MONOCHROMATIC COLOR SCHEME

As mentioned earlier, in a monochromatic color scheme the quality and are normally placed in larger outlying areas of the
artist is primarily working with value. The key to making the composition. These areas allow the eye to rest and then move
painting work is to organize the value in the composition to on to the active contrasting areas.
attract the eye and hold it. Generally, the strongest contrasting If all areas in the composition were active and strongly
values will attract the eye, and they are placed in the area of contrasting, the eye would be disturbed and would have a hard
emphasis. Analogous values create a much quieter, more restful time looking at the painting.

This is a diagonal, free-flowing composition with a curvilinear motif. It could

easily resemble rocks and water movement. Again, the stronger contrasting
values are in the active areas, while the analogous values are in the quiet,
outlying areas.

This is a horizontal-vertical composition with a

rectangular motif. Notice that the central areas of
emphasis have the strongest contrasting values,
while the outlying, more restful areas have values
that are more analogous.

31
THE MONOCHROMATIC COLOR SCHEME

SIX STUDIES
Here are six studies of one group of buildings in northern New
Mexico. All these studies use the complementary colors
cadmium scarlet (orange) and phthalocyanine blue (blue), plus
black and white (water to lighten). Since this is a mono-
chromatic scheme, orange is the one color that shows in the
painting, and blue is used to neutralize the orange. Again, the
key to each of these studies is the organization of value and the
way the pure and neutralized intensity are used.

Strong contrast of lights and darks are used to attract the eye. The
whites are organized to move the eye around the painting. Also,
full-intensity orange is used on some of the roofs to attract the eye.
The rest of the color has been neutralized to various degrees to
vary the warmth and the movement of the study.

In this study, there is no full-intensity orange. The orange has been

neutralized with blue to give a more earthy feel. Value of the
orange is the key. The strongest contrasting lights and darks are
placed in areas to attract the eye and direct it around the
composition.

i ep eo? Nee *
> al pe
This study uses analogous lighter values. Notice that there is still
enough value change between all adjacent shapes so that each
shape can be easily distinguished. The lower right building has
some full-intensity orange to give it more emphasis. The rest of the
composition is painted with varying amounts of neutralized
orange.

32
Here value is rearranged so that the lower right building and the
tree on the left have the darkest value. This was done to create
balance in the composition. The other shapes have less value
contrast, but enough to make them look crisp and clearly defined.
The orange has been neutralized to create a distinct mood.

In this study, notice how the warm higher-intensity oranges bring

the buildings forward while the cooler, dull neutral intensity
oranges of the background areas recede. The full intensity of the
orange on the eaves of the lower right roof draws the eye to that
area. The strongest values have again been arranged to move the
eye through the composition.

This composition is treated as a study of flat pattern and design.

The values contrast, the strongest contrast being white to black,
with full-intensity orange in the area of emphasis. Also, the
ntensity ranges from pure orange in the roof areas to a dull
neutral in the surrounding areas.

33
THE MONOCHROMATIC COLOR SCHEME

PAINTINGS USING THE MONOCHROMATIC COLOR SCHEME

Here are three paintings using the monochromatic color and medium are best suited for this subject? Finally, what color
scheme. When developing an idea from the initial sketch to the | scheme will best express this mood? These three paintings
final painting, the artist must consider many things to enhance have taken their own paths in terms of mood, format, paint
its expression. First, what is the mood in the painting and what —_ application, and color. Along with each finished painting is a
format will best make it work? What type of paint application color chart showing a simple diagram of its color scheme.

—T " ¥ 3 ae i
SUMMER ASPEN IMPRESSIONS Transparent watercolor on 200 Ib. Arches cold-pressed paper, 21” x 29” (53.3 cm x 73.7 cm). Private collection.

ye This painting depicts what | feel aboutan more by intuition, reacting to what was
PHTHALOCYANINE area rather than what is actually there. | happening as the paint moved on the
HOOKER’ GREEN have lived in or near the Colorado moun- __ surface. Phthalocyanine green, Hooker's
GREEN g tains for many years and have internalized green dark, and a touch of emerald green
ia many impressions of the country during all __ were used to create the impressions of
seasons. When | first started painting the summer. Notice how the strongest contrast
aspen and spruce several years ago, my forms the areas of emphasis: the spruce,
paintings were literal interpretations. As | aspen, and figure. The outlying areas have
have become more familiar with the aspen __less contrast; the soft aspen forms left of
and spruce forms, | became interested in center use quiet, analogous values. | chose
painting them as | see them, ina way that —_ watercolor for the medium because of its
has a deeper meaning to me. transparency and because its wet-on-wet
This painting did not have a preliminary characteristics were needed to create the
sketch. | let the paint flow and worked impression of aspen forms.
 SSS
a
x F i

ase
‘ itd
F 5

* ‘ zo

| have done many drawings of the Ranchos de Taos Church from

many different angles. It is certainly the most painted church in In November this is a familiar sight in New Mexico. One of my
New Mexico. The early Taos painters, as well as Georgia O'Keeffe —_ favorite things to do around Thanksgiving is to sketch the late
and Fritz Sholder, have worked with this subject. Here | was November light on the field patterns and orchards of this area.
working with a profile and emphasizing the rectangular motif and The few apples left on the tree remind me of Christmas tree
horizontal format. ornaments.

LATE NOVEMBER, TAOS Oil wash, Prismacolor, and gouache on Stonehenge tan paper,
16” x 29" (40.6 cm x 73.7 cm). Courtesy of Mission Gallery, Taos, New Mexico.

nee eh |_am trying to create a mood of late November almost bare apple trees. The intensities are
~~ aw in Taos, New Mexico; the subject is apple trees almost entirely neutral, with a few pure cad-
; * and the Ranchos de Taos Church. This is without mium scarlet notes on the roofs and apples to
/ & hive \ a doubt my favorite time of year in Taos. Most add life to the painting. This is a direction | like
/ BuRNT * \ of the leaves have fallen from the trees, and a to work when using a monochromatic color
| SIENNA long, warm, strong light rakes across the fields, scheme. A tan paper toned in burnt sienna lets
emphasizing the texture and forms of the area. me focus on lighter and darker values when
To get this mood, | need strong contrasting planning the composition. Basically, the color
: values to give a feeling of November light on scheme uses cadmium scarlet, burnt sienna,
\ the church and a feeling of starkness on the burnt umber, white, gray, and black.
THE MONOCHROMATIC COLOR SCHEME

Here is a drawing of a prominent mountain

in the San Juans. In the drawing, | empha-
sized the rhythmic flow of the mountain, the
texture of the mountainous terrain, and the
value that brings out the shapes. | referred
to this drawing as | developed the com-
position of the finished painting.

ll \
\\\ i\\
4
v

WINTER NIGHT, UPPER SAN JUANS Gouache on Crescent illustration board No. 100, 17" x 29" (43.2 ave x 737 cm). Private collection.

This is one of my favorite areas in the Colorado San Juan light over dark. Only Prussian blue and permanent white were
Mountains. In the winter and during a full moon, the snow reflects used, and the whole painting was developed with both analogous
a lot of light. The landscape takes on all values of a midnight blue and contrasting value relationships. A long, horizontal format was
color, and the aspen and spruce trees cast long, distinct shadows. chosen for this painting to accentuate the rhythm of the mountain
| wanted to create that clear, crisp, cold mood of a winter night in ranges. And finally, a counterbalance was developed between the
the high country. | chose gouache for my painting medium upper left mountain and the lower right area where the elk are
because of the flow of the color and its opaque coverage power, crossing.

36
 WORKSHOP: MONOCHROMATIC
COLOR SCHEMES a

EXERCISE 1
Do a value chart having nine steps between white and
black. Try to make an even progression from each step to
PRUSSIAN co] the next. In a second chart, use a red orange (such as
BLUE cadmium red deep) «as the middle gray. Develop the light S
side of the chart by adding white and the dark side of the
chart by adding black. This ‘may seem like a mundane
exercise, but it is the key to color. If you understand the :
dark and light relationships of color, you will be on your
a

EXERCISE 2
With a 2H pencil, lightly draw three econ approx-
imately 5 inches by 7 inches. Two of them should be
horizontal and one vertical. Choose one of three geo-
metric motifs (rectangular, triangular, or curvilinear)
and - S
stay only with those shapes, varying the size to make the
design interesting. Do not work realistically, but make |
these abstract shapes have unity through the value of the
monochromatic color. Use one color and its complement
to neutralize, plus black and white (or water and the
white of the paper in watercolor). On one of the designs, |
work only with analogous light values throughout, thus
creating a light, airy feeling. On the next design, con- _
centrate on darker analogous values, leaving no light or _ g
white values. This study could project a sinister feeling of
gloom or depression. Focus the last image on both —
contrasting and analogous values, having the contrasting
values toward the area of emphasis and the analogous
values in the outlying, quiet areas.

EXERCISE 3 a
Use a toned gray-beige watercolor paper. Or choose a
pastel paper of this tone—or make your own, staining _ _
the watercolor paper or canvas panels with a thin layer of S
this color, and let it dry to a middle value. Choose a
simple subject (landscape or still life) with some distinct : ss
shapes. Do two studies. For the first study select a warm
orange color and its complement to neutralize, plus white
and black. Use the white to develop the lighter tones and
highlights, and the black to develop the darker values and
deep contrasting accents. Leave some of the paper
untouched and other areas showing through glazes of
color. In the second study, use the same image, only use
a cool color such as a green and its complement, and
proceed in the same manner. _
Me HE COMPLEMENTARY COLOR SCHEME

Complementary colors are directly opposite colors on the color best results in a painting. With this in mind, the artist can use
wheel. To find a true complementary color, locate two colors complements not only while mixing color, but also when
directly opposite each other by going through the inside center underpainting and overpainting or glazing color over color.
point, called neutral, on the color wheel. Thus red and green, How did this idea of complements get started, and how were
yellow orange and blue violet, red violet and yellow green are reds and greens, blues and oranges, yellows and violets known
some of the complementary colors. More specifically, on my to be complementary?
color wheel located after page 16, alizarin crimson and viridian These theories all began with M. E. Chevreul, a French
green, phthalocyanine blue and cadmium scarlet, and cadmium scientist who was interested in art. His research led to writing a
lemon and mauve, are true complements. This means that they book in the mid-nineteenth century entitled The Principles of
neutralize each other to an accurate neutral, make beautiful Harmony and Contrast of Colors. In this book, which is still in
neutral colors when mixed together, and complement each print today, he presented his theories of mixed contrast and
other when used together well in a color scheme. simultaneous contrast. This book became a “bible” for the
After you have worked with the monochromatic color impressionists, the postimpressionists, and also many American
scheme, the complementary scheme should come easily. The painters, including Winslow Homer. In his book, along with
same considerations for value and intensity are needed, and you these other theories, Chevreul discussed the theory of suc-
are simply using one more color. Again, using a very limited cessive contrast, which today we call afterimage. He noted that
palette can create a very effective mood. after one has stared at a colored circle on a white field for a
Furthermore, the knowledge of complementary colors is period of time and then closed the eyes, the complement of that
important when working with any kind of color palette. It was color appears. He further discovered that the eye actually seeks
John Sloan, the great American painter, who stated in his book a balance by providing the complementary color. Because of this
Gist of Art that the painter should think of complementary discovery, many artists since have experimented with ways of
colors as the opposite ends of one color. In other words, they applying complementary color that are more pleasing to the
should always be envisioned together and used together for viewer's eye.

COMPLEMENTS IN NATURE
From a small brown-red rock with gray-green lichen to a deep blue-green living spruce behind it. Many of the tropical fish
spectacular sunset of a golden yellow sky against gray-violet are colored with almost fluorescent complementary colors. Take
cumulous clouds with white-gold linings, our earth is filled with some time and study the color combinations of the wild grasses,
complementary colors. All we need to do is observe and enjoy. the forest vegetation, the color of the earth, and the sky’s
In the spring, the red-violet crab apple blossoms play against various atmospheric conditions. Notice how many times they
the yellow-green shimmer of new leaf buds. Many of our contain complementary colors, ranging from very subtle to
roadside flowers, like asters and meadow iris, are yellow and earthy to brilliantly intense. Here are four studies of comple-
violet. The burnt red-orange dead spruce blazes against the ments in nature.

The illustrations on these two pages show

examples of complements in nature. This
study is based on a scene outside my
studio. Red-violet spring willows play on
the deep sap-green to yellow-green pinion
and the light yellow-green spring grass.
(Here | am not talking about weeping
willow trees, but about a shrub more like
the pussy willow. It grows especially along
river banks, and its bark turns red violet in
the spring.)

38
 ‘

Here is a study of a pot of Johnny-jump-ups by my studio door. This sketch shows a potted coleus plant found in a friend’s home.
The petals of these tiny flowers play a yellow against a light violet. Notice the pure-intensity red violet and yellow green, and their
semineutral color relationships.

In this summer New Mexico landscape, the red-orange earth mingles with the blue-green chamisa and sage, and with the cedar and
pinion on the hillside.

39
THE COMPLEMENTARY COLOR SCHEME

WARM AND COOL COMPLEMENTS

What are warm and cool colors? And what does this have to do colors to the left of the line are warm and those to the right are
with painting? Warm colors advance and cool colors recede, cool. The colors red violet and yellow green can be either warm
which means that the artist can actually create the illusion of or cool, depending on the colors surrounding them. If the
depth by the organization of color. On the color wheel, the perimeter colors are cool, they will appear warm; if the
dividing point is the line from red violet to yellow green. The surrounding colors are warm, they will appear cool.

This illustration shows how the color wheel is divided into warm and cool colors. Because warm
colors appear to advance and cool colors appear to recede, the artists can use color to create a
feeling of depth in a painting.
CREATING BALANCE THROUGH WARM AND COOL COLORS
Artists have found that a touch of the cool complement in a
warm color field, or vice versa, is pleasing to the eye. We call
this “warm in cool” or “cool in warm.” John Singer Sargent was
a master of this color application. Study his oils and watercolors
and notice that in every area of his compositions, he used the
warm-cool theories.

E ye
In this study, | used the warm cadmium yellow light and its cool OF OE eccrine
complement, ultramarine violet. In each area of the study—the oS
sky, rocks, and sand—I added warm to the cool or cool to the Here | used the warm color permanent alizarin crimson and its
warm. Notice that the intermixing of these colors creates a lot cool complement viridian green. Notice that in the neutral
of neutral violets or yellows, leaving just small areas of pure washes, there are hints of warm in the cool and vice versa. In
eolar. this study there is actually no pure color. Every area of this
study—the trees, rocks, and water—uses the warm-cool theory.
Imagine how much less interesting it would be if these shapes
were one solid color.

WHITE WHITE

CADMIUM CERULEAN
RED LIGHT BLUE

NEUTRAL INTENSITY

BLACK BLACK

Here is a diagram of the range of two complementary colors, cadmium red light and cerulean blue.
Each color can be used to full intensity, lightened with white, or darkened with black. In addition,
each color can be neutralized by adding its complement. The neutralized colors can also be lightened
with white or darkened with black.

41
THE COMPLEMENTARY COLOR SCHEME

WAYS TO MIX A NEUTRAL

When I talk about neutralizing a color, I am talking of dulling the Some ways of neutralizing create a much more exciting
purity of a full-intensity color. There are four ways to neutralize visual quality than others. On this page are examples of the four
a color: (a) by adding black, (b) by adding gray, (c) by adding ways of neutralizing a color and what happens to the color in
white, and (d) by adding the complement. each instance.

Black is used to neutralize permanent alizarin crimson. Black, Gray—a mixture of black and white—can be used to make a
being subtractive, absorbs light and the color. The result is a color lighter, darker, or the same value but duller. Because black
deadening of the color. Many times the resulting neutral will have is a part of the mixture, it still somewhat deadens the color
a gloomy effect. This is not the best way to create a neutral. and is not ideal for creating a neutral.

By adding white to the color, the artist lightens the color in Adding the complement, in this case viridian green, produces
addition to neutralizing it. Some colors, like alizarin crimson, take tones between the color and its complement. Beautiful visual
on a cooler look. Neutralizing color in this way creates a beautiful qualities are created because of the blending and settling of the
pastel visual quality. pigments in the mixture of the two complements.

This is a diagram of the relationship among full-intensity, semi-

neutral, and neutral colors. Full-intensity colors, such as cadmium CADMIUM
SCARLET
scarlet and phthalocyanine blue, are located on the outer circle of
the color wheel. They are pure colors, direct from the tube, and no
color has been added to neutralize the color in any way. Semi-
neutral colors are always located inside the color wheel. These
colors have been neutralized to some degree. The colors become NEUTRAL
duller as they get closer to the center of the color wheel. Many
semineutral colors can be used straight from the tube, such as the “\_ PRUSSIAN
colors light red, burnt umber, and Prussian blue. Semineutral ‘“\ BLUE
colors can also be mixed from complementary colors, or from
contrasting colors that are not true complements. Neutral color is
located directly in the center of the color wheel and is a dull,
lifeless color that looks like mud. As explained earlier, this color
PHTHALOCYANINE
can be mixed by adding two complements together, such as
cadmium scarlet and phthalocyanine blue, until neither color can
be seen.

42
 PURE HUE SEMINEUTRAL NEUTRAL SEMINEUTRAL PURE HUE

CADMIUM ULTRAMARINE
YELLOW LIGHT VIOLET

PERMANENT COBAIT
GREEN LIGHT VIOLET

EMERALD QUINACRIDONE
GREEN VIOLET

VIRIDIAN PERMANENT
GREEN ROSE

GREEN CADMIUM
BLUE RED MEDIUM

CERULEAN CADMIUM
BLUE RED LIGHT

PHTHALOCYANINE CADMIUM
BLUE SCARLET

ULTRAMARINE CADMIUM
BLUE ORANGE

We cannot just say that red and green are complementary. There are on the far left and right with the semineutrals adjacent to them,
are orange reds and violet reds as well as red reds, and yellow and the neutral in the center. Semineutral colors of complements
greens and blue greens as well as green greens. Here are a few can be very beautiful, as can be seen in this illustration. This is
true complementary colors, and an illustration of how they important to know, because the majority of most paintings is
neutralize each other. This chart shows the full intensity, semi- painted in the semineutrals, with only a small portion of the
neutral, and neutral of the complements. The true complements composition using pure color.
THE COMPLEMENTARY COLOR SCHEME

APPLYING COLOR TO CREATE SEMINEUTRALS

There are many ways to create visual interest by applying semi- Here are four examples of different ways to apply color to
neutrals with complements. When you go to a museum, study create semineutrals. They are the standard mixing method, the
the impressionists and postimpressionists’ approach. Look at alla prima method, the pointillist method, and the glazing
the brush strokes and the color interaction. Look at both method. All four of these studies use yellow orange and blue
watercolors and oils. Get up close and study the color and then violet as the two complementary colors, and acrylic for the
get back and see how the eye sees the same area. medium.

sat Mani Ee era a ae

This is the standard watercolor approach for applying neutrals. . This method can be called alla prima, juicy opaque, or broken
The transparent washes in this study have been premixed, using color. These terms mean applying the paint thickly and directly,
the two complements. Even the yellow orange mesa has blue and breaking one color adjacent to another color instead of
violet in it. Each wash is mixed more to the blue violet side or to blending the colors. The color in this study also uses semineutrals.
the yellow orange side to ensure a beautiful semineutral. In this approach, underpainting and overpainting can be used as
seen in the foreground area. The blue violet semineutral was
applied and allowed to dry. The yellow orange semineutral was
then scumbled over the undercolor, letting some of it come
through.

This pointillist approach to applying paint was used by the The glazing approach shown here is similar to the standard
postimpressionists Seurat and Signac. It is used some today but watercolor approach in that both use a series of transparent
not a lot. However, the principle behind it, called mixed contrast, is washes. Here, however, each wash uses pure yellow orange or
important. The color is pure, with the addition of white, and is blue violet. One wash is applied and allowed to dry. The
applied in small strokes. When the artist places small pure strokes complementary wash is then glazed over the first wash, creating a
of complementary color next to one another, at a distance the eye semineutral. The amount of color in each wash determines the
will mix the color and see a semineutral. value and intensity of the semineutral.
SEMINEUTRALS MAKE PURE COLOR SING
The proportion of the semineutral colors is very important. If painting methods, artists should use smaller amounts. The large
the artist uses large amounts of full-intensity color, it will areas can be filled with semineutral colors, which are more
overwhelm the eye. This is what the op artists were trying to restful and soothing to the eye. Complementary semineutrals
do. They used full-intensity complements in large areas adjacent placed next to the small areas of full-intensity color will bring life
to each other to create a vibration for the eye. But to create to that color. When the artist controls the semineutral and full-
pleasing color harmony, the artist must remember that juxta- intensity color well, the composition will simply sing with a
posed intense complements have too much impact. For most harmony of magnificent color.

The complements in this study are blue violet and yellow This is the same composition in green and red. | used viridian
orange. | have used ultramarine blue to get the blue violet and green and permanent alizarin crimson. The semineutrals are
cadmium orange for the yellow orange. Notice that the large always to the green side or the red side. Notice how the
masses of color are in semineutrals and the darkest value of full-intensity green and red come to life because of the soft,
the semineutral is next to the full-intensity color. restful neutrals placed next to them.

DOMINANT AND SUBORDINATE COLOR

If equal amounts of each complement are used, it will confuse exciting way. The opposite color is then used in a subordinate
the eye because both complements are competing for the eye’s way to give the eye balance and relief from the dominant color.
attention. Because of this, the artist works with dominant and Here are two studies using two colors that are complements,
subordinate complements. One of the colors is chosen to be cobalt turquoise and permanent red. In the first study, I have
dominant, according to the mood that the artist wants in the tried to use the complements in a negative way, and in the
composition, and the artist controls its value and intensity in an second study, to use them in a positive manner.

Equal amounts of each com- Here cobalt turquoise has been

plement have been used in this used as the dominant color.
study. Also, large amounts of The large areas have been
full-intensity color have been neutralized to be soothing to
used. Notice how the large the eye, and small amounts of
amounts of pure color over- full-intensity color have been
power the composition, and used to add life. Permanent red
the equal amounts of cobalt is used in a subordinate man-
turquoise and permanent red ner. Some areas have been
compete rather than comple- neutralized, and small areas of
ment each other. full-intensity color have been
used to give balance to the
composition and to make the
composition more pleasing to
the eye.

45
THE COMPLEMENTARY COLOR SCHEME

SIX STUDIES
As we have seen in the previous studies, there are many things
to be considered when working with complementary colors. To
get the colors to work well together, the artist must make many
decisions. These considerations include how to organize the
value, how to organize the intensity, how to utilize value
effectively with pure intensity, how the neutrals will affect pure
intensity, and which complementary color will be dominant and
which will be subordinate.
Here are six studies using complements red (permanent
alizarin crimson) and green (viridian green). Notice how the
value, intensity, and dominant and subordinate color affects
the mood of the composition.

The dominant color is green, used in both analogous and

contrasting values. The green has been neutralized to some
degree. Red is the subordinate color. It is neutralized with white to
create a pink, and used full intensity in small areas along the
bank. This study is primarily on the cool side and has a lot of
impact because of the contrasting value.

In this study, the mood is quiet and restful. Again, the dominant
color is a cool green. The values are more analogous, creating a
gentle feeling. The intensity has been neutralized with the
complement, or lightened with white in the front bank. Red is the
subordinate color, and it is entirely neutralized and lightened.
Notice how the color is repeated in order to move the eye around
the composition.

Here the contrast in value is reversed from the first study in this
series. The main spruce has some pure-intensity light red, and the
surrounding snags and trees are neutralized and lighter in value.
The background is dark neutralized green, creating a feeling of
sunlight hitting the foreground area.

46
Red is the dominant color in this study. Light and dark red, and
bright and dull red, have been used to give a strong impact to the
composition. The greatest value contrast is in the area of
emphasis, with less contrast in the outlying areas. Full-intensity
green has been lightened with white and placed in small accent
areas of the composition.

Here a serene, quiet mood has been created by working with

primarily analogous light values. The dominant color red has been
neutralized and lightened throughout the composition. The subor-
dinate color green has also been neutralized and lightened and
placed in small areas to give relief to the warm.

Analogous dark values are used here to give a subdued and

somewhat eerie feeling to the composition. The dominant color
red has been neutralized and darkened by the green. The
subordinate color green also has been neutralized and darkened
with the red.
Notice though, how the lightened pure-intensity red and green
along the bank’s ridge take on a vibrant look against the darker
neutrals.

47
THE COMPLEMENTARY COLOR SCHEME

THREE PAINTINGS
Here are three finished paintings using complementary color. similar. Study the color in all three paintings. Why did I choose
Each of the paintings uses color to best express the mood I these colors to best express a mood? How were the dominant
wanted to convey. Each of the paintings is different interms of | and subordinate colors used? How is the relationship between
subject matter: a high mountain lake, the Northwest coast at value and intensity handled? The color usage in each painting
low tide, an isolated mountain town. Yet the approach to color is _ lets the complements work together in an exciting way.

EMERALD
GREEN

COBALT
GREEN

PERMANENT
ROSE

One of my favorite summer pastimes is

fishing. Spending a day in the high country
on a stream or lake in some remote area
gives my mind and soul a chance to
regenerate. Many of my ideas for painting
come from these times. This painting is the
result of a memory of one of those trips:
canoeing on a high mountain lake in the
early morning with no wind. Because it was
done from memory, there were no detailed
sketches of the area. The composition
developed by my letting the paint flow and
reacting to the flow. | actually had a friend
pose for me while we were having lunch in
a restaurant to get the figure for the canoe.
The painting was done in watercolor and
casein.
| chose the color for the mood | wanted
to create, one of tranquility on a cool,
peaceful early summer morning. Emerald
green and permanent rose were the com-
plements chosen, with green as the domi-
nant color. The green is actually used in a
series of neutrals with no pure intensity.
Besides the neutral emerald green, cobalt
green and terre verte were used. The
subordinate color, permanent rose, is used
as a neutral in the transparent washes in
the sky and water. It is also used with pure
intensity as the underpainting in the large
land and tree forms, and as a pure accent
on the fisherman’s shirt. Notice how the
hints of warm permanent rose add a glow
and radiance to the composition.

CANOE REFLECTIONS Watercolor and casein on 550 Ib. Arches paper,

35” x 25" (88.9 cm x 63.5 cm). Collection of Sue Spencer.
 CADMIUM
ORANGE

RAW
§ SIENNA

VANDYKE
BROWN

| enjoy doing quick line drawings of the ocean, rocks, and people on the Oregon coast. | wae
BLUE
move around sketching anything that catches my eye, usually spending no more than five
minutes on each sketch. Back in the studio, | can interpret the sketch, personalizing the bea
color and rearranging the composition. This is the line drawing that was used for the ULTRAMARINE VIOLET
painting Low Tide. VIOLET

MA %
2s

LOW TIDE Watercolor on 300 Ib. Arches paper, QV" x 29" (53.3 cm x 73.7 cm). Private collection.

| love painting the Northwest coast almost as much as | enjoy lure of dramatic beauty, and tranquility. To do this | chose to limit
painting the Colorado mountains. And though they are 1,500 miles —_ my palette to the complementary colors blue violet and yellow
apart, and the subject matter is very different, to me there isa real orange. The dominant color is blue violet, which is a mixture of
similarity between the two. During much of the year, both areas ultramarine blue and mauve. Semineutral blue violets are used in
have few visitors and are very isolated. The local people seem to _ large areas of the sky and sand, and full-intensity blue violets are
have a certain independence about them. The scenery has a used in small areas of the sea. The subordinate color yellow
ruggedness and danger but also an attraction that keeps pulling orange is actually cadmium orange. It is used mainly as a series of
me to it. neutrals in the sky and sand with a small amount of full-intensity
In this painting, Low Tide, | was trying to convey these very color along the horizon and water inlet. The figure has been
things in the seascape: ruggedness, isolation, independence, a incorporated in the painting to give scale to the seascape.

49
THE COMPLEMENTARY COLOR SCHEME

This is a line sketch for the finished painting Winter Evening,

Creede. In many of my sketches. | rearrange things for a better
composition. Here, though, it was important that the painting
represent the area. So | spent time driving back and forth on a
road about four miles south of the town, studying the shapes and
finding the best composition. | chose this spot because of the
strong diagonal from the upper right mountain to the town at
lower left.

WINTER EVENING, CREEDE Watercolor on 300 Ib. Arches paper, 21” x 29” (53.3 cm x 73.7 cm). Collection of Jim & Kim Gilfillan.
CADMIUM BURNT
SCARLET SIENNA
BURNT
@ UMBER
\_ PRUSSIAN
“Sn, BLUE |
“’e /

PHTHALOCYANINE

This is a painting of Creede,

Colorado—under a full moon
late one cold evening in Janu-
ary. Creede is located in the
southern San Juan Mountains
at about 9,000 feet elevation,
and in midwinter the town is
very isolated. | have spent a lot
of time in this area, and in this
painting | wanted to convey the
special feelings | have for this
place.
| limited my palette to a
complementary scheme to
create a certain mood. Prus-
sian blue has always been
good to me; | have found it
very effective for capturing the
feeling of night in winter. Here |
used Prussian blue and cad-
.mium scarlet for the comple-
ments with semineutral colors
burnt sienna and burnt umber.
The dominant color is Prussian
blue to create the evening
winter mood. The subordinate
color is on the orange side,
where the burnt umber and
burnt sienna have been
touched into the mountains
and used more strongly in the
foreground as a warm color to
help give a feeling of depth.
Cadmium scarlet is applied to
the lights in the mountain vil-
lage to give a jewellike shim-
mer of life to an isolated winter
evening. In addition to the
color, notice how the value has
been controlled. The strongest
value contrast is in the moun-
tain peak at the upper right
and the town at lower left,
creating a counterbalance. The
analogous values are used in
the more quiet, restful areas of
the composition.

51
 ANALOGOUS AND
SPLIT-COMPLEMENTARY
COLOR SCHEMES

believe that an artist’s knowledge and development of color should be based on

tradition. Today we have at our fingertips literally centuries of painting theories
developed by the masters. If we can understand their color theories, we will have the
foundation on which to build our own knowledge of color. Too many short-lived art
movements in the last thirty years have been based on rejection of the past. All great
art is the culmination of lifetimes of discovery and knowledge.
Color is just one channel of expression. It is, however, the most emotional element
that the artist has to work with. Thus it is important to pursue the knowledge of color
theory—as well as drawing, composition, and media technique—for the richest
expression of one’s art. And the learning can continue indefinitely. I am reminded that
Rembrandt, after a lifetime of working, felt that he was “just beginning” to express his
personal vision.
There are really only two ways for a painter to use color. The painter can use closely
related, analogous colors, or unrelated, contrasting colors. A painter friend of mine who
is considered a colorist once said that we may use any combination of colors in a
painting as long as the value works. Although I do not entirely agree with him, I believe
that his statement has merit. How the value and intensity of color are handled in a
painting is as important as the colors selected. With knowledge, an artist can take three
or four unusual colors and come out with beautiful expression. It is important to study
structured color schemes simply to develop this knowledge and to learn some sure-fire
ways of developing beautiful color schemes and color harmony. Painting is like any other
art form: Just as in dance, music, or writing, once one has a thorough understanding of
all the basics of the art, the rules can be adjusted and expression becomes subjective.
In the last chapter, I discussed value and intensity, introduced the concept of
dominant and subordinate color, and described one way to use two contrasting colors in
a complementary color scheme. In this chapter, let’s take a look at two more color
schemes. The analogous color scheme uses three closely related harmonious colors;
the split-complementary color scheme uses three closely related colors with one
contrasting color.
Read through this chapter to study these two color schemes and my examples of
paintings. Try the two workshops included in the chapter, and as you go along,
experiment on your own and try your own studies. I recommend doing many small
studies before working large and going for your “masterpiece”! You can cover a lot
more ground with a series of small examples rather than laboring over a large piece
that, when finished, may or may not work. With concentration and persistence, these
color schemes will become second nature. Bon chance!

52
Arches rough paper, 26” x 34” (66.0 cm x 86.4 cm). Collection of Michelle Burns.

53
Ma THE ANALOGOUS COLOR SCHEME

An analogous color scheme is one of the most beautiful, Any three adjacent colors can be used together for this scheme.
harmonious schemes to work with because the artist is using In addition, the lighter and darker values of each color and their
adjacent, closely related colors on the color wheel. To deter- semineutrals can be used. For the best relationship, one color
mine what colors can be used in this scheme, draw a color should be selected as the dominant color, one as the
wheel and mark the primary, secondary, and tertiary colors. subordinate color, and another to be in between.

Here is a color wheel with the primary,

secondary, and tertiary colors listed. Any
three adjacent colors can be used to
develop an analogous color scheme, as
well as the light and dark values and
semineutrals of those three hues. Red
(permanent rose), red violet (cobalt
violet), and violet (ultramarine violet)
are the colors used in this example.

USING ANALOGOUS COLORS IN A STUDY

The same three colors that are shown above can be used in a
study for a finished painting. Many things must be considered
before starting the study, and most important is the feeling or
mood that needs to be expressed in the composition. The red,
red violet, and violet are used here to convey a feeling of
warmth, activity, and cheerfulness. Any three analogous colors
could have been chosen, giving a distinctly different feeling to
the composition.

This small study uses the colors

chosen in the previous dia-
gram. Notice that the colors
vary in value and intensity to
develop a harmonious rela-
tionship. This idea came from a
recent sketch of fishermen,
wharf, and pilings in an area
close to a small town on the
Oregon coast.
SELECTING ANALOGOUS COLORS
Actually, many pigmented colors (that is, colors straight from
the tube) can be used in an analogous color scheme. The only
prerequisite is that they must be located within the wedge of
the three analogous colors. Refer to my color wheel after page
16 and notice the number of colors that can be selected on any
given scheme. Note that although all the colors in an analogous
wedge can be used, usually only a few are selected.

CADMIUM ORANGE

In this analogous color wedge, the three e— aie

o pose
chosen colors are red orange, orange, and
yellow orange. There are actually many
BRIGHT RED %
colors located on the outside edge of the YELLOW OCHRE
wheel within this range. Some of these CADMIUM SCARLET BURNT
SIENNA RAW SIENNA
are cadmium red deep, bright red,
VERMILION
vermilion, cadmium scarlet, cadmium red
* eu RNT UMBER
light, and cadmium orange. Within this CADMIUM RED LIGHT
wedge are the semineutral colors yellow LIGHT RED VANDYKE BROWN
ochre, raw sienna, burnt sienna, light red,
CADMIUM RED —_ ae |
brown madder alizarin, burnt umber, and MEDIUM
Vandyke brown. All these colors could be BROWN MADDER
used in one analogous color scheme, but ALIZARIN
usually a painting is more unified if the
artist chooses just a few.

ANALOGOUS COLOR SCHEMES CREATE HARMONIOUS COLOR

One popular dictionary defines harmony as “a consistent, and has part of the other color in it. For instance, in the
orderly, or pleasing arrangement of parts . . . forming a analogous color scheme yellow green, green, and blue green,
consistent whole.” By its very nature, the analogous color the three colors are related because of the middle color, green.
scheme is harmonious. Each of the adjacent colors is related to Each color has some green, the common color, in it.

PHTHALOCYANINE GREEN:
GREEN

PERMANENT GREEN LIGHT: GREEN BLUE:

GREEN PLUS YELLOW GREEN PLUS BLUE

Three colors have been chosen to represent an analogous color colors that are located side by side on the color wheel. Notice
scheme: yellow green (permanent green light), green (phthalo- that the tertiary colors yellow green and blue green both have
cyanine or viridian green), and blue green (green blue). This the common olor green in them, thus creating a common link
combination consists of one secondary color and two tertiary and a harmony to the whole.

55
 THE ANALOGOUS COLOR SCHEME

THE FULL RANGE OF THE ANALOGOUS SCHEME

Choosing the harmonious colors of an analogous color scheme is neutralize the intensity, and white and black can be used to
a good start in setting the mood of the painting. The key, how- adjust the value. In the previous chapter, I mentioned that full-
ever, is in the way the value and intensity are used, allowing the intensity colors are generally used in small areas, while semi-
viewer's eye to move throughout the painting, and thus allowing neutrals can be used in large passive areas. You will also
the structure of the composition to be seen. In the analogous remember that strong contrasting values are used mostly in the
color scheme, each color’s complement can be used to area of emphasis, with analogous values in large passive areas.

PHTHALOCYANINE This diagram illustrates the full range of an

DARKEN
GREEN
LIGHTEN
analogous color scheme. In this example
PERMANENT
LIGHTEN a
DARKEN
the three analogous colors are yellow
GREEN LIGHT green (permanent green light), green
(phthalocyanine green), and blue green
wii (green blue). The color scheme also
DARKEN /
includes their semineutrals, created by
| mixing these colors with their complements
» Y LIGHTEN red violet (magenta), red (permanent rose),
a and red orange (cadrnium red medium).
In addition, each color and its semineutrals
can be lightened and darkened in value
ar
oe (
{
~
AQ
with white and black.
-" ' ~~
ae { Sy,
-* i] By
& D
i]
i
)
mai cid MAGENTA

= PERMANENT RV
ROSE
R

USING DOMINANT AND SUBORDINATE COLOR

For the complementary color scheme, I mentioned that usually painting. A second color is chosen as the subordinate color and
it is better to use color in varying amounts, choosing a dominant is used in small amounts to accent the composition. The third
and subordinate color. This is also true for the analogous color color is intermediate, used less than the dominant color but
scheme. Usually, one color is selected to be the dominant color. more than the subordinate one. Using three analogous colors in
It is used in varying intensities and values in larger areas of the this ratio can give a harmonious arrangement of color.

For this study | chose a cool analogous scheme of green (emerald | used the same composition as in the previous study. This time,
green and phthalocyanine green), blue green (cerulean blue), and however, | used a warm analogous scheme of yellow (cadmium
blue (phthalocyanine blue). Blue green has been used as the yellow light), yellow orange (cadmium orange), and orange
dominant color, blue as the intermediate color, and green as the (cadmium scarlet). Orange is used as the dominant color, yellow
subordinate color. Notice that all the colors have been repeated in as the intermediate color, and yellow orange as the subordinate
the composition and that the subordinate color green is used in a color. All the colors have been repeated throughout to emphasize
light, pure tone next to a dark blue to give a strong contrast and a the primary areas and to de-emphasize the secondary areas, thus
vibrant accent. unifying the composition.

56
AN ANALOGOUS SCHEME IN A HIGH-KEY RELATIONSHIP
High-key is a term used for colors placed together that are light
in value. They can be analogous light values—or even better,
the same light value. Adding white to a color will lighten and
soften the color, neutralizing it to some extent. The result is a
pastel look to the color or relationship of colors. An analogous
high-key color relationship is often very pleasing to the eye and
can give a soft, shimmering effect, an airy or fantasylike feeling,
to a painting. This idea is not new. The impressionists Monet,
Pissarro, and Degas used this approach, and so did many later
painters, including Bonnard. Usually the paint is applied in light
tones that are the same or quite similar in value, but whose
analogous color changes. It is quite a lovely sensation for the
viewer. Up close, the similar colors of the same value shimmer,
while at a distance they almost appear as one color.

This is an analogous color scheme in a high-key relationship. All

the colors are pure and have not been neutralized by their
complements. Permanent green light, cadmium yellow light, and
cadmium orange are the colors selected. Varying amounts of
white have been added to all the colors to give high-key values to
the study. Notice that the composition has a pastel quality and a
feeling of fantasy. When a painting uses analogous colors of
similar value, the eye is treated to a soft stimulating shimmer.

ONE PURE ACCENT, WITH TWO SEMINEUTRALS

The mood and impact of a composition can be controlled by the
colors chosen, the intensity of each color, and the value. In an
analogous color scheme, one color can be used as a pure-
intensity accent surrounded by the related colors in semi-
neutrals. The pure-color accent used in small areas will advance
and seem brighter than the surrounding colors, yet still relate
because it has some of the surrounding colors in it. Pure hue
always advances more than the semineutral of the same color,
whether the color is warm or cool. This may seem strange
when the color is on the cool side. For instance, pure blue will
advance more than its semineutral, even though the color is
neutralized with a warm orange. The darker the value of the : nets
surrounding semineutral color, the brighter the pure hue will This is a study of some geese that were waiting to be fed. |
seem. used the analogous colors yellow orange (cadmium orange),
orange (cadmium scarlet), and red orange (cadmium red medi-
um). Yellow orange is used as the pure hue accent, while the
other two colors are used as semineutrals. Notice the variation
of color in the semineutral background, adding subtle interest to
the composition. In addition, the dark value of the background
allows the pure yellow orange to stand out. The same pure yel-
low orange is used for the feet of the geese, but appears much
darker against the white paper.

57
THE ANALOGOUS COLOR SCHEME

ANALOGOUS SEMINEUTRALS
Another way of working with an analogous color scheme is to semineutral analogous colors. Today, because we have so many
use all of the color in semineutrals. By using the color this way, colors manufactured, we have the option of using semineutral
the artist can create distinctive moods, such as a foggy, drizzly tube paints, or mixing the semineutral from two complements. I
harbor scene; a wintry evening scene; or a hot, dusty, dry generally prefer using the pure color and its complement to mix
midday landscape. Today there are many paintings of barns and a semineutral because there is more range of intensity and a
windmills done in the Midwest using raw sienna (or yellow more interesting settling of pigments in washes, or general
ochre), burnt sienna, and burnt umber. These are really just paint application.

This is an example of an analogous color

scheme in semineutrals. Notice the grayed
atmospheric effect and distinctive mood.
The colors are green (viridian green neu-
tralized by permanent rose), blue green
(cerulean blue neutralized by bright red),
and blue (phthalocyanine blue neutralized
by cadmium scarlet). There is a subtle
mingling of the three colors throughout the
painting to give more interest to the semi-
neutrals. The structure of the composition
and the area of emphasis are controlled
through value.

ANALOGOUS COLORS OF FULL INTENSITY

Analogous colors of full intensity can also be used effectively. immediate attention. Fast-food franchises use bright, warm
Large areas of pure-intensity color will definitely attract the eye colors to attract but also large areas of bright color so that the
but will also overwhelm the eye after a very short time of consumer will not want to stay long. Several expressionist
looking. This concept is used today in the advertising industry. painters of the 1920s and 1930s, including Matisse, Vlaminck,
Billboards and magazine ads use bright colors to capture and Derain, used bold, bright colors very expressively.

The warm analogous colors have bright, bold relationships. The

color is used at full intensity, and black and white add contrast to
areas of particular importance. A few semineutrals are used in the
background area to prevent it from competing with the fore-
ground. This bright color scheme with high contrast will capture
immediate attention. | have noticed that large paintings with vivid
colors and strong compositions dominate awards in many of the
major competitions, probably for similar reasons. After a short
time, however, such color schemes can overpower the eye.

58
SIX STUDIES ,
The same three colors in an analogous color scheme can be
used in distinctively different ways, depending on the various
effects and moods desired. The variations are endless
because each of the three colors can be used as either the
dominant, intermediate, or subordinate color. Each color can
range from a pure intensity to a dull semineutral. And each
color can range in value from light to dark. In addition, the
relationships in intensity and value of the three colors can
vary in their degree of closeness or contrast. Here are six
studies of the same composition using three analogous colors
of red violet (cobalt violet), violet (ultramarine violet), and
blue violet (ultramarine blue). Notice how each study differs —— =
in color emphasis, value, and intensity. Also look at how the Most of the color in this composition has been neutralized. Pure-
various moods have been developed, ranging from calm and intensity accents of red violet have been placed in the foreground
serene, to austere, to fantasylike, to dynamic and powerful. and distant rocks. Darker values have been placed next to the
pure-intensity areas to help bring them out. The semineutral colors
have been placed, for the most part, in the outlying, secondary
areas of the composition and are analogous light values. Notice
how the strong, contrasting values bring the eye to the area of
emphasis.

Here, all the color has been neutralized. Even so, notice that the
subtle semineutral colors of blue violet, violet, and red violet
intermingle to give unity to the color scheme. The values have
been organized in the rock forms to become increasingly dark as
they come forward, and the warmer semineutral of red violet is
used in the foreground sand to bring it forward.

This study reverses the logical sense of color organization by

putting pure, strong, contrasting color in the background and the
more neutralized color in the foreground. The intense blue violetof
the sky contrasts with the white and pale red violet values of the
distant rock forms, dramatically directing the eye to that area. The
foreground sand, rocks, and tidal pool are of closer neutralized
values and become secondary areas. Again, as in the other
studies, the color has been repeated throughout the painting.
59
THE ANALOGOUS COLOR SCHEME

An austere, gloomy mood has been devel-

oped in this painting. The values are from
middle gray to low dark, and all the color
has been neutralized. The less neutralized
red violet is used in the foreground, with
the more neutralized mauve in the dis-
tance. The strongest contrast is in the
middle distance, where the blue violet rock
meets the sky and water. The contrasting
colors attract the eye to that location.

A sense of power, energy, and drama has

been developed here, using high contrast-
ing value and pure intensity. Some color
has been diluted to neutralize it and lighten
its value, but none of the complements or
black have been used. All three colors
have been used straight from the tube. The
darkest colors, violet and blue violet, have
been placed in strong contrasting areas to
lead the eye there.

A calm, serene mood has been developed

here by using lighter analogous values of
three pure colors. The warmest color of red
violet has been chosen as the dominant
color to give a rich, peaceful quality to the
composition. All the colors have been
diluted with water to lighten and soften
them, and to create a restful mood. Al-
though the values for the most part are
analogous, the darker values are in
the foreground to give depth to the
composition.
THREE PAINTINGS
The analogous color scheme is a truly harmonious color paintings with distinctly different feelings. Fishing Village—
scheme. As you can see, there are many moods that can be November Morning evokes the quality of a cool, damp, drizzly
achieved by varying the value, intensity, and dominant- day on the coast at low tide. Late Autumn Sunflowers conveys a
subordinate relationships of three closely related colors. Here warm late afternoon in autumn. Winter Herd portrays a cold,
are three examples of how the analogous scheme can be used. crisp moonlit evening in midwinter in the high country. The
Using the principles in this chapter, I have created three mood of each painting is enhanced by its limited range of color.

EMERALD
GREEN

~
~@ ceRULEAN
BLUE

2 ULTRAMARINE
~ BLUE
os”
a ~

/\xTURE@ ULTRAMARINE
BLUE
ULTRAMARINE
This is the drawing | did from the beach that morning. The light- VIOLET
house was actually much further to the left of the buildings so | just
did an informational sketch of it at the lower part of the page. As
you can see from my sketch, at one time | thought of placing a
woman and some geese on a nearby bank before deciding on my
final composition.

FISHING VILLAGE—NOVEMBER MORNING Transparent watercolor on 300 Ib. Arches rough paper, 9” x 28” (22.9 cm x 71.1 cm). Artist's collection.

The Oregon coast has many moods. Its extremes range from | rearranged the composition, moving the lighthouse in at the
calm, sunny warmth to turbulent stormy gales. On this November left and choosing a long horizontal format. | was interested in
trip, | found this small village with its lighthouse on the bay on a getting an exciting spatial relationship between the positive land,
cool and misty day. After making a sketch, | went to my motel and rock, and building shapes and the negative sky and water shapes.
developed this painting. The extended horizontal format was important to capture the
To capture the mood of this particular day, | decided to use an panorama of the area.
analogous color scheme with misty, foggy colors. From my palette Transparent watercolor seemed to be the ideal medium to
| chose a blue green, blue, blue violet scheme; emerald green is express this atmospheric mood. When | paint on the coast, where
mixed with cerulean blue for the blue green side, and mauve is the air is more humid, | always use a hair dryer in order to speed
mixed with ultramarine blue for the blue violet side. | felt that the up the drying time of each wash. | used a variety of wet on wet
emerald green would give a little life to the dreary day, while the and control washes to capture the feeling, and | was able to
mauve could add some strong darks. complete the painting that same afternoon.

61
THE ANALOGOUS COLOR SCHEME

LATE AUTUMN SUNFLOWERS Casein on heavyweight Crescent illustration board No. 100, 22" x 30" (55.9 cm x 76.2 cm). Artist’s collection.
 CADMIUM
ORANGE RAW
SIENNA
BURNT
CADMIUM SIENNA \
RED LIGHT

PERMANENT
ALIZARIN CRIMSON
_e a
PERMANENT
ROSE

| have been interested in the transformation of vegetation from

summer to autumn for many years. As these wildflowers and
weeds lose their petals and color, they dry into pods and skeletal
structures that, to me, are even more beautiful. The wild iris,
yarrow, and blue mountain flax are only a few that dry into
magnificent, delicate forms. So it is with sunflowers. In the autumn,
after the yellow petals are gone, they still hug the edges of the
roads and decorate fields and hills, but are less noticeable.
| pick these weeds and have them in my studio, and from time to
time | make an arrangement and paint it. In this particular
painting, | wanted to capture the feeling of low, raking light on
these weeds in late autumn. The color was very important to
express this mood in the composition, so | decided on analogous
warm colors with strong value contrast. | moved the sunflowers,
flax, and baby’s breath around until the right movement and
interaction of forms were achieved. Thumbnail sketches were then
developed in order to get the right rhythm of the brushy shapes in
the background. A diagonal, curvilinear movement was chosen to
counter the diagonal, curvilinear flow of the weeds.
Casein was used for the medium because of its soft matte visual
quality, and because it can be applied from transparent to
opaque, and worked light to dark or dark to light. It was also used
because of the fine opaque detail that was necessary for the
weeds. | also decided to use a fairly smooth, rigid illustration
board on which to build the casein surface and for ease of brush
flow with the detail.
The composition was developed by first painting the back-
ground, loosely working dark on light and light on dark. | wanted
much of the background to be darker in value to serve as a foil for
the lighter still life of weeds. When the background was finished, |
painted the detailed weeds, making sure that the background
color was repeated. The painting is mostly in the semineutral
earthy colors of late autumn: raw sienna, burnt sienna, and burnt
umber, with just a little pure-intensity cadmium orange and Shiva
rose used. (Shiva rose is a casein color similar to permanent rose.)
THE ANALOGOUS COLOR SCHEME

Aerts ‘ Mi

WINTER HERD Transparent watercolor on 300 Ib. Arches rough paper, 20” x 29” (50.8 cm x 73.7 cm). Collection of Carole Hennan and John Bruce.

| love the evening winter patterns of the high country. The full have intentionally neutralized the manganese and phthalocyanine
moon reflecting on the snow gives so much light that it almost blues in the sky and background mountain ranges. As | painted
seems like daylight but without the color. It has been five years the foreground mountain forms, trees, and snow, | used stronger,
since | have lived in this part of the San Juan Mountains, but the full-intensity blues and more contrasting values.
memories are strong, and | decided to paint the feelings that | To create interest within a painting, many times it is important to
have about this area. vary the color of the blue quite subtly rather than to just stay with
This painting is’ similar to Winter Night, Upper San'Juans, shown the same blue. Here there are three blues used: phthalocyanine,
in Chapter 2. | decided to use Winter Herd here to illustrate the cerulean, and manganese. In addition, each color has a full range
subtle differences between this analogous-color-scheme painting of intensity and value, allowing the eye to feast on the subtle
and the first monochromatic one. changes. Also, you can sense manganese blue’s complement
The emphasis of this painting is on value, to move the eye cadmium red deep in this composition where the blue has
through the composition. However, intensity is also important. | separated and settled in the neutralized mixture.
 WORKSHOP: ANALOGOUS
COLOR SCHEMES

"colors anda different subject for completely different

results. Experiment with these exercises. Then, =

EXERCISE 1
Using a sketch or a photograph, select a simple subject

“color will be the dominant, intermediate, and subordi-

nate. Develop the painting, emphasizing the semineutral
colors that will be mixed by adding ae —_—

EXERCISE 2
Arrange a still life of objects with warm analogous colors.
_ For example, you might place a lemon, an orange, and ¢an

- tionally shift the color ticaa ot he canting t Ge cocl

side using blue, blue violet, and ret colors, plus their
complements to i t

Keep the values fairly analogous with some stronger

contrast in some locations to lead the eye.

Z haa a backgttw of cky aid mens, bil or mountains,

i with a foreground subject such as barns, adobes, or
houses. Develop the taekgromnd ses in igh ey warm
—~
CADMIUM ie
SCARLET oN
“the area of oo and other accents.
CADMIUM RED | * GREEN
MEDIUM ~ ~-Ofw a -= ~~ 24, BLUE
| @ MANGANESE
\ BLUE

PHTHALOCYANINE

65
Mme CHE SPLIT-COMPLEMENTARY COLOR SCHEME

The concept of the split-complementary color scheme is fairly This reintroduces the concept of warm and cool that was
simple if one thoroughly understands the complementary and used in the complementary color scheme but lost in the
the analogous color schemes. Basically, it is an analogous color analogous color scheme. I love the split-complementary color
scheme with one contrasting color. Sometimes this scheme is scheme because I think that the accent color makes all the
called an analogous color scheme with a dischord. To locate the difference. This color can be used as an undertone or an accent
colors to be used in this relationship, begin by choosing three - color and provides the opposite color balance to the dominant
analogous colors that will convey the dominant mood of the ~ analogous relationship. The split-complementary color scheme
composition. Then take the middle color of this analogous color provides the harmonious analogous relationships plus the
scheme and select its complement to be used as the contrasting balance of the contrasting color for a rich, unifying color
accent.color. scheme. This scheme can be used in a variety of exciting ways.

YELLOW This is an example of a split-complementary color scheme palette.

ORANGE
Violet, blue violet, and blue are the dominant colors in this
scheme. Each of these colors can be used to full intensity or
neutralized, in lighter or darker values. The accent color is found
by splitting the three colors to find the middle color, which in this
case is blue violet. Blue violet’s complement, yellow orange, is
then used as the accent balancing color. To choose the colors in a
split-complementary color scheme, the artist must first ask what
mood needs to be expressed, then select the colors that will create
\ this feeling. .

:
)
VIOLET

The mood to be expressed in

this study is one of coolness
and isolation. Blue, blue violet,
and violet, with yellow orange
as an accent, will create this
mood. The three cool colors
have been used in lighter and
darker values. Violet was ap-
plied in full intensity on the roof.
The trees have been painted
with a semineutral mixture of
blue violet and yellow orange.
The light yellow orange in the
windows and neutralized
yellow orange on the snow
provide a nice accent to the
dominant cool scheme.
SELECTING COLORS FOR THE SPLIT-COMPLEMENTARY COLOR SCHEME
I have defined basically what a split-complementary color located on the outside of the color wheel. For instance, emerald
scheme is and how to determine the colors it includes. Let’s green, viridian green, and manganese blue, with alizarin
look at my color wheel after page 16 and explore some of the crimson, could make a very pleasing scheme. But actually the
ways to use pigmented colors. Using the color scheme yellow colors on the inside of the wheel can work well for a more
green, green, and blue green, with the accent color red, notice neutralized composition. Let’s take an example of Hooker's
all the pigmented colors located within that range. Every one of green dark and cobalt green, both semineutral colors, and a
these colors could be used topaint this particular color scheme. pure hue like manganese blue, with semineutral Mars violet as
However, most artists will limit their palettes, choosing just the accent balancing color. These colors could have a wonderful
four or five colors, so that the painting's color relationships visual impact for the right painting. The most important thing is
usually seem more coherent and not so patchy. to be selective and choose the colors that will best fit the mood
Colors for a split-complementary color scheme can be to be expressed.

PERMANENT
GREEN LIGHT
a ee

y a
GREEN

HOOKER’S ® VIRIDIAN
f 9 DARK GREEN

are
PHTHALOCYANINE

7? f /
§
GREEN

\ J COBALT
TURQUOISE
‘
VERTE
~-
3
GREEN
L GREEN
ee ae ee
a BLUE

PERMANENT a
ROSE

Here are some of the pigmented colors located in the color scheme yellow green, green, and blue
green with the accent color of red. All these colors can be used straight from the tube or mixed to
form more colors within this range. Notice that as the colors approach the center of the color wheel,
they become more neutralized.

67
THE SPLIT-COMPLEMENTARY COLOR SCHEME

COLOR RELATIONSHIPS IN THE SPLIT-COMPLEMENTARY COLOR SCHEME

The split-complementary color scheme is really a combination of used as a pure accent or hinted at in a more neutralized manner
the analogous color scheme and the complementary color to provide color balance. All these colors can be used in lighter
scheme. As in the analogous scheme, there are three closely or darker values by adding white or black, and neutralized by
related colors, and each of the three colors has part of the other adding the complement. In choosing this color scheme, the
color in it, ensuring that it will be harmoniously pleasing to the artist is using a selective, limited palette that will create a
eye. Like the complementary scheme, the split-complementary distinctive mood with the three dominant colors, yet provide a
color scheme has a contrasting, subordinate color that can be little pizzazz with the contrasting color.

This diagram shows the color relationships

in the split-complementary color scheme.
The three dominant colors are blue violet,
blue, and blue green. Each of these colors
has the common color of blue, which
ensures a close, harmonious relationship.
Orange, the complement of the middle
color blue, provides a subordinate warm
balance to a dominant cool scheme. (In a
predominantly warm scheme the reverse
would be true.)

BLUE
VIOLET BLUE

MIXING SEMINEUTRALS WITH THE SPLIT COMPLEMENT

There are two ways you can mix semineutrals in the split- neutral color, either dominant or subordinate, has some of the
complementary color scheme. The easiest way is to always use split-complement mixed in, creating some unity. The disadvan-
the complement of the middle color (also called the split tage is that some of the semineutrals are not quite as beautiful.
complement) to create the semineutrals of all three of the Because two of the dominant colors are not neutralized with
analogous, dominant colors. The advantages in doing this is that their own true complements, the combination of semineutrals
the artist is using a very limited palette. Also, every semi- does not look quite as pleasing.

This diagram shows how semineutrals can

be mixed using the split complement. The
three dominant colors are green, blue
GREEN green, and blue, and the split complement
is red orange. All three of the analogous
colors use red orange to mix their semi-
neutral. The blue green and red orange
BLUE
GREEN are direct complements and neutralize
each other completely. However, neither
the green nor the blue is the direct comple-
SEMINEUTRALS
ment of red orange, so the semineutrals
are not as visually pleasing. The semi-
neutral created on the green side becomes
a warmer brown green. The semineutral
made on the blue side becomes a warmer
brown blue. To the right of this color wheel
is a chart showing semineutrals of these
four colors.
MIXING SEMINEUTRALS WITH DIRECT COMPLEMENTS
Another way of creating semineutrals in a split-complementary painting. The obvious advantage to this is that the semineutral
color scheme is to use direct complements. In doing so, each colors are a bit more pleasing. In the painting process it takes a
dominant color will have its true complement placed on the little more thought to remember to mix the true complement to
palette. Thus the colors on the palette increase, even though neutralize, but the results are definitely worth it. This is how I
two of the complements will never be seen in the finished usually approach semineutral mixing in this scheme.

This diagram illustrates three analogous

ORANGE O
colors: green, blue green, and blue, neu-
tralized by their true complements. Each of
the semineutrals is visually pleasing. The
red orange remains the subordinate color
and can be used as a pure accent or a
RED secondary semineutral to add visual bal-
ORANGE ance. The orange and red are used just to
SEMINEUTRALS neutralize the blue and green and will not
actually be seen in the finished painting. To
the right of the color wheel are the semi-
neutrals of the four colors made by using
their true complements.

COLOR PROPORTIONS IN THE SPLIT-COMPLEMENTARY COLOR SCHEME

The proportions of colors used in the split-complementary color attention. Instead, one color can be more dominant, one
scheme can orchestrate visual excitement, but they will seem intermediate, and one subordinate. The complementary color
confusing if used poorly. It is best if the three analogous colors should also be subordinate. It can be a pure hue accent or a
are not used equally because they can tend to compete for semineutral for a subtle opposite to give color balance.

" HE Pr Tat
PENSE AY |

Here we have dominant cool colors and a subordinate warm This study of the same composition uses dominant warm colors
one. The three cool colors are blue (phthalocyanine blue) used and a subordinate cool color. The three warm colors are
as a dominant, violet (ultramarine violet) as an intermediate, orange (cadmium scarlet) used as the dominant, yellow orange
and blue violet (ultramarine blue) as a subordinate. The subor- (cadmium orange) as an intermediate, and yellow (cadmium
dinate warm color used as a pure accent and as a semineutral yellow light) as a subordinate. The complementary subordinate
is yellow orange (cadmium orange). The colors are repeated in cool color is blue violet (ultramarine blue). Notice that the cool
various areas of the composition to help move the eye through- blue violet is just hinted at in the study but provides enough to
out the study and provide visual balance. give relief from the dominant warm scheme.

69
THE SPLIT-COMPLEMENTARY COLOR SCHEME

APPLYING SPLIT-COMPLEMENTARY COLOR IN A TRANSPARENT-OPAQUE MANNER

There are many ways to apply paint to create visual excitement. Palmer have used this approach. Today artists are increasingly
One way is a transparent-opaque approach. This type of concerned with the visual quality of the paint surface.
application is not new. Rembrandt worked with thin transparent Split-complementary color can be used in this way. The
and translucent areas against opaque applications to create transparent layer is applied first; this can be one of the three
form. American genre painters like Eastman Johnson and some analogous colors or the contrasting color. Once this transparent
European impressionist painters such as Joaquin Sorolla worked layer is dry, the opaque colors can be put, down. Care must be
with thick and thin surfaces. And many English watercolor taken to leave some of the undercolor to create the desired
painters such as J. M. W. Turner, William Blake, and Samuel effects of transparent-opaque.

In this study, yellow, yellow orange, and orange are the dominant added opaquely, leaving some of the transparent blue violet
analogous colors and blue violet is the subordinate contrasting visible. Notice the visual contrast between the transparent and
color. The blue violet is first used with a transparent application. opaque colors, which enhances the contrast between the analo-
After the wash has dried, the analogous colors and white are gous warm colors and the cool split complement.

then put down opaquely, allowing the orange to show through in

the dominant analogous colors and blue violet as the subordinate some areas. Notice the vibration and the visual quality that are
complementary color. However, orange is used here as the achieved using contrasting colors and paint applications in this
transparent underlayer. Yellow, yellow orange, and blue violet are way.

70°
INTERACTION OF TRANSPARENT, TRANSLUCENT, AND OPAQUE
Another way to create visual interest in the split-complemen- or paint applications are isolated, they will look out of place.
tary color scheme is through interaction among transparent, A translucent wash or glaze over a transparent area can be
translucent, and opaque colors. In this approach, as in any other very exciting. This allows the transparent color to radiate very
color application, the key is the amount of each color used and subtly through the translucent. I like to work with complements
how the colors are put down. Interaction is the key word: The in a transparent-translucent manner because of the subtle semi-
colors must interact and the applications must interact. If color neutrals that can be achieved.

The dominant analogous colors used in

this study are green, blue green, and blue.
The contrasting subordinate color is red
orange, which was first applied as a
transparent wash. Once the wash was dry,
the mountain area was put down
opaquely, using all the colors in a domi-
nant-subordinate manner. Then a translu-
cent mixture of green and white was
washed over the transparent red, letting
some of the undercolor show through.
Notice the visual interaction of the three
paint applications and look at the beautiful
translucent semineutrals that have been
created with the red and green.

GLAZING WITH SPLIT-COMPLEMENTARY COLOR

Another way to create visual interest in a painting is through color. This process has been developed in oil painting, but fine
glazing. Until the mid-nineteenth century, glazing color was results can also be achieved in watercolor and acrylic.
very common. In this technique, also called grisaille, the artist In the split-complementary color scheme, glazing can be
first applies semineutral colors in order to build the form of the achieved using the contrasting color. The undercolor is applied
composition. When the undercolor is dry, pure color is glazed in either an opaque or a transparent manner, and allowed to dry
thinly and transparently over the surface to add the color to the thoroughly. The complementary color is then washed over the
form. The result is a striking visual realization of both form and desired areas, creating rich semineutrals.

In this study, yellow green, green, and blue

green are used as the analogous dominant
colors; red is used as the subordinate
glazing color. First the sky was washed in,
using the pure red at the horizon and a
mixture of semineutral blues and greens in
the upper region. When this wash was dry,
the yellow green and green were applied
to the water area. The rocks were then put
in with semineutral mixtures of all the
colors. Finally, thin transparent red was
glazed over some areas of the water to
create the semineutral greens and reds.
Notice the visual quality of the foreground
water forms made by the glazing.

71
THE SPLIT-COMPLEMENTARY COLOR SCHEME

SIX STUDIES
As with any other color scheme, there are many things to think
about in order to create a successful painting. With the split-
complementary color scheme, the first thing to decide is what
color will work best for the particular mood of the subject. Then
the palette should be organized so that there is a dominant,
intermediate, and subordinate in the analogous colors. The
complementary color should work with and add balance to the
composition. The color value and intensity should guide the eye
throughout the composition. Finally, any and all paint applica-
tions should be integrated in the painting.
Here are six studies using the same color scheme, each with
entirely different results. All the paintings use the same split-
complementary color scheme. The analogous colors are red
violet (cobalt violet), violet (ultramarine violet), and blue violet
(ultramarine blue). The complement is yellow (cadmium yel
low light). Both red violet and blue violet are mixed with the _
complements yellow green (permanent green light), and yel-
low orange (cadmium orange) in some of the studies to create
their semineutrals.

In this study, the majority of the values are analogous light. A few
darker values are added under the eaves, on the windowpanes,
and in the tree to bring out the forms. The sky is a semineutral
ultramarine violet, while the rest of the colors are pure but tinted.
The yellow is used as a pale accent color on the roofs and snow.

This study is more subdued. Most of the values are on the darker
side, and all the analogous colors have been neutralized by their
complements. The yellow accents in the windows are pure hue,
while the yellow tints on the snow are semineutrals. Notice how
the semineutral colors add to the mood of this composition.

This composition is built on analogous light values, and all the

colors are used as pale semineutrals. Handling the color in this
way creates a hazy, soft atmosphere. Observe the beautiful semi-
neutral colors and how they add to this feeling.

72
Here the sky shows a gradation from a soft semineutral to a light,
pure yellow. This provides a bright backdrop for the silhouette of : 2
the buildings and the tree. The tree and buildings are darker in i
value, and neutralized in color, to create the contrast and colors of
twilight. The bright yellow of the windows repeats the yellow in the
sky.

Soft analogous light values are used in this study; all the colors
are semineutrals. The atmosphere is one of early morning chill.
Notice how the soft, warm semineutral yellow balances the cooler
analogous tones.

The values in this study contrast vividly, creating a powerful

impact. A strong, intense ultramarine violet is used for the sky. Pure
cobalt violet is used in the upper building but neutralized in the
lower one. Pale yellow and semineutral violet tones are used on
the roofs and snow.
73
 THE SPLIT-COMPLEMENTARY COLOR SCHEME

THREE PAINTINGS
As stated earlier, the split-complementary color scheme com- dominantly cool scheme. In Coastal Cliffs a pure, warm opaque
bines components of the analogous and complementary color orange has been used on the sheep’s faces, and a transparent
schemes. Three analogous colors create mood and harmony, metallic copper glaze has been incorporated in some of the
while the contrasting accent gives optical balance. In the rock areas. In the third painting—Late January, San Antonio,
following three paintings the complementary accent color has Colorado—blue violet is used in a light opaque manner as well
been used to work best with the direction of the painting. For as in translucent applications for the cool accent. In each of the
instance, Dawn, South Fork of the Rio Grande uses a soft, three paintings, the complementary accent color provides body
opaque red orange scumbled over cool blue greens to accent the and enriches the overall composition.

PHTHALOCYANINE
CADMIUM Pi EEN
RED
LIGHT

= COBALT
/ BLUE

There are certain unexpected moments

when | see something that must be re-
corded. It could be the way the light strikes
a landscape, or certain patterns or shapes,
but | have learned to drop everything and
make a sketch or take some notes of that
first impression. | have found the hard way
that if | come back later to record the idea,
the impression is never the same.
The idea for this painting happened at
one of those unexpected times. | was
driving over a bridge on an early summer
morning to go fishing. When | looked
upstream, the beautiful light and vertical
patterns of the foreground aspen against
the landscape overwhelmed me. | stopped
and made a brief sketch and some notes.
Later in my studio | referred to my study
and notes to bring back that impression.
The color was the most important aspect
of my impression. Since | was painting
early morning, | chose green, blue green,
and blue for the dominant cool colors. To
represent the warm accent, a red orange
was selected. | decided on casein for the
painting medium because it has a soft
quality that represents this time of day.
Finally, | chose a vertical format to depict
the mountainous terrain and to repeat the
vertical aspen patterns. The positioning of
each aspen tree was important; | had to
keep in mind exactly how it would break up
the space of the landscape and water
patterns. | had to repaint the aspen afew DAWN, SOUTH FORK OF THE RIO GRANDE Casein on heavyweight Crescent illustration board
times until it felt just right. The finished No. 100, 29” x 19” (73.7 cm x 48.3 cm). Collection of Charlene Quiller.
painting comes very close to expressing my
initial impression.

74
 ORANGE —
RED

| CERULEAN
mj@ BLUE
PHTHALOCYANINE
eS) BLUE
; COBALT
BLUE
suet
PURPLE *.
MIXTURE

Many of my paintings start from drawings

done on location, and occasionally | like to
try a painting that is a little more free-form.
In this instance, the composition was trig-
gered by some abstract studies of Chinese
paintings. One such sketch was taped to a
wall by my easel, and | taped a heavy
piece of watercolor paper to my board.
The entire painting was then done vertically
on the easel.
Unryu, Chiri, and Hosho rice papers
were torn into free-form shapes of various
sizes and placed on a table close by. |
chose acrylic for the medium because of its
binding ability for the collage approach
and because of its rich color and versatility
of applications from transparent to
opaque. | decided to use a rather cool
palette of blues and violets and a metallic
silver with a warm orange and copper
metallic accent. These colors were placed
on my palette and | was ready to begin.
First Liquitex Matte Medium was used to
laminate the rice paper to the watercolor
paper, loosely following the compositional
sketch. Light transparent colors were
washed onto the surface with large
brushes. | then added some wet darker
colors to bring out the force of the com-
position. Up to this point, | was still working
abstractly, but soon the subject began to
emerge. | then started to paint the repre-
sentational shapes of spruce, rocks, and
sheep. Notice how the pure orange ac-
cents of the sheep’s heads and the soft
neutralized orange areas of the painting
serve to balance the dominant blue and
violet cool colors and give a pleasing
effect on the eye.

COASTAL CLIFFS Acrylic over rice paper collage on 555 |b. Arches rough paper,
33” x 19” (83.8 cm x 48.3 cm). Artist's collection.

75
LATE JANUARY, SAN ANTONIO, COLORADO Casein and acrylic on 140 Ib. Arches cold-pressed rolled paper,
27" x 40" (68.6 cm x 101.6 cm). Courtesy of Mission Gallery, Taos, New Mexico.

This Hispanic village is on the Colorado/New Mexico border, not oranges, and oranges were washed on. When the sky seemed
far from where | live. | love to sketch there at various times of the right, warm underwashes of yellow orange and orange were
year and it is always different. Late January has a special kind of applied to the mountain and foreground areas. For this, direct
light. It is a hazy, golden light that is most dramatic in late complements of yellow orange and blue violet were used. The
afternoon. That is the inspiration for this painting. value of both colors was kept light to give a soft optical balance.
The painting is actually quite large for water media, but it As the ranges of mesas become closer, the colors contrast more in
needed to be to capture this light and the expanse of the country. value. The strongest intensity and contrast is in the church, trees,
The split-complementary colors used are yellow, yellow orange, and foreground areas, but all the color is somewhat neutralized by
orange, and blue violet. adding either the complement or white. The finished painting
First the oversized paper was soaked and stretched on a large comes close to capturing how | feel about this country during this
board. Then layers of soft transparent acrylic yellows, yellow time of year.

76
 WORKSHOP: SPLIT-COMPLEMENTARY
COLOR SCHEMES

_ EXERCISE ]
_ From an original sketch or choeecph. develop a simple
composition of two or three building forms. Keep the
shapes simple so that you can concentrate on color rather
than intricate details. Do two studies using the same
composition and the same color scheme: green, blue
green, blue, and red orange. In the first study, use light
analogous values and pure hue to create a soft, airy, cool
composition. In the second, use the same light analogous
values, but all semineutral colors, to give the feeling of a
more subdued light.

= EXERCISE 2
Select the subject of a coset of some sort with strong
light. This could be of mountains, mesas, desert, or
seacoast. Choose a color scheme with warm dominant
analogous colors and a cool subordinate complement.
Apply your paint both transparently and opaquely. Use
the cool subordinate complement as the underwash and
then apply opaquely the warm light and textures of the
~ landscape forms, letting some of the undercolor show
through.

_ EXERCISE 3
Choose a subject that will work wll jo a subdued
evening mood. Use analogous darks to provide all the low
value in your painting, and semineutrals to supply all the
color. (You may want to refer back to the value charts on
pages 28 and 29.) Use analogous cool colors and one
subordinate warm color. Organize the cool colors so that
they are repeated throughout the composition. Repeat
the semineutral subordinate warm in a manner that will
give color balance to the study.

CADMIUM
YELLOW
a LIGHT
CADMIUM
ORANGE
INDO
ORANGE-RED
CADMIUM «fan
RED LIGHT oa

\ © COBALT BLUE
i

“To A Mixture
DIOXAZINE ~
PURPLE

vie
4 TRIADIC COLOR SCHEMES

KAJ
n the preceding two chapters we have worked with the monochromatic, complemen-
tary, analogous, and split-complementary color schemes. There has been a logical
progression from the use of one color, to its complement, to closely related hues, to a
common contrasting color. In using all these color schemes, we have found how direct
complements can create pleasing semineutrals and ideal optical color balance.
The triadic color scheme introduces a new and altogether different concept in color
application: using contrasting colors that are not direct complements. As mentioned
several times, true complementary colors create appealing semineutrals. When the
contrasting color is not a true complement, the semineutral can be an ugly muddy color.
However, there is a point where the contrasting color moves far enough away from the
direct complement that the semineutral becomes pleasing again.
The triadic color scheme is based on this concept. This scheme allows more variety
of color than any of the other schemes discussed so far, since none of the three colors
in a triad are analogous. As we will discover in this chapter, using a triadic color scheme
allows you to combine colors that you would ordinarily never think of using together,
and yet mix a whole range of subtle semineutrals, create striking color contrasts, and
achieve a fresh, harmonious effect overall. I know you will enjoy exploring this
approach!

78
 i ETE
at
in.

ke
ee

AUTUMN IMPRESSIONS Watercolor and gouache on 555 |b. Arches rough paper, 33” x 24” (83.8 cm x 61.0 cm). Artist's collection.

fi)
Mm CHOOSING COLORS FOR A TRIADIC COLOR SCHEME
y

To understand how triadic color schemes work, we'll have are not complements.
to return once again to a color wheel. This time it’s a simpli- As an example, let’s use orange (cadmium scarlet),
fied one, with only twelve colors: the three primaries, three violet (ultramarine violet), and green (viridian)—the
secondaries, and six tertiaries. The basic idea with a triadic three secondary colors—for a triad. With this color
scheme is that the three colors must be equidistant from one scheme there are two cool colors (green and violet) and
another on this color wheel, so that when they are connected one warm color (orange). Thus, more than likely, the
by straight lines they form an equilateral triangle. (A simpler scheme will be dominantly cool and subordinately warm.
way to locate a triad is to pick every fourth color.) When Each color can be lightened or darkened in value. Each
any two of these contrasting colors are mixed together, can also be mixed with either of the other two colors to
they will make beautiful semineutrals, even though they create a semineutral.

This color wheel shows the twelve equally spaced colors including primaries, secondaries, and
tertiaries. To locate a triadic color scheme, choose every fourth color on this wheel. For example,
yellow, blue, and red are connected by the solid triangle, and green, violet, and orange are
connected by the dotted triangle. Any three equidistant colors should make a beautiful triadic
scheme.

DOMINANT, SUBORDINATE, AND INTERMEDIATE COLOR

As just mentioned, in a triadic scheme of the three secondary and select the dominant cool color, intermediate cool color, and
colors, green and violet are cool colors and orange is a warm subordinate warm color. It is more pleasing to the eye to work
color. Usually an artist using this triadic scheme will choose to with these color proportions. As with the other color schemes,
work dominantly cool, since two of the three colors are on the equal or nearly equal amounts of each hue will create a
cool side. The first step in painting is to visualize the subject disturbing conflict to the eye.
 ORANGE

RED ©

VIOLET

This study illustrates the range of contrasting color mixtures that This diagram shows the range of color in the secondary triadic
create beautiful semineutrals. Green (viridian green) is the color scheme green, violet, and orange. Each color can be mixed with
used to mix with the contrasting colors. Green’s complementary one of the other two colors to create an exciting semineutral. Also,
color red (permanent rose) can be mixed for a nice semineutral. all three pure colors—and all their semineutrals—can be lightened
As the contrasting color moves to the left or right of red, the mix- and darkened in value with white and black.
ture becomes muddy. However, when the color moves far enough
to the left or right, the mixture becomes pleasing again. In this illus-
tration the contrasting colors are the other two colors of a triad
scheme, violet (ultramarine violet), and orange (cadmium scarlet).

a “Se

This study uses the secondary triad viridian green, mauve, and foreground. The intermediate color is violet used in all the areas as
cadmium scarlet. All the colors are in semineutrals with the well. The subordinate color is a warm orange hinted at in the sky
exception of some pure orange on the adobes and land. The and used for accents on the adobes and foreground. Notice how
dominant color is a cool green used in the sky, the mesas, and the the orange shimmers next to the cool greens and violets.

81
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

THE PRIMARY TRIAD—YELLOW, BLUE, AND RED

This triadic scheme is the first one many art students think of
but the hardest to make work well. This is because when any
two of these colors are mixed, the result is a secondary or
tertiary color. Thus a myriad of new colors can be mixed from
these three primaries, even if some of them are partially
neutralized.
However, a primary triadic scheme can still be harmonious
because all the colors in the painting are made from just three
colors and have different combinations of those pigments in
common. I have known artists who use just three primaries and
glaze all their color to achieve any color. They get wonderful
results because of the relationship of just three common colors.
I feel, however, that it can be dangerous to use a formula color
mixture for every painting. There are a world of ways to use
paint, and each painting is best approached in its own unique
way. This is a primary triadic scheme using yellow (cadmium yellow
I have noticed that Edward Hopper used a primary triad often light), blue (phthalocyanine blue), and red (permanent rose).
in his work in a very effective way. As with every color scheme, Notice that all the semineutrals mixed look much like the second-
the relationship of value, intensity, and dominant and subordi- ary and tertiary colors but are more neutralized. A mixed color
nate colors is the key to making this triad work. will never be as vibrant as a pure hue straight from the tube.
However, all the semineutral mixtures have a common relation-
ship because they were all mixed from the same three primaries.

Here is a study in the primary

triad scheme yellow, blue, and ©
red. Blue is used as the domi-
nant color, red as the inter-
mediate color, and yellow as
the subordinate color. Although
| have two warm colors and
one cool, | have reversed the
standard approach and have a
dominant cool scheme. Where
the colors overlap, semineutral
greens, violets, and oranges
are created. Notice that the
mixed color is still related to the
primaries because of the com-
mon pigment. Very little pure
intensity is used—just a spot of
red on the figure and light-
house roof. Value is the key
that leads the eye through the
composition.

82
SECONDARY TRIADIC COLOR SCHEMES
This triadic color scheme makes use of the secondary colors on of yellow and red, mixes with violet, a blend of red and blue.
the color wheel—orange, violet, and green. Each is equally The orange has yellow in it and the violet has blue. Thus the
spaced from the next on this wheel, and all are located resulting color is not a fresh, pure red violet, but a neutralized
equidistant between two major primary colors. For instance, one. What makes every mixture in this color scheme harmo-
orange is halfway between the yellow and red primaries. nious is that all of them contain two of the three common
Because of this, the mixture of any two secondary colors takes colors. Even though they are somewhat neutralized, they all
on a semineutral tone. For example, orange, which is a mixture relate to the three pure secondary hues.

CADMIUM
SCARLET

ULTRAMARINE
VIOLET

VIRIDIAN
GREEN

In this composition, | used the secondary triad orange (cadmium contrasting value pattern and diagonal lines are a maior strength
scarlet), violet (mauve), and green (viridian green). Much of the of this sketch. Notice that the only pure color in the whole study is
color is a semineutral mix of two of the three pure hues. The strong the orange on the roof.
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

TERTIARY TRIADIC COLOR SCHEMES

Tertiary triads are similar to the secondary triad in that every There are two different tertiary triads—and they are indeed
mixture of two of the three pure colors results ina semineutral. very different. One triad is the combination of yellow orange,
There is a range of mixtures of each of the two colors, red violet, and blue green. The blending of these three colors
depending on the proportion of each color mixture, the can result in some spectacular color combinations. I have used
concentration of pigment used, and the value of lightness and this scheme to achieve color in my paintings that I had not
darkness. There should be a dominant, intermediate, and thought possible. The other triad scheme is yellow green, blue
subordinate relationship of the colors. violet, and red orange; it also has many possibilities.

PERMANENT
GREEN LIGHT

ULTRAMARINE
VIOLET

CADMIUM RED
MEDIUM

This is a quick sketch of some high country mountain spruce and orange (cadmium red deep) as the subordinate and the warm
water patterns in the San Juan Mountains near Wolf Creek Pass. accent color. Beautiful neutralized red violets, blue greens, and
The yellow green (permanent green light) is used as the dominant _ oranges are possible with this triad of colors, and this scheme is
color, blue violet (blue violet) as the intermediate color, and red worth a try. Go for it!
 CADMIUM ORANGE MAGENTA MANGANESE BLUE

This is a small sketch of a church on the high road to Taos, New orange (cadmium orange), blue green (manganese blue), and red
Mexico. A New Mexico workshop that | instruct stops here almost —_ violet (Winsor violet). The study is made up entirely of semineutral
every summer to paint. The warmth of the adobe and the New mixtures of these colors. There are beautiful semineutral red
Mexico light call for this particular color scheme. | used yellow oranges, blues, and greens that are possible with this scheme.

Here is a quick study using the same triadic colors as the previous __ this work is from the previous piece. Actually, you could do ten
study. However, in this sketch most of the color is in the semi- studies emphasizing different colors, values, and intensity ranges
neutral range. There is very little pure hue. Notice how different using the same three colors, and they would all be different.

85
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

OTHER POSSIBILITIES OF PURE HUE TRIADS

In addition to the primary, secondary, and tertiary triadic color which colors are used dominantly, intermediately, and subor-
schemes, a host of other triadic schemes are possible. Refer to dinately; also, the painter may vary the intensity and value.
my color wheel after page 16 and notice all the pure colors on Take a look at my color wheel and see how many different
the outside of the wheel. Any pure color can be used as long as triads you can locate. Choose one that sounds appealing and do
it is very close to equidistant from two other colors on the a variety of subjects with it. You will probably respond to some
wheel. For instance, Indian yellow, cerulean blue, and cobalt triad color relationships more than others.
violet form an almost equidistant triangle on the color wheel, Here are four triadic color schemes I have selected and the
creating an eye-catching color scheme with some lovely semi- resulting sketches. Each one takes on its own life. Even though
neutral color mixtures possible by mixing any two of these three these are just studies, you can already see the rich color
colors. These are colors that one normally would not think of relationships and the start of some interesting possibilities.
using together, and yet these color mixtures will give surprising Along with each study are swatches of each of the three pure
results. Remember that with just one color scheme such as this pigmented colors and an example of the semineutral that can be
one, many entirely different paintings can be done depending on mixed by any two of the colors.

While playing with some of the possibilities COBALT VIOLET

for triads on my color wheel, | have been
amazed at some of the wonderful color
possibilities. This is one of my favorites:
cobalt violet, cerulean blue, and Indian
CERULEAN BLUE
yellow. For the watercolor painter, this
scheme provides some very interesting
interaction of pigments as well as beautiful
color combinations. Both cobalt violet and
cerulean blue are heavily pigmented col- INDIAN YELLOW
ors, meaning that the pigment will settle in
the recessed pockets of a rougher paper.
Indian yellow stains much more evenly,
coating the entire surface of the paper.
Mixing the Indian yellow with either of the
other two colors will provide a mottled,
textural look that is very nice. Also notice
some of the beautiful semineutral greens,
red oranges, and violets that can be
mixed.

Who would think of using cobalt turquoise,

magenta, and bright red together? This is
just a slight shift from a blue green, red
violet, and red orange tertiary triad. Yet
what wonderful color relationships they COBALT
TURQUOISE
make, and what beautiful semineutrals!
This scheme utilizes one warm color and
two cool colors, so it usually works best if
used in a dominantly cool color scheme.
This quick study of sheep is dominantly
cool, relying on the cobalt turquoise and
magenta. Bright red serves as the subordi-
nate accent color on the sun and the MAGENTA
sheep’s faces.

BRIGHT RED

86
 ANTWERP BLUE AUREOLIN YELLOW PERMANENT ROSE

Antwerp blue, aureolin yellow, and permanent rose are close toa —_ color can be mixed from these three colors, but yet.the color
pure primary triad. Notice, however, that the resulting secondary scheme has unity because only the pigments of these three colors
mixtures are somewhat neutralized. Two of these three colors are are used. Try this scheme on still lifes, such as a delicate flower
warm, thus the selection of a warm composition. Virtually any arrangement, and see the beautiful results.

Some color schemes lend themselves bet-

ter to certain types of light and terrain than
others do. The light that can be created
with the triad ultramarine blue, yellowish
green, and permanent red is on the green
side of yellow. Thus it works best for
paintings with a “cooler” light, such as
scenes of the Northwestern coast. The
earthy semineutrals that can be mixed are
fantastic. Here | have used dominantly the
yellowish green and ultramarine blue. The
permanent red was used subordinately
and as a semineutral in the rocks, water,
and wet sand to warm the foreground

BR e%re ke’
ULTRAMARINE BLUE YELLOWISH GREEN PERMANENT RED a

87
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

TRIADS USING PURE HUE AND SEMINEUTRAL TUBE COLORS

Sometimes using semineutral colors from the tube in a triadic line from the pure hue to the center neutral. Any color that falls
scheme along with a pure color can be pleasing. It is important on or near this line can substitute for the pure hue in a triadic
to remember how to locate the semineutral color so that it is in scheme. For example, on the line from yellow green (permanent
proper relationship with the pure color for a beautiful triad. For green light) to the neutral, two colors are located: Hooker's
example, let’s use blue violet as the pure hue color; we want to green light and terre verte. Either of these colors can be used
find two semineutrals that will go with it. Blue violet is a ter- instead of yellow green. On the line from red orange (cadmium
tiary color, and in a pure hue triad, yellow green (permanent red deep) to neutral is the color Indian red. Thus, a triadic color
green light) and red orange (cadmium red deep) would be used. scheme like blue violet (ultramarine violet), Hooker's green
To locate any pure color’s semineutrals, just draw an imaginary light, and Indian red can work well.

HOOKER’S YELLOWISH RAW

GREEN 4 SIENNA

BROWN
MADDER
ALIZARIN

_— VIOLET
MANGANESE
BLUE
GREY

ULTRAMARINE
BLUE ULTRAMARINE
BLUE

In this chart the first diagram illustrates the triad mentioned above. and two semineutrals brown madder alizarin (moving in from
Blue violet is the pure hue used, while the two semineutral colors permanent red) and sap green (moving in from yellowish green).
are Indian red (moving in from cadmium red deep) and Hooker's The third wheel shows the triad using the pure hue manganese
green light (moving in from permanent green light). The second blue and two semineutrals violet grey (moving in from Winsor
circle shows the triad containing the pure hue ultramarine blue violet) and raw sienna (moving in from cadmium orange).

Here is a study using two semi-

neutral colors—light red and
cobalt green—and one pure
hue, mauve. The two semi-
neutral colors give the sketch
an earthy, less vibrant feel than
a pure-color triadic scheme
would. In this composition, co-
balt green is used as the domi-
nant color and mauve is used
as the intermediate, while light
red is used as the subordinate.
| think of the light red as notes
of semineutral color that add
life to this motif. LIGHT RED COBALT GREEN MAUVE

88
SEMINEUTRAL TRIADIC COLOR SCHEMES
When we think of a triadic color scheme, we usually think of atmospheric moods. To locate the semineutral, just look for any
pure colors such as red, yellow, and blue; or orange, green, and _ equidistant triangle of colors on the inside of the color wheel.
violet. But other kinds of triads are possible using semineutral The closer the colors are to the center of the wheel, the more
colors. The same appealing color relationships are possible, neutralized the colors are. This also means that there will be
though the color change is more subtle. In landscape painting less color range. The further out the colors are located, the less
this can be used to advantage if the artist wants certain earthy neutral the color relationships.

This is a diagram of two semineutral triad

color schemes. The first uses three colors
RAW
e SIENNA located very near the neutral—Mars violet,
/ olive green, and indigo. This scheme could
/ OLIVE be used for a very earthy composition. The
j GREEN
second scheme has a larger triangle of the
MARS oA < PRUSSIAN colors violet grey, raw sienna, and Prussian
\ VIOLET Mf gS \ viouet GREEN green, which means that there is more
\ E z INDIGO * |
\ iN \ GREY
oe range of color. | particularly like this
scheme and think there are many pos-
@ le, A sibilities for it.
eS sal

Here is a color study using the semineutral

triadic scheme indigo, Mars violet, and
olive green. This is a very neutral color
scheme that gives an earthy feel. Certain
compositions lend themselves to this
scheme, such as old buildings, broken-
down interiors, or dried landscapes. Give it
a try and see what happens. ae wy

MARS VIOLET

This is a very beautiful triadic color

scheme. Prussian green, violet grey, and
raw sienna form a perfect inner triad of
colors, and the resulting color mixtures
produce lovely, very neutral blue violets,
oranges, and yellow greens. Here the raw
sienna is used as the accent color and is
softly repeated throughout the composi-
tion. Violet grey and Prussian green are
used more dominantly and the study takes
on a feeling of soft fantasy.

PRUSSIAN GREEN VIOLET GREY RAW SIENNA

89
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

THREE PAINTINGS
During the few years that I have been experimenting with the tertiary color triad of blue violet, red orange, and yellow
triadic color schemes, I have been fascinated by their ver- green in an acrylic rice paper collage. Spring Run-off uses the
satility. The many lovely semineutrals that can be mixed from tertiary triad scheme of red violet, yellow orange, and blue
three colors give a different look from the semineutrals mixed green with transparent, translucent, and opaque applications in
from direct complements. The three paintings I have chosen as watercolor and gouache. The secondary triad of green, violet,
examples of triadic schemes use different triadic relationships and orange was chosen for Summer Mountain Patterns, and
from the color wheel. Sea Cliffs—Northwest Coast incorporates again, watercolor and gouache were used for the media.

PERMANENT
GREEN
LGHT — YG
ORANGE a EMERALD
GREEN
\
\

RO

ACRA COBALT
BLUE
Ramee anil
O. / BV
DIOXAZINE
PURPLE

When | found this trail to a lookout over the

sea, | knew that | needed to paint it. | did
some line studies and a quick on-location
watercolor to capture the mood.
Later that winter, back in Colorado, |
decided to do a large acrylic collage of the
subject. | chose to work with rice paper
collage because of the atmospheric, tex-
tural effect needed in the painting. Acrylic
was my choice because of its versatility
and strength of color.
| wanted a limited color palette and
thought that a triad might give me the
range | needed. Also the subject needed a
cool light; this led me to a palette of yellow
green, blue violet, and red orange. (The
semineutrals that can be created from
these colors are beautiful blue greens, red
violets, and oranges.) My palette consisted
of Acra red and indo orange red for mixing
the red orange; permanent green light,
emerald green, and Hooker’s green dark
for the yellow green; and a mix of cobalt
blue and dioxazine purple for the blue
violet. The resulting color mixtures with the
collage provided the mood for this power-
ful spot on the coast. However, the key to SEA CLIFFS—NORTHWEST COAST Acrylic collage on 555 Ib. Arches rough paper,
32" x 24” (81.3 cm x 61.0 cm). Artist’s collection.
the structure of this painting is value. Squint
your eyes and see the strong light-and-
dark value pattern throughout the com-
position. The strong diagonal lines give an
added force to the composition.
SPRING RUN-OFF Watercolor and gouache on 555 Ib. Arches rough paper, 23” x 34” (58.4 cm x 86.4 cm). Courtesy of Dr. and Mrs. Robert A. Varaday.

CADMIUM Early spring in the high country is one of cerulean blue for the snow shadows, and
ORANGE ae
my favorite times of year to paint. Snow is Prussian green for the dark trees. In the
r coBait\ melting, water is flowing, ice forms are yellow-orange range | used cadmium
/ GREEN breaking up, and intense light creates orange and raw sienna, and in the red-
strong shadow patterns. During this sea- violet range | used cobalt violet and violet
i son, | like to make some line sketches of grey.
\ viet | CERULEAN these patterns and make some notes with | wanted to keep the painting light and
\ \ GREY / BLUE my trusty Pentel Rolling Writer. With this airy. Referring to my sketch, | laid in wet
particular subject, | was drawn to the broad areas of color. | was working ver-
a ae a rhythm of the tree patterns, rocks, snow, tically with the painting and let wet paint
and water, and | was particularly interested drip onto dry white paper. | also spattered
COBALT in the rock texture and the light. with my brush in the rock areas to help
VIOLET
Back in the studio, | wanted to choose achieve the rock texture. As the painting
colors that would represent how | felt progressed, | laid down translucent and
about that area and light and decided that opaque layers of cerulean blue and white.
a triad of red violet, yellow orange, and gouache to give the feel of snow. In the
blue green would be ideal. | chose three end, these colors were a far cry from the
colors in the blue green range: cobalt actual colors of the subject, but the colors
green for rock moss and forest patterns, show how | feel about early spring run-off. .

91
CHOOSING COLORS FOR A TRIADIC COLOR SCHEME

SUMMER MOUNTAIN PATTERNS Watercolor and gouache on 300 Ib. Arches cold-pressed paper, 19” x 29" (48.3 cm x 73.7 cm). Artist’s collection.

This painting uses one of the first triadic color schemes | ever and land areas, mauve was mixed into the forest patterns, and
worked with. It scratched the surface of the many possibilities cadmium scarlet was the orange used for the hint of warm.
available using three equidistant colors. Having explored the | decided to use watercolor and gouache combination because
triad’s potential more during the past two years, | feel that it offers of the transparency, translucency, and opacity this painting
the artist a whole new direction in color usage and gives a fresh needed in the forest, water pockets, and meadow. Also, because
look for color interaction. watercolor and gouache both use the same binder of gum arabic,
As | made the sketch for this painting, | noticed violet tones in they are chemically and visually compatible. The final painting has
the dead snag and forest patterns and decided to use violet as green as a dominant, violet as an intermediate, and orange as a
part of the palette. Also, | wanted some warm hints of color in the subordinate and accent color. It was fun to see how these colors
composition, so a triad of green, violet, and orange was the worked together; it gave me the impetus to use the triad in future
answer. Winsor green and emerald green were used for the forest paintings.

92
 WORKSHOP: TRIADIC COLOR SCHEMES
_ EXERCISE 1 a
_ Select a tertiary triad such as manganese blue, Winsor
- violet, and cadmium orange. Choosea simple subject
such as a landscape or still life. Do a line drawing of the
subject in black and white and use it for reference. Now
do six small studies, changing the color emphasis each
time. Vary the value and intensity and the dominant,
intermediate, and subordinate colors to make six dis-
tinctly different images.

EXERCISE 2
Use the secondary triad of mauve, viridian green, and
.
_ cadmium scarlet. Working entirely with abstract shapes
such as rectangles, triangles, and curvilinear forms,
totally emphasize the value and color. Vary the size of the
shapes and the intensity and value of the color to draw
the eye to the area of emphasis and to move the eye
through the composition. Choose the dominant, inter-
mediate, and subordinate colors and decide whether to
make the composition predominantly warm or cool. Make
the color sing!

EXERCISE 3
Choose an all semineutral triadic color scheme of violet
Z grey, raw sienna, and Prussian green. Try to convey an
_ image that is soft and dreamlike or ntasy-oriented. To
do this, work with light analogous value colors and repeat
the colors throughout. Use a curvilinear motif such as a
floral still life or figurative theme and watch these rich
colors help you create this expression.

> ain EMERALD

@ GREEN

/\ PHTHALOCYANINE
\ GREEN

ULTRAMARINE
VIOLET

93
9 GOING BEYOND
STRUCTURED COLOR

p to this point, I have discussed and demonstrated how structured color can work.
As you have seen, my paintings in the first four chapters use directly or follow
pretty closely the monochromatic, complementary, analogous, split-complementary, and
triadic color schemes. Many times I do stay entirely within these color schemes, but
more often I use color with a more personal approach. I have used the structured color
schemes enough that I need not rely on them now. With many of my paintings, I have
an intuitive sense for a certain color that is needed.
There are many ways to use color in a’painting. One way is to depict an object or
scene literally. Another is to create space and depth through warm and cool and value
change. Yet another is to use color to express. Each color we use on the palette has a
unique visual quality. We can also use repeated color in order to lead the viewer's eye
throughout the composition. As we have seen earlier in the book, color can be used to
create unity and a harmonious feeling. Also, color can be used to convey a distinct
mood. Although I use all these aspects in my work, I tend to concentrate on the last
four.
I do feel that the best way to learn color is through developing knowledge of the
fundamental structured color schemes. Once this foundation has been laid, the artist
can go further and become more personal with color. Too often the student wants
immediate, successful results without going through all the work that is necessary to
grow. A good example of this is an experience I once had while giving a workshop. I had
been giving a one-week workshop, once a year, to an art guild in a large city. Every
year it had been a painting workshop focusing on water media, and every year the guild
members had sold out the enrollment and had a waiting list. One year when they called
and asked if I would like to teach, I agreed but thought it would be fun to change the
format of the workshop. I planned that the first three days of the class would
concentrate on sketching and composition as they relate to the development of a
finished painting, something that many of these painters really needed. The last two
days would then emphasize the water media.
One week before the workshop, I received a call from the workshop chairperson. She
said that the last two days of the workshop were completely filled, with a waiting list,
but that there were only three students signed up for the first three days! I cannot
emphasize enough how important it is to know as much as possible about every aspect
of painting, including color. Take the time to learn and apply these concepts, and it will
help you to grow on your painting quest. Ultimately, all the theories and art principles
are simply tools to help the individual artist express his or her perception of life in paint.
The more we paint, the more we grow and change, becoming more individual and
seeing more uniquely. A completed painting with an original approach to portraying
nature will help the viewer to look, perceive, and feel more deeply.

94
 As I have mentioned, I developed my color sense through years of studying and
experimenting with structured color theory. There is a point now when the brush, hand,
and eye become synchronized instruments for the mind, and everything flows. As the
painting begins, I interact with the media, paper, and color. I listen to where the
painting wants to go and respond to it. I actually feel as if I am part of the painting. For
instance, if I am painting an aspen tree, I become my vision of the aspen tree—the
texture, color, light, and form. This is much more interesting than trying to force it to
go where I want it to go. For this reason I am careful not to have too clear of a vision of
how the painting will eventually look. This will inhibit the creative growth of the
painting. I choose to use my subject as the starting point for an exciting journey. It
becomes an excuse to play with color, brushes, and paint, and to express. That is why I
feel it is important to paint subjects that I know well, such as mountain rhythms or New
Mexico field patterns. I can think less about the subject because I know it well, and
more about responding to the color and paint flow.
I have found that once I developed a personal approach to my painting and color,
many people became interested in how I see. They would like to crawl inside and view
my world. A friend once told me that when he drove through the country where I paint,
he does not see the color that is in my paintings. But when he closes his eyes and
thinks about the country that I paint, the colors he sees are the colors in my paintings.
This is how I would like to have people react. I want my color not to be a literal
interpretation of what is out there, but a personal vision of how I perceive it.
An admirer of James Whistler once told him that he had been to the coast and that
the colors he saw were the same as the ones in the paintings. Whistler replied that
nature was improving! When I look at the work of many great painters, I feel that what
makes their paintings unique and memorable is that they have a personal vision. Their
colors are their own. I think of Thomas Moran, J. M. W. Turner, John Singer Sargent,
Winslow Homer, Vincent van Gogh, Claude Monet, and Pierre Bonnard, all great
colorists and all with this personal vision. Their interpretations are certainly not literal.
Yet when one sees the country they painted, the colors they chose reveal their acute
feeling for the area. This individual vision sets these painters apart from many average
artists.
Another aspect that sets them apart is their “mark,” the way they put their brush to
the paper or canvas. I love to see the mark of the artist, and it distresses me to think
that we are getting away from that. Much work today is sterile. The smooth rendering
of photo-realism and the images done with an airbrush are some examples. I can admire
their technical perfection but miss the unique signature of the artist, the mark!
As you look through the paintings in this chapter, there will be some diversity in
terms of application of color, paint, technique, and subject matter. The style will show
through whether it is a loose, intense-color winter light painting, or a sensitive evening
transparent watercolor of the Oregon coast. I have had people tell me that they can
recognize my paintings anywhere.
This chapter is divided into four areas because I think it easiest to talk about my color
in this way. The first is my approach to color while painting on location. I have found
that I use color and perceive color a bit differently when working on location. The
second section focuses on studio work that is inspired by color studies I have done on
location. The third deals with my paint application of underlays and overlays of
transparent, translucent, and opaque color to achieve beautiful color interaction. The
fourth section is about some paintings I do that are inspired by an inner vision. They
derive mostly from an inner sense for color and have no exterior source. As you read
through this chapter and look at the paintings and their approaches, keep in mind the
color foundation in the first four chapters. It underlies every painting in this chapter.
Enjoy!

95
Me WORKING ON LOCATION

Yes, color must be seen beautifully, that is, meaningfully, and used as a
constructive agent, borrowed from nature, not copied, and used to build, used
only for building power, lest it will not be beautiful.
Robert Henn

Andrew Dasburg, a Taos painter from the modern school, once use light and color in a distinctive way. The key to all painting is
said to paint from your periphery. When you sense a color out that the subject you are working with must truly inspire you,
of the corner of your eye and turn to look at it, only to find that and that you must look deeply both internally and externally at
it is not there, that is the color to use. what you see and feel.
In nature, if you look closely, there are many colors. Ina Everything we see and everything we feel comes from our
deep forest there are not just greens, blue greens, and yellow life experiences up to the present. We see differently because
greens, but orange greens and violet greens, gray greens and we have each been brought up in our own unique way. That is
neutralized terre verte greens. The keenness of the eye and what painting is really all about: our own individual response to
one’s inner sense is what will make the painting special. the subject we are painting. We are drawn to subjects that will
Color should never be randomly used. There should always trigger this personal response, and we tend to choose subjects
be a reason, whether it is an intuitive idea, an idea that has that help us make this statement. Consider Vincent van Gogh.
been seen, or a theoretical idea. Every stroke of color, like When we think of van Gogh’s work, we think of thick impasto,
every stroke of the brush, should help convey that idea. curvilinear brush strokes forming patterns that set him apart
The more one paints, the more one looks, and the more one from other painters. He chose subjects such as cypress trees,
studies, the more one will see. The eye needs to be able to see sunflowers, and rolling hills and fields, which lend themselves to
color. For instance, the freshly plowed field of earth is not just this curvilinear motif. I believe that he did not have to search
dark brown. Depending on the adjacent fields of yellow corn out his subjects, but rather that these subjects found him,
stubble or green grass, the plowed earth will be violet brown or because they formed part of his inner character and vision. But
red brown. Color affects color and makes it take on new life. in the end it is not the subject, but how the subject is painted,
Light affects color. The Oregon coast, the mountains of that will make a great statement.
central Mexico, and the Rocky Mountains all have vastly I feel that the subject is the excuse to paint, that the subject
different atmospheric light. Some lights are hazier, some matter finds you rather than vice versa. I know that subjects for
yellower, and some crystal clear. Look at the reflected light on a my best paintings will come when I least expect it. And I feel
fallen aspen or birch tree. The light bounces off the same that I am drawn to these subjects because of my background.
surface where the object’s shadow falls, and when the light is But the subject is simply the reason to start to play with the
reflected back, it contains the color of that surface. For shapes in the composition, the color, the value, and the paint
example, light reflected off surrounding grass will give a application; ultimately, it is the excuse to create.
greenish cast to the base of a tree trunk. Once the subject has chosen me, I try to get as involved as
Backlight, overhead light, and direct light all affect the color possible with it. I let my emotions flow toward the subject and
we see. Early morning light is a cooler light, while late after- get completely immersed in it. As I paint, I become part of the
noon light is warm. Both of these are raking lights, creating subject, rather than a spectator looking in. I let the paint and
strong light-and-shadow patterns on the terrain, great for color flow; as mentioned earlier, I sometimes feel that I am just
painting. Mist and fog, twilight and dawn are all good reasons to an instrument for the resulting finished composition.

USING THE QUILLER WHEEL TO SET UP A PALETTE

There are different ways that I set up my palette when painting I will first demonstrate how I used my outdoor palette, which
on location, and I will now focus on these. But my color usage contains the primary, secondary, and tertiary colors of my
is essentially a composite of all the information we have color wheel. I mentioned how to set up this particular palette
discussed so far in this book. When I work on location, I do not in Chapter 1. The colors on this palette are cadmium yellow
work with a particular color scheme. However, all my color light, cadmium orange, cadmium scarlet, cadmium red medium,
mixing is based on analogous, triadic, or complementary color permanent rose, magenta, ultramarine violet, ultramarine blue,
mixing approaches. When I think about it, all I really have to phthalocyanine blue, green blue, viridian green, and permanent
work with is analogous or contrasting color mixtures, so it is green light (with a few substitutions for acrylic).
important for the mixture to be pleasing and harmonious with As I look at my subjeci, I get a sense {or the color that is
the surrounding color fields. needed. This is usually determined by the color of the subject,

96
the existing colors in the painting, and an inner feel for what
ULTRAMARINE
color is needed. The choices I have for mixing just one color VIOLET
are many. Let’s use the color ultramarine violet as an example.
I can use the color straight from the tube, but very seldom
when I work on location does this happen. I can lighten the LIGHTENED WITH
color by adding white or diluting the color with water. If I feel WHITE OR WATER

that it needs to be a green mauve, I can mix in some of

mauve’s triad viridian green to give me a beautiful range of
semineutral blue violets to blue greens. On the other hand, if I MIXED WITH ITS TRIAD
VIRIDIAN GREEN
need an orange violet, I can mix the triad orange of cadmium
scarlet to give me a beautiful range of semineutral red violets
to red oranges. Or if I feel that the violet needs to be neutral-
ized by its complement cadmium yellow light to create a MIXED WITH ITS TRIAD
CADMIUM SCARLET
beautiful mauve semineutral, that can be done. Also, an anal-
ogous color can be mixed, such as magenta, to move the
ultramarine violet toward red violet; or ultramarine blue can MIXED WITH ITS COMPLEMENT
be added to move the mauve toward that color. So the artist CADMIUM YELLOW LIGHT

has a multitude of choices for each color, and for exactly how
to obtain that color, giving endless possibilities for striking
color combinations. MIXED WITH ITS ANALOGOUS
COLOR MAGENTA

MIXED WITH ITS ANALOGOUS

COLOR ULTRAMARINE BLUE

This demonstrates the range of color choices possible from mixing

just one color, mauve, on my palette. As you can see, it can be
used straight, lightened, mixed with its triad family, mixed with its
complement, or mixed with its adjacent analogous colors. All the
resulting color mixtures are beautiful.

MY PAINTING APPROACH ON LOCATION

Painting on location is different from working in the controlled On the other hand, there is the inspiration of working directly
studio environment in numerous ways. For years I worked with nature. This contact with the natural environment is a
almost entirely in the studio because I felt that I was overly great experience, and I have found that the more I interact with
influenced by nature when I worked on location and could not the subject, the more deeply I see. When working on location, I
get enough of my own personal feeling and color into the set up my French easel and get my board, paper, palette, paint,
painting. Recently, though, I have worked on location a lot brushes, and towels prepared. Then I meditate with the paper
more, and feel that these paintings are becoming very personal. and the subject in front of me—visualizing, in a positive way,
When working on location, I have learned to eliminate much the brush and color flow needed to construct the form. As I do
of the detail and to simplify the shapes. I remind myself that it this, an interaction builds between me and what I am about to
is important to work with just the essential shapes that initially paint. When this energy has mounted to a peak, it is time to
attracted me. Otherwise I can get caught up in picky details begin the painting!
that will actually detract from the main motif. Also, while On the next two pages you'll see two paintings done with this
working on location I am dealing with constantly changing light. approach. Both were done on the same creek within one
There may be bright light when I begin painting and a heavily hundred yards of each other and within three weeks of each
overcast sky halfway through. Light is always moving and other, yet they are very different. The key to both of these
shadows are constantly changing. For this reason, I have paintings is that I was excited about the subjects. The initial
developed a memory that keeps steadfastly reminding me of the excitement about the light, color, and shapes of each composi-
original light in the painting. If the light changes too much, I will tion was transferred to the completed painting. When this
pack up and return at the same time the following day. Besides happens, the chances are good that the painting will be
the light, there are the bugs, wind, rain, and temperature that successful. Both of these paintings were done using my
can be factors in the painting process. standard palette, described on the opposite page.

97
WORKING ON LOCATION

od a

| came across this subject while

hiking with friends along a re-
mote mountain trail. The pat-
terns of the cascading
waterfalls, the rock forms, and
the diagonal fallen logs inter-
ested me.
A week later | was back to
do a transparent watercolor of
the area. To make the painting
work, | had to leave out several
branches and twigs, and a few
rocks. Also, the flow of water in
the lower area had to be re-
arranged, and the distant as-
pen and spruce patterns
needed simplification.
| used my standard color
palette and found myself mix-
ing a lot of triad relationships.
In many of the red-violet rock
forms, notice the mix of blue
green or yellow orange. In the
distant green trees, | melted in
soft tones of violet. Yet where |
wanted a strong accent of
yellow-green moss or algae on
the central rock, | used its com-
plement, a dark red violet, to
help it stand out.
The lower right waterfall is
left diffused with a lighter value
to bring the eye into the com-
position. The central area of
rocks and waterfall is given
more pure hue emphasis, more
value contrast, and a bit more ROUGH CREEK WATERFALL Transparent watercolor on 300 Ib. Arches rough paper,
detail to hold the eye. 26" x 19” (66.0 cm x 48.3 cm). Artist's collection.

98
F gS.
| had originally set my easel on
the trail, much further above
the stream, and had sketched
two large logs fallen on rocks
over the stream. But as | went
down to get water from the
stream, | noticed this composi-
tion. The abstract shapes and
diagonal movement of the
background area, log and
branches, rocks and water
were very exciting to me. |
brought my easel down, turned
my paper over, and started this
painting. This composition took
two sessions, and probably
two-thirds of the time was
spent standing back observing
and thinking. Many overglazes
of paint were needed to de-
velop the final value and color.
In this painting, | used my
standard palette. | approached
the color in a variety of ways.
The log is a series of comple-
ments: yellow to violet, and
yellow orange to blue violet.
Much of the water and upper
right back area is a series of
analogous yellow green,
green, and blue green color
that has occasionally been
mixed with triad families of
oranges or violets. And again,
while color is very important to
the composition, the value is
what brings the color and the EMERALD POOL Transparent watercolor on 300 Ib. Arches roug paper,
shapes out. The strong value 26" x 18" (66.0 cm x 45.7 cm). Collection of Roger Steeb.
patterns are what make this
painting work.
WORKING ON LOCATION

ALTERING THE TRAVELING PALETTE

When I travel, I use my standard color palette, but I take a Too many times I have seen artists using exactly the same
variety of other colors along to match the needs of each specific techniques, formulas, and color sequence for every painting,
area. Inevitably the area that I am painting will call for certain and the resulting image looks very much like the previous one.
colors that are not on my regular palette. All I need to do is be The paintings look as if they have been through an assembly
in the place for a short time and soak up the atmosphere, light, line. To avoid such results, I try never to have preconceived
and culture, and this experience will let me know what colors I ideas or formulas. Instead, I prefer to approach each piece as a
need to add. new, fresh, individual work that will seek its own direction.

GUANAJUATO, MEXICO Transparent watercolor on 300 Ib. Arches cold-pres sed paper, 18” x 24” (45.7 cm x 61.0 cm). Private collection.

| love to travel, and one spring | went with some artist friends to found that ultramarine blue, a “red” blue, was everywhere in the
this Mexican city and some of the outlying villages to paint. It was shadows and colors of the buildings.
a magical experience. The city shapes and colors, the market- Once | set up the palette, | worked wet with large 2-inch and
place, and the people were the most paintable subjects | have 1¥2-inch brushes, laying in the light and shadow patterns, and
ever seen. The resulting paintings were new and very different for exploring the large masses of colored shapes. | had to work very
me. | used my standard color palette but found that | did not use quickly because it was a hot, dry day. As the painting dried, |
any of my permanent green light or cadmium lemon yellow. switched to a %-inch single stroke and a size 12 round brush to lay
Colors | added were Naples yellow, ultramarine blue, and sap in the darker shapes and detail accents. The finished painting took
green. | had hardly ever used Naples yellow before, but | went less than two hours, but actually this subject needed to be done
through two tubes in the eight days | was there! The atmosphere that quickly to achieve the spontaneity and freshness of light that |
and whitewashed buildings were bathed in Naples yellow. | also felt was important to capture the feeling of this area.

100
OTHER PALETTE ARRANGEMENTS
I have recently started painting on location with opaque acrylic. When I set up a specific palette for an area such as a deep
This has been a new challenge and an exciting adventure. I did forest containing aspen, spruce, and a beaver pond, I need to
this series of paintings in a remote steep canyon, heavily tim- focus on the main color emphasis and what I am after in the
bered with aspen and spruce, with a small stream and beaver composition. In this series I am after the soft light and the
ponds, accessible only with a four-wheel drive. I took a studio subtle rhythm of the forest patterns, as well as the backlight on
easel and a glass palette, working very large. Each painting the foreground trees and beaver pond. To set up my palette I
took at least five to six sessions to complete. I was after the want a good variety of greens, everything from yellow green to
depth and range of forest patterns and the quiet light that was deep cool forest greens. For the two acrylic paintings shown
there each morning. here I used cadmium yellow light (to mix with emerald greens
I am convinced that the more one paints, studies, and for lively yellow greens), emerald green, bright aqua green, and
observes outstanding paintings in collections and museums, the Hooker's green dark (for the main greens from which to mix
more knowledge and growth one will have. I used to be intim- forest colors), cobalt blue (as an analogous color mix for cool
idated by summer greens, the intense greens of aspens and forest greens), dioxazine purple (as the cool triad mix for
forests. But as I mentioned earlier in the book, during a trip to greens and to achieve a dark value), indo orange red (as the
England I did on-location painting using violets with my greens; warm triad mix for green), red oxide (as the neutral orange
and I studied the English watercolor painters. Since then I have triad mix with violet), Acra violet (as the complement for the
felt very comfortable painting greens; summer forest patterns greens and as an underwash to provide a hint of warm), and, of
are now among my favorite subjects. course, white to lighten any of the hues.

CADMIUM YELLOW LIGHT

INDO ORANGE RED
(ANALOGOUS MIX FOR
(WARM TRIAD MIX)
YELLOW GREENS)

RED OXIDE
(NEUTRAL ORANGE
TRIAD TO MIX
WITH VIOLET)
O WHITE
(TO LIGHTEN)

EMERALD
GREEN

BRIGHT
AQUA GREEN

ACRA VIOLET
(COMPLEMENT
MIX FOR WARM HOOKER’S
UNDERTONE WASH) GREEN DARK

COBALT BLUE
(ANALOGOUS MIX
FOR BLUE GREENS)
DIOXAZINE PURPLE
(COOL TRIAD MIX)

This is how | set my palette for the forest pattern paintings done in beautiful semineutrals. Red oxide is an earthy orange providing
opaque acrylic. Three greens were used to fill the range of warm, nice woody accents, and it is a triad mix with violet. Blue was used
cool, and neutralized tones representing this subject. White was to develop the cool blue greens; violet is green’s cool triad mix.
used to lighten the colors, and yellow to develop the yellow-green Acra violet was used as green’s complementary mix and also as
hues. Orange is the warm triad for green, and it produces the warm undertone wash.

101
WORKING ON LOCATION

ng an on-location water-
color in an area close to this pond and
took a break to do some fly fishing. As |
walked by the edge of the pond, the sun
had just come over the mountain barely
enough so that the edge of the beaver
dam and foreground spruce were catching
the light. Much of the background forest
was still in shadow, with patches of sub-
dued light filtering through. Layers of elon-
gated aspen and spruce stretched back
into the forest, creating a sense of order
and rhythm that | wanted to capture.
| went out every morning for a week and
could work only from 9:30 A.M. until 1:00
P.M. After that time the light had moved too
far overhead. | started this painting with a
thin transparent wash of Acra violet. When
this dried, | laid an opaque layer of a
varied mixture of cobalt blue, dioxazine
purple, and Hooker's green dark with a
brayer to give a somewhat textural feel to
the surface. | did not completely cover the
underlayer of the Acra violet, but allowed
some of the deep red to radiate through.
When this layer dried, | began painting the
background patterns. First | tried to cap-
ture the subtle nuances of color as | started
in the upper left corner. | slowly moved
down and to the right. The difficult thing
about painting the background area was
to keep the value very close while subtly
changing color to create depth.
When the background was completed, | EDGE OF THE BEAVER POND Acrylic on Crescent illustration board No. 100,
36" x 24" (91.4 cm x 61.0 cm). Collection of Carole Hennan and John Bruce.
painted the sunlit spruce in the foreground,
starting at the top and slowly working
down. This tree was painted lighter and
brighter than its surroundings to stand out.
Finally | added the beaver pond, focusing
on the sunken logs and shadows.
This painting portrays a com-
posite of three different areas.
Not far from the place where |
had painted Edge of the Beaver
Pond, | noticed a series of dead
spruce. What interested me
was the repetitious patterns
that the branches made in the
sunlight against the deep, dark
forest shapes. | started the
painting in the same way as
the first one, by putting down
an underlayer of transparent
Acra violet and an overlay of
blue, green, and violet applied
with a brayer. The background
forest patterns were laid in
slowly with dark analogous
colors. The dead spruce in sun-
light were then added in warm
orangish tones. | was careful to
develop the rhythm that was so
apparent in the trunks and
branches.
At this time, | moved my
easel to a new beaver pond
that has a back edge with a
soft symmetrical curvilinear
movement. (This line would re-
peat a line in the upper forest
shadow area.) | then painted
the edge of the pond and the
pond itself.
Finally | moved to a third
beaver pond where | had
noticed these two aspen. |
wanted to paint them in back-
light so that they would not
stand out too much, but subtly
move with the rhythm of the
rest of the painting. The aspen
added to the vertical move-
ment of the composition and
connected the lower forms of
the beaver pond with the rest
of the painting.

QUIET LIGHT Acrylic on heavyweight Crescent illustration board No. 100,

36" x 24” (91.4 cm x 61.0 cm). Collection of Mr. and Mrs. Alex Thomas.
Me DEVELOPING STUDIO PAINTINGS FROM
ON-LOCATION COLOR STUDIES
Many times when I work on location, I gather information for I have found that if I do a simple line or color ‘sketch, I have had
my studio painting—just keynotes of information that will to look more closely and deeply at the motif. It is easy then to
release from my memory the essential material necessary for internalize the material and it becomes part of me. Because of
later work. I try not to get too much information or too detailed this, I am much more enthusiastic toward the subject, and that
a color study because that will block the creative growth of the positive energy goes into the painting.
studio painting. As I sketch with pencil, pen, or watercolors, I am looking for
For this reason I do not use photographs. During my early keynotes, a haiku, the essential force of the scheme. I try to
painting years, I would photograph subject matter while I trav- put down the important compositional lines and the colors I
eled. But three weeks later when the color prints returned, sense that represent this area. Later in my studio, I set up my
many times I could not even remember where they were taken. line and color studies and begin my painting.

This page of color studies was done in Taos, New Mexico, in mid- year. | wanted to internalize the color of the sage, scrub oak,
November. These studies were not done with the idea of later juniper, pinon, cottonwood, and adobe. | keep pages of studies
developing a finished painting, but rather to become more familiar like this filed in my studio for later reference; they offen come in
with the color, shapes, and textures of the area at that time of handy when | am planning a painting.

104
 FOUR PAINTINGS
On-location color studies can inspire my studio painting in a
variety of ways. The first two paintings shown in this section,
October Field Patterns and Early Spring Light, were triggered
by the excitement of the initial color sketches. The third
painting, Spruce Tree House, Mesa Verde, was done after four
color studies examining the shapes of the area as the light
changed. Finally, The Mushroom Gatherers evolved from some
color studies that had nothing to do with the final subject.

Here is a quick watercolor sketch capturing the color of this area.

The sketch probably took less than ten minutes, yet | had enough
room to elaborate and play with the general color shapes. | found
these color notes useful as | worked on the final painting.

OCTOBER FIELD PATTERNS Acrylic and casein on 300 Ib. Arches rough paper, 20” x 29” (50.8cm x 73.7 cm). Courtesy Mission Gallery, Taos, New Mexico.

In northern New Mexico, each autumn month has its own distinct Later, back in the studio, the brush drawing and watercolor
flavor. In October the color is starting to change but there are still sketch on this page were set up by my painting table. Acrylic and
many shades of green. The light is more golden and there is a casein were chosen for the painting because | felt that | could best
haze in the air. Soft mauves are in the hills, fields, and shadows. capture the color and light with these media. As you can see,
| have some favorite areas where | sketch and paint, and this color was rearranged to work with adjacent complements: yellow
painting shows one of them. This October day | drove along a rim to violet, yellow orange to blue violet, reds to greens, and red
looking down on some fields and distant hills. When an area violet to yellow greens. Some of the lines of the composition in the
would catch my eye, | would get out and walk, observing the hills and field patterns were also rearranged. In all, the field
various colors and shapes. On this occasion | did six brush drawing and watercolor sketch were essential information in the
drawings and three or four watercolor sketches. development of this painting.

105
DEVELOPING STUDIO PAINTINGS FROM ON-LOCATION STUDIES

This study was based on an on-location Early spring light—what a magical time of
line drawing. | wanted to capture the year! The snow is melting, with patches of
feeling of light and texture—and, most of raw earth showing through; water is open-
all, the color of the bank in the foreground. ing while some ice is still creating patterns
The sunlight created strong contrasting along the water's edge. Long diagonal
light and shadow on the snow. Parts of the light leaves rhythmic shadows on the land.
bank had melted, exposing open patches | had noticed the area shown in this
of raw sienna and ochre grasses. The bare painting for some time. The snow for some
willows in the foreground were in deep reason had held longer in this area and the
semineutral red-violet tones; this all added pockets of light and shadow seemed like
color relief to the blues and greens. jewels coming through the spruce. | first did
a quick on-location sketch and then re-
turned a day later with my son to do a
watercolor field sketch and to fish. These
two sketches gave me enough information
to develop a finished painting later.
In the studio, | placed the two studies by
my painting table and taped down a full
sheet of watercolor paper. Before starting
the painting, | spent time meditating and
visualizing, and building energy that would
carry me into the painting. | started with a
wet textural wash of transparent green
acrylic, spattering and scoring at will with a
toothbrush and razor blade. When this was
dry, | laid in the large and small spruce
patterns. Next | applied layers of translu-
cent and opaque casein to the snow fields,
being careful to provide transitions be-
tween the transparent acrylic and the
opaque casein areas by gradually
strengthening the translucent casein.
| painted the opaque casein around the
spruce shapes and in pockets on the trees
to make it look as if sunlight were coming
through. This is how | perceive the shapes
this time of year. Instead of seeing a tree
shape in front of a sunlit snow field, | see a
spruce shape that is formed by the light
surrounding it and coming through it. |
referred to the color sketch to get color that
would represent the snow bank. | used raw
sienna, Shiva violet, Shiva rose, and cad-
mium red extra pale, along with the white
and cerulean blue used for the snow.
Touches of these same colors were used in
transparent and opaque ways in the upper
green forest field and large tree shapes, to
repeat the color and move the eye through
the composition. The large stringy willow
forms were put in to connect some of the
banding planes in the composition. | then
used transparent acrylic for the water area,
applying it with horizontal movement to
represent slow-moving water. Colors from
the upper areas were used to represent
reflections.

EARLY SPRING LIGHT Acrylic and casein on 300 Ib. Arches rough paper,
29" x 21" (73.7 cm x 53.3 cm). Collection of Kyle and Diane Deaver.

106
Painting quick studies on location can be a lot of fun and canhelp __ sketch. The sun was moving farther to the west (or to the right of
you get to know your subject well. Here are four studies of the each study) as | painted. In my sketchbook | noted the colors |
same subject, all done the same day, each one about twenty to was using for each sketch. All this proved very valuable when | did
thirty minutes apart. Notice how the light changes with each the final studio painting.

A few days later, back in the studio, | was

ready to work on the final painting. |
decided to use the same palette | had used
in the field studies—purple lake, ultra-
marine blue, alizarin crimson, brown mad-
der alizarin, Naples yellow, and raw
sienna. The way the color was used, it
closely resembles a split-complementary
color scheme with analogous cool red
violets, violets, and blue violet, and yellow
and neutral yellows as the subordinate
contrast. | wanted a strong feeling of
sunlight on the cliff dwelling forms, so the
strong contrasting value in this area would
be critical, as well as the play of warm
color against cool. | also decided to place
the building shapes a little farther to the left
and make room for the narrow, horizontal,
deep-set cave area to its right. This
seemed to work better abstractly as a
design.
| began the painting by wetting the
surface except in the building area and
laying down a warm golden wash. While
this was still very wet, cool violet washes
were applied to the upper area, and a
single-edge razor blade loaded with cool
pigment was swept across the paper in a
soft horizontal curvilinear manner. | let the
color fuse down, giving a general feeling
of weathered rock. When this was dry, |
developed the building area, using con-
trasting warm and cool tones and strong
contrasting value. The cool washes of the
foreground scrub oaks were laid in to
further develop the light and shadow pat-
tern of the painting. | then mixed white
gouache with some of the warm color to
further lighten the sunlight on the ground
SPRUCE TREE HOUSE, MESA VERDE Watercolor and gouache on 300 Ib. Arches cold-pressed and building areas. Finally, more cool
paper, 19” x 25” (48.3 cm x 63.5 cm). Collection of Vicki and David Ford. washes were used in the upper rock wall.

107
 DEVELOPING STUDIO PAINTINGS FROM ON-LOCATION STUDIES

Many times, when working on location, |

just do color studies that will work as
reference material for my studio paintings.
Sometimes | do ten or more in a session
and work with any area that catches my
eye. Usually these studies deal more with
- color and color relationships than with
composition. There might be a group of
weeds of varying soft earth tones, autumn
aspen and evergreen color variations, or
sunlight and shadow on mountain forms.
Each study usually takes fifteen minutes or
less and is usually quite abstract. | will tape
the studies onto a studio wall and let the
color soak into my mind. Against the white
of the paper, the studies glisten like little
gems, and some seem to me complete in
themselves.
Here are three such studies done in our
south central Colorado autumn. The upper
one was done at the base of brushy
country that moves into the Sangre de
Cristo mountain range. The middle sketch
was done further up in elevation on a
mountain pass. The color is similar in both
studies, but if you look closely there are
differences between the color relationships
in the two pieces that would be critical if
each study were used as the basis for a
larger studio painting.
The lower sketch is one of those that
occasionally stand out and inspire me to
pursue them further. Always it is the color
relationships that interest me; many times
the final painting uses the same colors but
portrays a totally different subject.
Such was the case with this study. It was
a sketch of sage, chamisa, scrub oak,
other brush, and ponderosa pine, and was
done on a scrap of 300 Ib. Arches rough
paper. It was late afternoon and the raking
sunlight gave me a vibrant palette. | taped
this piece onto my studio wall along with
the others. As the days went by, | kept
coming back to this sketch. There were two
things that impressed me. First, some of the
color relationships of the ground cover
were exciting. The colors | thought most
interesting were cobalt violet, cobalt green,
permanent rose, and cadmium orange.
The second thing | noticed was the staining
of the colors and the heavy interaction of
their pigments. The cobalt violet and cobalt
green pigments seeped into the recessed
pockets of the paper, providing a nice
texture that further enhanced the visual
interaction of color. | decided, on the basis
of this color sketch, to do a painting in my
autumn impressions series. The Mushroom
Gatherers is the resulting work.

108
 : <
THE MUSHROOM GATHERERS Watercolor on 300 Ib. Arches cold-pressed paper, 21” x 29” (53.3 cm x 73.7 cm). Collection of Patricia Henderson.

| have a friend who lives in the mountains; after seeing this Next, using what | call the reverse negative approach, | painted
painting, he said that this is the last place he would want to be if strokes of cadmium orange and cobalt violet around the central
he were gathering mushrooms—there are too many people! Of branch structure of the main aspen trees. Then | painted washes of
course the painting is a fantasy that came from who knows where, cobalt violet and cobalt green around the lower trunks to bring
and was triggered by the lower color sketch on the facing page. It them out and to bring out the curvilinear shapes of the lower part
grew into this image because | listened to it. The interaction of of the foliage. The red-violet and blue-green “lollipop” trees were
color and shapes told me that there should be figures. then put down, bringing out the rest of the light aspen forms. |
When | started the painting, | had a general vision of where | decided to let the horizontal bands form in the lower foreground
wanted it to go. | knew that | would try to stay with a limited area and brought all of the aspen and spruce trunks to meet the
palette of cadmium orange, cobalt green, and cobalt violet. | ground at the back band. The lower part of the main aspen trunks
knew that there would be curvilinear aspen shapes. And | knew were then painted darker against the light negative space. Next |
that although the viewer would notice color, value would be the put down the upper tips of the spruce forms and the final
key to the composition. foreground washes. Lastly, the figures were put in, each one taking
| wet the paper and tried not to have too much of a on the character of the rest of the painting.
preconceived idea as to where the shapes and color would go. The three main areas of emphasis during the development of
Working with a 2-inch and a 1%-inch single-stroke synthetic brush, the painting were patterning, rhythm, and value. It was important
| let each stroke of color indicate where the next would go. Most for all the aspen forms to work in a rhythmic patchwork, and for
of the background mountain patterns were put in at this time. their trunks to be spaced in a nice syncopated rhythm. The finished
Much of the central and foreground area was left untouched or painting takes on a carefree feeling with a festive, carnivallike
with just tints of color. color.

109
Ga PAINT APPLICATIONS

After developing an understanding of color, one is ready to start acrylic, watercolor and pastel, oil wash and oil pastel, and so
playing with various paint applications that can create exciting on. It just takes a little experimenting and imagination.
visual interactions of color. I first became aware of this while I have selected four of my paintings, as well as several
looking at the paint application and surface texture of some preliminary studies, as examples of how color can be further
master paintings in museums. Some painters, like Joaquin used in exciting ways to create a nice surface texture and
Sorolla, treated their oil paintings almost like watercolors. Very beautiful visual qualities. The first example, Spring, Valdez,
thin veils of color were applied and then an impasto swatch of demonstrates glazing methods of transparent and translucent
light paint was added to create a sparkling spot of sunlight color, as well as applying a light opaque over a dark transparent.
in an area of water. A general rule for oil paintings of the The second painting, Winter Pool, shows the interaction of
seventeenth-century Dutch school was that dark areas were transparent and opaque color. San Antonio Cemetery, the third
painted thin and light areas were painted thick. Also, as piece, demonstrates the interaction of adjacent transparent,
described in Chapter 3, the old masters used glazing to create translucent, and opaque color applications. The fourth image,
an impression of great depth with glowing layers of color. Autumn Field Patterns, shows scraping and incising through
For the last fifteen years, I have experimented with various opaque layers of color to a transparent underlay. As you look at
visual effects that can be created through transparent, translu- each of these paintings, notice also the colors chosen to create
cent, and opaque applications. Although I primarily use water harmonious relationships. Although I will use water media to
media—transparent watercolor, gouache, acrylic, and casein— demonstrate all the paint application techniques just described,
the same or similar effects can be achieved with oil, oil and they will work with most media (or media combinations).

GLAZING METHODS FOR TRANSPARENT AND TRANSLUCENT COLOR

Glazing has been in use for centuries. As mentioned earlier, fully realized and that the value worked throughout the whole
grisaille was used by the old masters. First they built the composition. When the underpainting dried, transparent, pure
composition in light and dark values using black, white, and a color was applied, allowing the understructure to show through.
few earth colors, and then they glazed over with transparent The colored glazes would add a rich, glowing depth to the
pure hue. In this way, the masters ensured that the forms were painting.

In this study | used a yellow-

orange transparent acrylic as
the underwash. Blue-violet
casein color was then applied
over the acrylic in opaque,
translucent, and transparent
ways. Notice that in one area |
left the yellow-orange acrylic
uncovered to show its trans-
parent brilliant intensity. In
other areas the translucent
casein takes on a cloudy
quality, allowing the underlayer
to barely peek through. In the
lower area the casein is used
transparently so that the yellow
orange is more visible. Play
with this method. Experiment
with a variety of media using
complementary colors. Make
sure that the media you use are
compatible by referring to a
reference source on artist ma-
terials, such as The Artist's
Handbook of Materials and
Techniques, 4th revised edition,
by Ralph Mayer (New York:
Viking, 1981).

110
 A CONTROVERSIAL COMBINATION: TRANSPARENT AND OPAQUE COLOR
Until the mid-1970s, using transparent and opaque color 1970s done in oil, acrylic, or a combination of both have very
together was taboo in water media. But we have grown in our thin transparent veils of color interacting with thick impasto
outlook toward painting, and now any approach is considered painted strokes.
acceptable as long as it works. The painting is what counts, and Oil painters have been using light opaque over dark
if the impact of the idea is enhanced by the combination of transparent color to advantage for the past century; Ralph
transparent and opaque color usage, so much the better! Many Blakelock is one example. With the development of landscape
of the great water media painters such as Turner, Sargent, and painting, there came new ways of seeing. Instead of always
Homer had this philosophy. Opaque gouache or body color was painting from the back to the front (such as sky, mountains, and
widely used to give life to the composition. then trees) the artist began to see that many times the
In oil painting there has been the same general feeling that backlight popping through and around an object forms the
mixing transparent and opaque color was taboo; all the painting object. Painting a dark transparent or opaque mass and allowing
should be covered with opaque oil paint. However, many it to dry provides an underlayer around which to paint.
‘painters at the turn of the century used very thin transparent Because I have lived in the mountains for many years, my
and translucent coverage with some thick impasto strokes to eye has been trained to see this way. The brilliant white snow
achieve exciting visual color interaction. The surface texture can field that is behind the spruce actually radiates the light around
add to the color’s visual impact. Milton Avery, a noted American the tree and allows me to see the form in a distinct way. The
painter, started combining transparent and opaque oil coverage only way to get this particular visual effect is to paint a dark
in the mid-1950s, and this set his work apart from that of other mass first, and then paint light opaque around it to form the
painters. Many of the large abstract paintings of the 1960s and object’s shape.

In this study | first applied a dark transparent mass of green, blue, shapes. The resulting image has a fresh, spontaneous visual
and violet acrylic color. When this was completely dry | used quality that is also a very different approach from the way most
opaque light yellow-orange to red-orange casein to paint over painters would treat this subject: painting the sky first, and then the
and around and sometimes through the tree forms to create their trees over it.

111
PAINT APPLICATIONS

SPRING, VALDEZ Acrylic and casein on 550 Ib. Arches cold-pressed paper, 26” x 34” (66.0 cm x 86.4 cm). Collection of George and Ruth Gilfillan.

112
This painting was done from an idea that
came to me on the rim above the Valdez
valley, which lies a bit north of Taos, New
Mexico. In the spring and early summer the
red violets of the trees and willows (again,
not weeping willows, but shrubs) play
against the greens of the grass and bud-
ding foliage. It is a beautiful time to paint.
This is a good painting to use as an
illustration of glazing methods using trans-
parent, translucent, and light opaque color
over dark transparent paint. | will discuss
each of these methods and how they were
used in this painting.
The glazing method can be seen pri-
marily to the right of the diagonal line that
divides the painting, covering the lower
half of the painting. First a rich transparent
layer of Acra violet acrylic was applied wet
to this whole area. When this area dried, |
added casein in transparent, translucent,
and opaque ways over the underlayer. Soft
neutralized yellow greens, greens, and
blue greens were used in many places to
complement the red violet. In the smaller
field patches and the upper corner of the
large field, the color was used opaquely.
But in the lower parts of the fields, | applied
the casein translucently and transparently
to let the warm acrylic radiate through.
Along the edges of some of the fields the
transparent red violet was left untouched
to give a crisp cloisonné or outlining effect.
The light opaque color application over
a dark transparent underlay can be seen in
the upper central band of willows and
trees. First dark red-violet and blue-green
shapes were painted wet on wet with
acrylic. These were just general shapes
that covered more area than the finished
forms indicate. After they were dry, opaque
light green casein was mixed and painted
around and into the dark masses of color
to develop the shapes of the willows,
shrubs, and tree branches.
In the finished painting, | have attempted
to create an interaction of opaque, translu-
cent, and transparent color through direct
application and glazing that is a visual
feast for the eye. The color and paint
application were chosen to represent how |
feel about spring in northern New Mexico.
PAINT APPLICATIONS _

TIPS FOR COMBINING TRANSPARENT AND OPAQUE COLOR

Actually, combining transparent and opaque color is not a simple transparent, while land forms seem solid and opaque. But
thing to do. Too often, opaque application of paint is used as a sometimes I simply use the combination of transparent and
cover-up. By this I mean that a mistake was made in a opaque to create more visual interest.
transparent watercolor and the artist simply mixed some The key is that it works. I have found that it is harder to use
opaque gouache color and painted over the marred area. This this combination well if the surface is mostly transparent with
usually results in what I call a “postage stamp” look. The paint just some opaque areas. It can be done, but too often the
looks as if it were tacked on like a stamp to a letter. To work opaque looks tacked on. If the painting is primarily opaque, with
effectively, the opaque-transparent approach needs to be some areas of transparency, the technique is much easier. The
planned from the start of the painting. best thing to do is to experiment and find what works best for
The idea of transparent and opaque color paint application can you. Try using transparent glazes of a certain color followed by
be used with either abstract or representational art. I see some opaque overlays of the complementary color. Adjust the
transparents and opaques in nature. Sky and water seem to me value of the colors to create even more visual interest.

WINTER POOL Transparent watercolor and casein on 300 Ib. Arches cold-pressed paper,
182" x 26" (47.0 cm x 66.0 cm). Collection of Charles and Nancy Wallick.

When | started this painting, | wanted to capture the feeling of the passages dried, | came back in with some glazes of color to give
transparency of the water and reflections against the opacity of a touch more definition. At this point, a few opaque red notes
the snow and willow branch. | decided to use transparent were placed into the green areas of the water. Next | painted the
watercolor for the water passages and opaque casein for the snow and shadow areas opaquely. First | wet the paper and then
snow, shadows, and willow branch. | chose a basically comple- washed on cerulean blue. While this was still wet, | painted
mentary color scheme of dominant green and blue green, with titanium white into some of the blues, giving the illusion of moving
subordinate red and red orange. shadows. Solid warm whites were added once the paint was dey,
| first put down a transparent wet-on-wet wash in both the pool to give the feeling of brilliant sunlight.
areas. Filling in the pools of color, | was trying to create a feeling Finally the willow branch was put in. The placement of this
of the water patterns and diffused rock forms below. When these branch was critical to the visual impact of the painting.
114 |
INTERACTION OF TRANSPARENT, TRANSLUCENT, AND OPAQUE COLOR
Visual interaction can be explored much further with the the light does penetrate the paint film to the surface, the
interaction of transparent, translucent, and opaque color. Each reflected color has a softer, chalky look. Opaque colored areas
of these applications has a distinctly different look. Transparent have a solid film that does not allow the light to get beneath the
color allows light to easily penetrate its veil to the white surface paint. The color we see is reflected only from the paint itself.
and reflect back to the eye, which gives a fresh, vibrant look. I like to make all three of these applications interact. The
Translucent colored areas have a cloudy, milky look; although painting San Antonio Cemetery is one example.

SAN ANTONIO CEMETERY Acrylic and casein on 550 Ib. Arches rough paper, 22” x 33” (55.9 cm x 83.8 cm). Courtesy of Mission Gallery, Taos, New Mexico.

| have done a lot of sketching and painting around this small transparent Acra violet. (I felt that this would be a good base color
village at the border of Colorado and New Mexico. Early summer because its complement is a yellow green, and | would use these
when the cottonwoods have leafed out and the various greens of tones in some of the overlaying colors.) Once the wash was dry,
the land have emerged is one of my favorite times. | had located all the mesa forms were developed. Dark violet acrylic strokes of
this cemetery, which sits on a mesa at the edge of the village, and paint were placed wet on the mesa shapes, translucent blue-
went there to do a line drawing and a watercolor sketch. The green casein was put over and around the dark forms, and finally
large white cross and the other elements of the cemetery highlights of opaque yellow-green casein were added. A similar
interested me because of the way they related with the rest of the approach was used in the foreground tree area. The red-violet
landscape. and green tree forms were painted transparently with acrylic.
Back in the studio, | wanted to capture the feeling of early When these were dry, opaque and translucent areas of light green
summer rains and the fresh greens of this time of year. | also casein were painted around the trees, leaving some of the red-
wanted to get the feeling of the textures of the rocks, junipers, and violet underlay of acrylic showing.
pifion that dot the mesas. For these reasons | chose acrylic and It is important that this painting has similar paint handling
casein for the media and transparent, translucent, and opaque throughout. Because of this, the eye senses a consistent direction.
paint applications for color interaction. The red-violet underlay of acrylic also serves as a unifying device.
First the walking-rain sky was washed in transparently with The common color radiates through from the distant hills to the
acrylic. When this was dry the entire land area was washed with foreground cemetery.

115
PAINT APPLICATIONS

ENERGIZING THE PAINTING SURFACE

Color is not the only way to create energy in a painting. As I or acrylic and pastel in combination. The action of the paint
have discussed with regard to earlier paintings, the paint brush can also be of help to give life to a composition. Quick-
application—such as the interaction of transparent, translucent, moving, facile strokes have a spontaneous quality that give a
and opaque paint—can add visual interest. This can be achieved _ snap to a painting. A splatter of paint in the right area, a scoring
with acrylic, oil, casein, or gouache used by themselves, or or scraping through the paint to an underlayer will give an
with acrylic and casein, acrylic and oil, watercolor and gouache, unexpected freshness and energy if done well.

In this study the paint has been used to show energy. First a warm
golden transparent acrylic was applied over the entire surface and
allowed to dry. Then translucent and opaque red violet, violet, and
blue violet casein were added. While the casein was still damp, a
single-edged razor blade and a pocket knife were used to scrape
through to some of the undercolor. After the paint was completely
dry, opaque red-orange spatter was applied.

My favorite time of year in northern New Mexico is late autumn.

The land is alive with a myriad of colors and a low, slanted light.
enjoy painting and sketching there at this time and exploring the
many out-of-the-way roads, landscapes, and villages. This paint-
ing came from one of those treks. Sepia ink-wash sketches and
notes were taken for later development in the studio.
| first taped my watercolor paper to a board and placed it on an
easel. Wetting the paper completely, | loaded my 3-inch brush and
painted warm transparent tones of acrylic that can be seen in the
sky area and the orange undertone on the rest of the painting.
While the paper was wet, | added the furthest mesa forms with
Acra violet and red-orange acrylic applied with a single-edged
razor blade. Dark patches of violet acrylic were applied to the
mesa areas. Casein was then used for all the overlaying color. In
the mesas, opaque light orange and blue were painted over and
around the dark acrylic to create the mesa’s texture. In the field
patterns, translucent and opaque casein were used freely to
create the patchwork quilt effect. Throughout each section, |
played with the paint, scraping and scumbling color, trying to add
energy and life to the composition. (In some fields, parallel
scrapes with a pocket knife suggest furrows, for example.) In each
area | selected color that would go with the undercolor as well as
with the rest of the color scheme. Accents of trees, sheep, and
ditches were placed to give the final touches to the painting.
The completed painting reflects the fact that | had fun working
on it. The color has a life that resembles how | feel about New
Mexico this time of year. The paint application also has an energy
that | associate with this country in November.

116
 bie Ra
AUTUMN FIELD PATTERNS Acrylic and casein on 555 lb. Arches cold-pressed paper, 27” x 39” (68.6 cm x 99.1 cm). Collection of Mark and Greta Allison.

117
Me INNER VISION

Every artist responds to different subject matter and ap-

proaches his or her painting in a unique way. When an artist’s
subjects, responses, and approaches come from within, I like to
call them an inner vision. A painting nurtured by inner vision
usually has slightly deeper feeling and is more personal to its
creator. “The answer lies within” is a phrase from a well-known
song by Cat Stevens. I feel that this is true, and that exploring
painting from within is one way to seek the answer.
I am always responding to patterns and rhythm in nature. I :
find this when I see spruce and aspen on a mountainside, %
|
pockets of light through backlit trees, or the movement of light La

and shadows on snow. My feeling for patterning and rhythm is

deepset. It has come over many years of observing, contem-
plating, and painting nature. This is so much a part of me that it
is part of my inner vision. I can be driving in a car or fly-fishing,
and suddenly an idea will come. The idea will usually be very
clear, and inevitably as I work out the idea on paper, patterning,
rhythm, and color become essential elements of the composi-
tion.
I think that the inner vision plays a very important part in my
_ painting. Whether I am in the studio or working on location,
most of the decisions about each painting are directed from
within. That is to say again that I am not trying to duplicate
nature but rather paint how I feel about nature. I pay attention
to my thoughts, feelings, and sensations for my interpretation
of the subject.
Each painting and each inner vision must follow its own
course. Each work must have its own color and composition. It
cannot follow formulas used in past successful paintings but
must have its own unique spirit. When the artist truly captures
SERS MAD Mig SUI ay Coens Be, oe
this inner spirit, I believe it will be sensed by the viewer. The
energy put into the painting will always remain and can be felt | have long been an admirer of Chinese sumi painting. | like the
by someone who is appreciating the piece. free-form way they break up two-dimensional space, their unusual
To me, the painting process becomes all-important. The flow vantage point, and their flat, diagonal shapes. When my composi-
that I get into when a painting is going well is more pleasing tions seem too static and | feel that | am in a rut, | look at these
than any other experience I know. The process of painting black and white wash drawings. | particularly like doing abstract
wash compositions, utilizing some of the drawing’s main elements.
becomes addictive. At this time it does not matter whether the
This study is representative of the numerous ones | have done
painting will sell or not, or even whether it will eventually be a
after Chinese sumi painting.
successful painting. It only matters that I am exploring my
thoughts and feelings, playing with the media application and
color, and developing a composition. In the end it will either be
framed and sold or be scrapped and remembered as a learning
experience.
These next four paintings are examples of pieces that relied
strongly on my inner vision. Each one was approached in its
own individual way and allowed to seek its own course. The
Apple Tree was inspired by some abstract forms in Chinese sumi
painting. Returning from the Sea came from an idea I had while
driving on a mountain road in Colorado. Evosion grew out of a
subject I noticed while eating a sack lunch on the bank of a river
during a fishing trip. Mountain Shadows came from memories
of mountain forms. Let’s take a close look at each of these
paintings and see how this inner spirit comes through and how
the color is used to add to this spirit.

118
 A few years ago | went to the
art museum in Phoenix when it
was having a show of Chinese
sumi paintings. | was par-
ticularly drawn to the way the
composition had been devel-
oped. The asymmetrical, free-
flowing, diagonal paintings
were very refreshing. | pur-
chased a book and a catalog
and studied these paintings. |
was not interested in duplicat-
ing the paintings, but in doing
some abstract studies from
them.
When | had done a few, |
decided to apply some of these
ideas to my painting. | selected
one abstract study and just
looked at it for a long time.
Eventually | began to sense an
aerial view of some of my New
Mexico field patterns. | decided
on a palette of colors, from a
full range of greens to the
complementary reds and red
violets.
| first tore large and small
shapes of many kinds of rice
paper and laminated them
onto a watercolor board with
acrylic matte medium, follow-
ing very loosely the abstract
preliminary sketch. When the
acrylic medium was dry, | be-
gan applying transparent wa-
tercolor to the large general
passages. | varied the greens
from yellow green to blue
green to green earth, letting the
torn general shapes dictate the
overall pattern and reacting to
these shapes and the color. |
adjusted the value of each
shape to work with adjacent
shapes and chose to use the
complements red violet and
red with the yellow greens and
_ greens. Opaque and translu-
cent gouache were then used
to interact with the transparent
_ watercolor.
It was fun to create this
painting and watch it grow.
Each shape and color told me
what to do next. The entire
painting was done on an easel,
which made it easy to get back
and study the process.

THE APPLE TREE Watercolor and gouache collage on heavyweight Crescent illustration board
No. 100, 36” x 20" (91.4 cm x 50.8 cm). Collection of George and Keitha Woodard.

119
INNER VISION

| receive many of my ideas for painting

while driving. | was on a high mountain
road in Colorado in mid-August. | had
been planning in the autumn to spend
some time painting, on the Oregon coast,
so the ocean was on my mind. As my mind
drifted, | soon clearly saw many sheep
moving rhythmically over sand dunes from
the sea. My initial vision was the dunes
and sheep in earthy tones and white, with
a brilliant sea green light in an upper
horizontal passage where the sun touched
the ocean. | pulled to the side of the road
and did a sketch of this vision. That
evening | did a more detailed sketch and
jotted down some notes.
The more | thought of this idea, a cherry
bark rice paper seemed to be the perfect
surface for it, because the flicks of bark
embedded in the paper gave a texture
similar to sand on the beach. | decided to
work with oil wash, casein, and Prisma-
color pencils. | later also used oil pastel
and gouache. The finished image has as
much drawing as it does painting, and |
feel the interaction of the media works well.
| began by placing my two sketches on
the floor next to the easel so that | could
refer to them occasionally. Next | taped the
rice paper to a sturdy piece of white
illustration board. | then dipped a large oil
wash brush in turpentine and applied the
burnt sienna oil washes. During this pro-
cess, | kept foremost in my mind the idea of
patterning and rhythm of the beach, sand
dunes, and sheep. | then painted in the sea
forms and sky, using cool blue, blue green,
and green tones of casein. Then it was time
to start developing the sand dune forms
and sheep. As | mentioned earlier, my
original thought was to have this area in
earth tones and white. But somehow as
these images developed, they called for
more color and different media. | went with
these thoughts and used more of the colors
of my Prismacolor pencils, as well as some
oil pastel for larger areas of solid color. For
the opaque white highlights on the sheep,
permanent white gouache was used.
From the start, this painting was a new
direction for me. Until | started each pas-
sage, | did not know how it would be pene : HS; = ‘ PBN AE REN: Q
handled or what media would be used. It RETURNING FROM THE SEA Mixed media on cherry bark rice paper,
38Y4" x 25Y4" (97.2 cm x 64.1 cm). Artist’s collection.
was frightening to explore unknown ter-
ritory this way, because there was a good
chance of failure. There was also nothing
more thrilling than helping it develop along
its own original path!

120
On a warm, still summer day, fly fishing in
a secluded area of the Conejos River is
hard to beat. | always carry a day pack
with my sketchbook and lunch to top it off.
This particular day the fishing was good. |
sat down on the bank with my waders still
in the water and got out my lunch. While |
was eating, | noticed the erosion along the
bank where high water had worked away
at the rocks and roots of some spruce. |
became interested in the abstract shapes
of these organic forms. | reached for my
sketchbook and did a fairly involved
sketch, paying attention to the variety of
shapes, textures, value, and active and
passive space. | then went back to the
business at hand . . . fishing!
Days later in the studio, | decided to do
a large painting from this sketch. | firmly
believe that the subject is just the excuse to
paint. By painting this subject that | was
excited about, | could enjoy exploring color
and texture and water media in a challeng-
ing, different way. The rolled paper was cut
to size and soaked in my bathtub. Thirty
minutes later it was removed, blotted, and
stapled to a heawy, rigid plywood board.
When the paper dried, | lightly sketched
the subject with a 2H pencil and began to
play with media and color. | worked with
acrylic and Prismacolor pencil. The acrylic
was used transparently for the most part,
but in a few cases translucently and
opaquely. Color was primarily warm
yellow to yellow orange against red vio-
lets, violets, and blue violets. But | also
added some metallic coppers, silvers, and
pewters to the violet areas to give an
added shimmer. The Prismacolor pencils
were used to give a linear texture to the
roots and rocks. | paid fairly close attention
to the values in my sketch. Even though |
had a heyday with the color, the value is
the key to making this painting work.
Occasionally | hate to see the process of
the painting come to an end. Erosion is one
of these paintings. | enjoyed working on it
so much that | wanted to continue, but
knew that it would become overworked if
pursued further.

EROSION Acrylic and Prismacolor on 140 Ib. Arches cold-pressed paper,

36" x 26" (91.4. cm x 66.0 cm). Collection of Jo Nelson.

121
INNER VISION

Although | still paint-directly

from nature, many times | work
in the studio and follow my
inner vision—especially with a
subject | know very well, such
as the mountains. Some paint-
ings—such as Mountain Shad-
ows—lI do with no preliminary
planning at all.
| cut my heavy watercolor
paper to size and taped it toa
heavy plywood board. Before
actually beginning painting, |
spent time meditating and visu-
alizing with the paper. | de-
cided to use dominantly
analogous violet-range colors
and to start by working with
acrylic transparently. Having ¥ ¥

worked with the mountain motif ft ;

H
for so long, | can sense what | iH
want to do and what forms are

a.
i
needed for each passage. |
chose to start transparently be-
cause | could create great
depth from distant transparent
to foreground opaque. Also, |
like the look of the interaction
of transparent and opaque
media.
| wet most of the surface and
started painting with a 3-inch
squirrel-hair brush. The upper
middle left area was left dry
while | placed juicy washes of
red violet everywhere else.
With the paper still very wet, |
used a single-edged razor
blade to form the upper distant
mountain form with cobalt
blue, and added direct brush
spatter to give life to the upper
passage. When | had com-
pleted this initial stage, | stood
back and let the paint suggest
the next forms. The distant
transparent aspen were put in,
and then the strong diagonal
of dark spruce. Each layer of
color suggested the next form,
and the painting just went its
own direction. | tried not to
force it to do what | wanted it
to do, but instead let it go
where it “needed” to go. MOUNTAIN SHADOWS Acrylic and casein on 550 Ib. Arches rough paper,
34” x 26" (86.4 cm x 66.0 cm). Collection of Carole Hennan and John Bruce.

122
 [oe TT OT
WORKSHOP: GOING BEYOND
STRUCTURED COLOR SCHEMES

EXERCISE 1 : g
Organize a painting palette similar to the oneo oe
for on-location painting on page 96. Select a subject that
deals with the play of light, such as a group of old
buildings, a wicker rocker ona porch, tree patterns
against a dark backdrop, or an old log in moving water.
Working very spontaneously, try to capture the quality of
lighton the scene. Consciously mix the semineutral _
colors from direct complements or triads. Do four such
studies at different times of day: early morning, noon, ©
late afternoon, and twilight. Spend no more than half an
_ hour on each small study.
Back in the studio, set the studies together eo notice
the range of expressions that can be achieved from one
composition. Also note the rangeof color and the
aes << — = this _

EXERCISE 2
Choose a sight that has recently impressed you because
of its color. This could be landscape patterns, floral
This is an example of the visual interaction of transparent and patterns, tree patterns, or field patterns, at a particular
opaque applications. The light red-violet aspen and the darker time of year. Do some quick, small, abstract studies
violet spruce have been painted transparently with acrylic, while capturing the essence of color that attracted you.
the blue-green and yellow-green pockets of land seen through the Back in the studio, tape the studies to the wall or a
trees were applied opaquely with casein. The yellow-green color white mat board. Have a cup of your favorite hot
was chosen to interact with the red-violet complement. _ beverage and study them. Choosea study that par-
ticularly excites you because of the unique color rela-
tionships. Now go through old sketchbooks and select an
entirely different composition but one that you feel could
work with these color relationships. Develop this sketch
into a finished painting, determining color by referring
only to the ay youae _—

EXERCISE 3
_ Find a quiet spot and get into a comfortable position.
~ Close your eyes and breathe deeply. Focus on your
breathing, gently inhaling and exhaling. ‘Recall a favorite
place and time, such as sea grass and sand dunes by the
ocean, or a picnic by a mountain stream. See the images
vividly and note the color that comes to mind. Spend time
contemplating this place and time. When you feel that
you have spent enough time enjoying your thoughts, get
This detail shows the reverse negative painting approach. The
out a sketchbook and jot down some observations.
dark aspen branches were actually formed by painting around
_ Particularly note the colors, shapes, and special rela-
them—but to a viewer standing back, the spruce do appear to be
behind the aspen. First a large dark violet area was painted in the tionships of figure groupings or landscape arrangements.
general shape of the aspen form. Then the lighter violet and red In the studio, put the sketchbook away and just Start
violet casein was painted around and through the dark passage _ painting. Let the images grow naturally out of the S
to form the aspen. This may seem to be a lot of work, but it is the interaction between your paint and paper or canvas.
only way that | can achieve this particular visual effect. Also note __ Make use of serendipity! Play with the color and paint _
that the color has been used in analogous ranges from blue violet, application that you feel will best express how you feel
violet, and red violet. _ about the time and place you have chosen. As a former
~ instructor of mine always said, “Don’t fight it, enjoy it!”

123
 MASTER COLORISTS
Or of my all-time favorite pastimes is to visit art museums, and during the last
twenty years I have seen many of the museums in the United States and Great
Britain. It is fun to spend a day at a museum alone or with good friends who are
interested in art. When I am with others, inevitably at lunch we start a memory game
about the art that we have just seen. Each individual takes turns in choosing a work of
art for his or her imaginary collection. The person who is selecting must describe the
painting or sculpture or give the title of the work, and name the artist. We keep taking
turns around the cafe table until all the work that stands out in each one’s mind has been
selected. The game can become really competitive and heated when someone preempts
my next choice! It is also interesting to see what art each individual likes, for many
times a friend will choose a piece I had forgotten. It brings back the morning’s tour
vividly to the mind.
Each new museum is an adventure with its own unique personality. Some are small
and intimate while others could take days to see thoroughly. In the large museums I
focus on the art periods I particularly like, since there is not time to see all the work
in the museum. I choose to see works by Dutch and Barbizon painters; from the
impressionist, postimpressionist, and European modern movements; and American art
from around 1850 to the present. When I return to a museum, there are a few paintings
that are like old friends that I must see. Many of the large institutions have drawing and
print study rooms where one can see drawings, prints, and watercolors that are not on
display. One normally needs an appointment, and these areas usually have certain hours
or days set aside for the public. When I “discover” new artists, I enjoy reading about
them. I have a good library of art books (one of my weaknesses) and use the public
library and the interlibrary loan program to get books that are not locally available.
Before I go on a trip, I always refer to a set of four books titled Curators’ Choice by
Babbette Brandt Fromme (New York: Crown, 1981). These books are broken down into
regions of the United States—the Northeast, Southeast, Midwest, and West—and give
a brief description of the museums and their collections in each state. Many lesser-
known museums are listed and are worth going to.
There are many artists whom I particularly admire and who have influenced me over
the years for a variety of reasons, such as drawing skills, color usage, paint application,
composition, philosophy, and life-style. I find it helpful to soak in all I can of each artist;
many times it inspires me in my painting. This does not mean copying the masters’
works. It simply means that when I absorb the work of great artists, their painting will
help me to see my own work better. It will help me to see how key lines in my
composition can be changed, color combinations improved, or line quality altered to
better the statement. In researching all these artists, I have found that they have had
one thing in common: They were all students throughout their lives. As you may re-
member from the Introduction, each artist referred frequently to admired artists of the
past and of his or her own era.
I want to devote this chapter to painters, past and present, who have helped me on
my quest. I will just briefly mention the personal color usage unique to each artist and
other strengths in painting approach, and then mention museums and publications where
the artist’s work can be seen or read about. I hope that this will be of value to you as
well. A few of the books listed are out of print, but I have included them anyway
because they are excellent and you might be able to track them down in your library, or
through an interlibrary loan program.
124
 ne
en Oe
nmap

SS OS ee
Pierre Bonnard, THE OPEN WINDOW. Oil on canvas, 462" x 37¥4" (118.1cm x 95.9 cm). Courtesy of The Phillips Collection, Washington, D.C.
125
Maes DUTCH PAINTERS

The seventeenth-century Dutch school fostered much growth their own pigments and made their own paint, and had a limited
in the history of painting. Artists began exploring still life, color palette to choose from. (Most of the colors in use today
landscape, and genre painting (portraying people in normal have been developed since the mid-1800s.) Many great painters
everyday life settings). Also, light became an extremely came from this era, among them Gerard Terborch, Carel
important element of the painting. Chiaroscuro, which is a Fabritius, Pieter de Hooch, Jan Steen, Frans Hals, Rembrandt
special treatment of lights and darks in a composition that has a van Rijn, and Jan Vermeer. Of these painters, the two artists
“spotlight” effect, was developed with interior and portrait that have had the greatest effect on me are Rembrandt and
subjects. It is also important to remember that artists ground Vermeer.

REMBRANDT VAN RIJN = (1606-1669)

The story of Rembrandt, born in 1606, is one of riches to rags. in earth tones, concentrating on value, and then glaze the pure
Early in his career his work was much sought after, and he was hues over this underlay, a practice called grisaille (as mentioned
a wealthy man. As he grew older his work became much looser earlier). On close examination, the highlights on the jewelry he
and more personal. He did not manage his money well and died painted are thick white impasto globs. From a distance they
a pauper. But because he chose his own artistic path, his shine and glisten. His loose, personal, painterly application in
paintings are still revered today. He was one of the greatest his later work gives a lush and juicy quality.
draftsmen who ever lived. He would capture the essence of the
subject with a minimum of calligraphic-style line. I love studying
FURTHER RESEARCH
his ink wash and reed pen drawings, and his line etchings. But I Rembrandt Drawings by B. Haak, translated by Elizabeth Willems-Treeman. New
am particularly interested in his painting during the latter part of York: Overlook Press, 1976.
his life. Rembrandt by Horst Gerson. New York: Harrison House, 1968.

Rembrandt was a master of paint application. He followed the

general practice during his time of applying the oil paint very MUSEUMS
National Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New
thin in dark areas and thick in light areas. This gives a three- York; Louvre, Paris; Berlin-Dahlem, Gemialdegalerie; Rijksmuseum, Amsterdam;
dimensional quality to the form. He would build the composition National Gallery, London

JAN VERMEER (1632-1675)

I will never forget when I saw my first Vermeer, The Concert, seen with his fabric, floors, and still-life material, and was at his
at the Isabella Stewart Gardner Museum in Boston. Very few best when painting various visual textures such as paper, skin,
paintings have ever had that much effect on me. The quality of fabric, and metal. He had a strong sense of value and intensity,
soft interior light and the way he developed the surface textures and used his pure hue sparingly with large semineutral masses.
of dresses, tapestry, floor, and wall were unbelievable. Vermeer In the United States a good concentration of Vermeer’s
was from Delft, Holland. Only thirty-five paintings attributed to paintings can be seen at the Metropolitan Museum of Art and at
him exist today. There are many distinguishing qualities to his the Frick Collection, which is just a few blocks away from it in
paintings, the most important being the magical quality of light. New York City.
His strong horizontal-vertical rectangular geometrical motif and
the way he breaks up the picture plane are worth studying. He
FURTHER RESEARCH
had a way of painting golden light and many times used Vermeer and His Contemporaries by Leonard J. Slatkes. New York: Abbeville,
ultramarine blue or violet to neutralize yellow, or as an adjacent 1981.

color. Two centuries later, van Gogh commented on Vermeer’s Vermeer by Arthur K. Wheelock, Jr. New York: Abrams, 1981.

use of yellow and violet, and he readily used this color

combination with his own subjects. MUSEUMS
Metropolitan Museum of Art, New York; Frick Collection, New York;
Vermeer had a beautiful way of developing pattern, as can be Rijksmuseum, Amsterdam; National Gallery of Art, Washington D.C.

126
a | NGLISH PAINTERS

The eighteenth and nineteenth centuries were an era when art Bonington were masters of this medium. Master landscape oil
flourished in England. It was a time when great portrait painters painters such as John Constable and J. M. W. Turner were also
such as Sir Joshua Reynolds and Thomas Gainsborough were in vogue. This era produced the great visionary painters William
much in demand by the aristocracy. Landscape watercolor Blake and Samuel Palmer. A few years ago I went to Great
painting became very popular and was established as an Britain to study British painters. My main focus was on the
acceptable finished painting medium. This approach to water- watercolorists, but I developed a keen interest in many other
color painting became the foundation of our present-day painters as well. Ever since my trip, three British painters in
watercolor painting. Aquarellists such as Thomas Girtin, David particular keep coming back to me: J. M. W. Turner, William
Cox, Peter De Wint, John Sell Cotman, and Richard Parkes Blake, and Samuel Palmer.

JOSEPH MALLORD WILLIAM TURNER (1775-1851)

J. M. W. Turner was predominantly a landscape painter working would indicate and suggest forms rather than go into any
both in watercolor and oil. In his watercolors he was very detailed rendering. The Tate Gallery in London has recently
expressive and experimental. He would work in wet areas with opened a new wing that is to house a large Turner collection.
a brush full of color or add quick, spontaneous strokes to dry
rough paper. He would sometimes use toned paper and many
FURTHER RESEARCH
times integrate body color (opaque watercolor). His later oils The Paintings and Drawings of J. M. W. Turner by Martin Butlin and Evelyn Joll.
are very much influenced by his watercolors. He worked on New Haven, Conn.: Yale University Press, 1987.
a white canvas and glazed his oil thinly to give his color Turner: Paintings, Watercolors, Prints, and Drawings by Luke Herrmann. Boston:
New York Graphic Society Books, 1975.
transparent vibrancy. His late work is actually very abstract,
and some suggest he was the forerunner of twentieth-century
MUSEUMS
abstract expressionism. In his oils and watercolors he was most Tate Gallery, London; British Museum (Print Room), London; Victoria and Albert
often after a certain atmospheric quality through color and Museum (Print Room) London; National Gallery of Art, Washington, D.C.

WILLIAM BLAKE (1757-1827)

Blake was a mystical painter who claimed to have visions full rooms devoted to Blake’s work. The rooms are dimly lit to
throughout his life. He was very religious and spiritual, and this protect the fragile water media works on paper.
provided the basis for his subject matter. He felt that because
he painted from the imagination, his work was much better than
FURTHER RESEARCH
if he had tried to copy nature. He chose watercolor and body The Paintings and Drawings of William Blake by Martin Butlin (two volumes).
color as his media for expression. He was not well known during New Haven, Conn.: Yale University Press, 1981.
his lifetime but lived an independent life devoted to his art and The Paintings of William Blake by Raymond Lister. Cambridge, Mass.: Cambridge
University Press, 1986.
poetry. He experimented with water media, stretching them to
their limits. I very much enjoy his imaginative, fanciful,
MUSEUMS
curvilinear motifs that take on an ethereal, dreamlike quality. He Tate Gallery, London; British Museum, London; Fitzwilliam Museum, Cambridge,
did not use color to interpret his subjects literally, but rather to England
convey emotional content. The Tate Gallery in London has two

SAMUEL PALMER (1805-1881)

Palmer spent a fragile childhood reading classics, learning Latin, landscapes, like Blake’s, use a fanciful, curvilinear motif. His
and developing his art. He came from a very religious heritage color was dreamlike and very emotional.
that was to form the spiritual basis for his art. He met William
Blake when he was nineteen and was very much influenced by
FURTHER RESEARCH
the master. Palmer's best work was done before his mid- The Paintings of Samuel Palmer by Raymond Lister. Cambridge, Mass.:
thirties. He loved nature, and many of his mature paintings are Cambridge University Press, 1985.
pastoral landscapes with sheep and figures. He idealized these Samuel Palmer: Catalogue Rai: é of the Paintings, Drawings, and a Selection of
the Prints in the Ashmolean Museum, Oxford by D. B. Brown. New York: State
landscapes, which were from his inner vision. (Because I use Mutual Book and Periodical Service, 1983.
sheep in some of my own paintings, I am interested in these
works.) Some of his mixed media paintings incorporated MUSEUMS
watercolor, body color, pen, and varnish. His imaginary Fitzwilliam Museum, Cambridge, England; Tate Gallery, London; Victoria and
Albert Museum (Print Room), London

127
Ga [MPRESSIONISTS

The French impressionist school (late 1860s to early 1880s) They applied the pigment in short broken strokes, a method
grew out of the Barbizon school, whose members tried to now termed “broken color.” The paintings were much brighter,
capture nature as they saw it and did plein-air (outdoor) lighter, and more airy than those done in previous styles. The
painting. Impressionism was also inspired by new theories on movement spread throughout the western world—lItaly, Scan-
the use of color, and it was a reaction against the academic style dinavia, Great Britain, the United States, and Spain, for
of painting that dominated the French Academy shows. Many of example. Some of the major impressionist painters are Claude
the artists painted on location (en plein air) and focused on light Monet, Edouard Manet, Camille Pissarro, Pierre-Auguste
and color while creating an impression of a moment. They were Renoir, Edgar Degas, Gustave Caillebotte, Frédéric Bazille, and
trying to capture a certain light or atmospheric effect. They Mary Cassatt. Color took a giant leap with this movement, and
used their color scientifically, relying on the ideas developed by we are still feeling its effects today. The impressionists I have
M. E. Chevreul, a color theorist mentioned earlier in this book. studied most intensely are Monet, Degas, and Cassatt.

CLAUDE MONET (1840-1926)

At an early age Monet began plein-air painting with Boudin and sionistic. The large canvases, sometimes diptychs and trip-
Jongkind. He then moved to the village of Barbizon to paint at tychs, are full of spontaneous, action brush strokes; juicy
the forests of Fontainebleau and was further influenced by Corot impasto pigment; and a shimmer of light and vibrant color.
and Courbet. Using new color theories, he began experimenting These paintings are certainly my favorites. Monet focused on
and developed, along with Renoir, the broken-color technique. shapes and movement, such as water, reflections, and lily pads,
(Colors were painted close together on the canvas, so that the and treated the subject very abstractly. His studio and gardens .
viewer's eye would blend them into a different color.) Monet have been restored, and it is possible today to visit Giverny,
was probably the truest impressionist in that he was almost which is located just thirty miles from Paris.
entirely a landscape painter, focusing on color, light, atmo-
sphere, and painting on location. He would sometimes focus on
FURTHER RESEARCH
one theme, such as haystacks or the facade of Rouen Cathedral, Monet: The Masterworks by Jean-Paul Crespelle. New York: Universe Books,
and paint a series of paintings under different light, at different 1986.
times of day and times of year. Monet by Robert Gordon and Andrew Forge. New York: Abrams, 1983.
Monet’ Years at Giverny: Beyond Impressionism by Daniel Wildenstein. New York:
During the latter part of his life, Monet moved to Giverny, Abrams, 1978.
where he organized a large studio and cultivated Japanese
gardens and lily ponds. He used these for his subject matter in MUSEUMS
the rest of his work. I feel that these paintings are the Metropolitan Museum of Art, New York; Museum of Modern Art, New York;
culmination of a life devoted to broken color and impressionist National Gallery of Art, Washington, D.C.; Philadelphia Museum of Art; Cleveland
Museum of Art; Art Institute of Chicago; National Gallery, London; Musée
vision. The color in these later canvases is highly expres- dOrsay, Paris; Musée Marmottan, Paris

EDGAR DEGAS (1834-1917)

Degas was a driving force in organizing the impressionist and bathers. His later work was much looser, focusing on the
exhibitions. He had come from a wealthy family and had an generalized form in the composition. His color became far more
inheritance, so he did not need to depend on selling paintings. emotional and powerful during this phase of his career. Yet the
Although agreeing with many of the impressionists’ philoso- value of his drawings and paintings, the dark and light of the
phies, he was not primarily an outdoor painter. He studied the color, was always strong and held the structure of the
masters, particularly Ingres, and believed in a strong structured composition together.
composition and the use of line. I have learned more about If I could study from only one artist, it would be Degas.
drawing and painting from Degas than from any other artist. His
compositions are extraordinary. He often defied existing rules
FURTHER RESEARCH
on composition and then made something work through value Edgar Degas: Life and Work by Denys Sutton. New York: Rizzoli International,
and color. He was influenced greatly by Japanese art and 1986.
worked his subjects from a bird’s-eye view, diagonal motif, and Degas: Pastels, Oil Sketches, Drawings by Gotz Adriani. New York: Abbeville
Press, 1985.
flat two-dimensional space. He experimented boldly with Degas Pastels by Alfred Werner. New York: Watson-Guptill, 1984.
various drawing materials, pastel, watercolor, oil, intaglio,
monoprints, and sculpture. MUSEUMS
His main body of work deals with ine figure. Degas Norton Simon Museum, Pasadena, California; Metropolitan Museum of Art, New
concentrated on subjects such as racehorses, ballet dancers, York; National Gallery of Art, Washington, D.C.; Musée d’Orsay, Paris

128
MARY CASSATT (1845-1926)
Cassatt came from a wealthy Pennsylvania family. In 1868 she influence is one of the reasons American art museums have
traveled to Europe to study to become a painter. Her travels such good examples of impressionist art.
sent her to Italy, Spain, and Belgium, where she studied the
masters. Eventually in Paris she fell under the influence of the
FURTHER RESEARCH
impressionists, and in particular, her mentor Edgar Degas. Her Mary Cassatt by Nancy Hale. Reading, Mass.: Addison-Wesley, 1987.
oils and pastels are similar in handling and composition to those Mary Cassatt Oils and Pastels by E. John Bullard. New York: Watson-Guptill,

of Degas. She incorporated the color theories of the impres- 1984.

Mary Cassatt: A Catalogue Raisonné of the Graphic Work, rev. ed., by Adelyn D.
sionists, and many of her works show a soft, delicate use of Breeskin. Washington, D.C.: Smithsonian, 1980.
complements. Her compositions also show her study of Jap-
anese prints. She also did a series of color intaglio prints that MUSEUMS
are highly original. Mary Cassatt encouraged American collec- Philadelphia Museum of Art; National Gallery of Art, Washington, D.C.;
tors to purchase the French impressionists’ work, and her Metropolitan Museum of Art, New York

Claude Monet, WATER LILY POND (LE BASSIN DES NYMPHEAS). Oil on canvas, 35/6" x 36%”
(89.2 cm x 92.3 cm). Courtesy of Denver Art Museum.

129
ae POSTIMPRESSIONISTS

Postimpressionism is a general term for two movements that century cubist movement. Van Gogh and Gauguin, on the other
grew out of impressionism beginning in the mid-1800s. Impres- hand, were emotional and spiritual in their painting approach.
sionism was concerned with light, movement, and scientific Their intense use of color and spontaneous paint application
broken-color application. The postimpressionist movements would lead to the early-twentieth-century fauvist movement.
took different paths. Cézanne and Seurat were analytical in their This is an era I really respond to, and many of my favorite
painting, emphasizing form and a preplanned spatial arrange- painters are from this period, particularly Cézanne, van Gogh,
ment. This direction would eventually lead to the twentieth- Gauguin, Toulouse-Lautrec, and Bonnard.

PAUL CEZANNE (1839-1906)

As a young artist, Cézanne was very frustrated. He desperately subject. He was the leader in the modern art movement that
wanted to paint in the traditional academic manner, but his used an analytical, intellectual approach.
draftsmanship and paint application were a bit clumsy. He was
rejected by the Ecole des Beaux-Arts and his entries in the
FURTHER RESEARCH
national salon exhibitions were always refused. When he came in Cézanne Watercolors by Gotz Adriani, translated from German by Russell M.
touch with the impressionists, his work began to take on a new Stockman. New York: Abrams, 1983.
A Collection of the Major Paintings by Cézanne in Full Colours. Albuquerque,
character. His mature style is interesting in the use of color, but
N.M.: Gloucester Art Press, 1985.
his major impact was his approach to composition. He used an Cézanne: The Late Work edited by William Rubin. Boston: New York Graphic
analytical spatial arrangement in his compositions, simplifying Society Books, 1977.
forms and breaking them down into rectangular and triangular
shapes. His paintings become exciting arrangements of flat, MUSEUMS
two-dimensional shapes and color that capture the essence of a Metropolitan Museum of Art, New York; Museum of Modern Art, New York;
National Gallery of Art, Washington, D.C.; Musée d’Orsay, Paris

VINCENT VAN GOGH _ (1853-1890)

Van Gogh was the Dutch-born son of a minister. Although he paint application called cloisonnisme that had been developed by
had always been interested in art, he first attempted to enter his friend Gauguin.
the clergy, but his temperament was not suited for it. He Van Gogh was a master colorist who used his color for
moved to Paris and was in touch with many of the impressionist passionate, emotional impact. His impasto and curvilinear paint
painters. This introduction to vivid color and to impasto plein-air application became his unique signature. To see an original work
paint application was the major influence on his painting career. from his mature period is a stirring, memorable experience.
Most accounts of van Gogh's life depict him as a highly
emotional, crazy man. This has sensationalized his life and
FURTHER RESEARCH
distracted from the body of his unsurpassed, colorist paintings. Van Gogh by Pierre Cabanne. New York: Thames and Hudson, 1986.
He was actually a highly sensitive man who was extremely Van Gogh, Twenty-Five Masterworks by A. M. Hammacher. New York: Abrams,
1984.
articulate and intellectual. One needs only read his letters to his
Van Gogh in Arles by Ronald Pickvance, edited by Emily Walter. New York:
brother Theo to get an understanding of this. He was always a Metropolitan Museum of Art, 1984.
student of the masters’ drawings and paintings. As mentioned Van Gogh in Saint-Remy and Awvers by Ronald Pickvance. New York: Abrams,
1987.
earlier, he commented on Vermeer’s use of yellow and violet,
two colors van Gogh would use repeatedly in his own work.
During his fifteen-month stay at Arles, France, he produced MUSEUMS
Vincent van Gogh Museum, Amsterdam; Metropolitan Museum of Art, New York;
more than two hundred paintings. He worked on location, using Philadelphia Museum of Art; Museum of Fine Arts, Boston; Museum of Modern
complementary color relationships, and sometimes a form of Art, New York

130
PAUL GAUGUIN (1848-1903)
Gauguin was a successful stockbroker, an avid collector of painting style that Gauguin developed is called cloisonnisme. His
impressionist paintings, and an amateur painter. At thirty-five, emotional use of color is sensational. Moreover, his curvilinear,
he began painting professionally under the influence of impres- rhythmic, flowing compositions are equally exciting.
sionism. He felt, however, that the impressionist paintings used
color for decorative effect, and he wanted to use color more
FURTHER RESEARCH
intuitively and emotionally. His mature style incorporates an Gauguin: Life, Art, Inspiration by Yann Le Pichon. New York: Abrams, 1987.
emotional and symbolic power of color. He lived in Pont-Aven, Gauguin and the Impressionists at Pont-Aven by Judy Le Paul. New York:
Abbeville Press, 1987.
Brittany, for a while before going to Tahiti in 1891. His best-
known paintings portray the primitive, unspoiled people there.
In these works, large flat fields of intense color are surrounded MUSEUMS
Musée d'Orsay, Paris; National Gallery of Art, Washington, D.C.; Museum of
by black or complementary colored boundaries or outlines. This Fine Arts, Boston; Metropolitan Museum of Art, New York

HENRI DE TOULOUSE-LAUTREC (1864-1901)

Toulouse-Lautrec was born in Albi, France, into an aristocratic color is characterized by strong value and rich, pure, vibrant
family. Later in Paris he was influenced by Manet, Morisot, and paint in selected areas, with large, quiet spaces filled with semi-
Degas. He was drawn to the night life of Paris, and his images neutrals. His paintings have complementary color relationships
center on cabarets, brothels, and circus themes. His composi- throughout.
tions have curvilinear flowing lines that relate him to the art
nouveau movement, yet his compositions are also derived from
FURTHER RESEARCH
Japanese art with diagonal movement, flat use of space, and Toulouse-Lautrec: Painter of Paris by Horst Keller. New York: Abrams, 1968.
sometimes a bird’s-eye vantage point. Toulouse-Lautrec by Edward Lucie-Smith. Topsfield, Mass.: Salem House, 1983.

Toulouse-Lautrec’s paintings are characterized by line. The

paint application is not painterly, but rather the overlapping MUSEUMS
brush lines of a superb draftsman. In many instances, he used Toulouse-Lautrec Museum, Albi, France; Musée d’Orsay, Paris; Metropolitan
Museum of Art, New York; Art Institute of Chicago; Museum of Fine Arts,
gouache watercolor on a warm brown cardboard surface. His Boston; Courtauld Institute Galleries, University of London

PIERRE BONNARD (1867-1947)

Bonnard attended the French Académie Julian, where he met Throughout his paintings, I have noticed complementary
fellow artists Denis, Sérusier, and Vuillard. Eventually they color arrangements. In many I also see the use of triadic color,
formed a group called the Nabis. Within this group, Bonnard and mainly yellow orange, red violet, and blue green. The largest
Vuillard painted in a manner called intimism. The paintings were collection of Pierre Bonnard paintings is located at the Phillips
of people in interior settings and had a peaceful, restful atmo- Collection in Washington, D.C. It is worth the trip just to
sphere about them. The images closed off people from the experience his powerfully sensitive paintings. (One of them is
outside world and gave a feeling of security and shelter within reproduced on page 125.)
their own environment. Bonnard included his wife and dog in
many of his compositions. His motifs were mainly horizontal-
FURTHER RESEARCH
vertical and were saturated with shimmering color, light, and Bonnard by Andre Fermigier, translated by Althea Schlanoff. New York: Abrams,
pattern. It is said that Bonnard would work on many canvases 1969.

during the course of a day and orchestrate their development to Bonnard: The Late Paintings by Sasha M. Newman. New York: Thames and
Hudson, 1986.
conclusion. His compositions are fairly two-dimensional, and the Bonnard by Sasha M. Newman. London: The Phillips Collection and the Dallas
placement of his various shapes within the picture plane is Museum of Art in association with Thames and Hudson Publishers, 1984.
highly unusual. The most exciting aspect of Bonnard’s work is
color. His paintings are literally a feast of color. He used color in MUSEUMS
a decorative sense and borrowed from the impressionists’ color Phillips Collection, Washington, D.C.; Metropolitan Museum of Art, New York;
Musée d’Orsay, Paris; Musée de Petit Palais, Paris
theories.

131
me LATE 19TH- AND EARLY 20TH-CENTURY PAINTERS

The late nineteenth century was an extraordinarily productive before eventually developing their own unique styles. Among
period both in European and in American art. American painters the many artists I admire from this period are Joaquin Sorolla,
of this era were highly influenced by European art movements. Winslow Homer, John Singer Sargent, John Henry Twachtman,
Many traveled and studied in England, Germany, and France and Arthur Melville (a Scottish artist I recently discovered).

JOAQUIN SOROLLA Y BASTIDA (1863-1923)

Although not well known in the United States today, during his From a distance, a powerful three-dimensional shape appears.
lifetime the Spanish painter Sorolla was considered a master. Although he was also a portrait painter, his greatest work was
American painters traveled to his studio in Madrid just to study in figurative landscape. He was commissioned by the Hispanic
his work. His one-man show held in New York in 1909 was a Society of America to paint large murals totaling 14 feet by 227
smashing success with over 160,000 people in attendance. He feet, depicting the cultural life of Spain. He accomplished this
considered himself an impressionist, and his paintings capture a from 1911 to 1919. Today these murals as well as many of his
moment in time and are flooded with Mediterranean coastal finished canvases can be seen at this same museum in New
color and light. His paintings shimmer with color, but what York on the Upper West Side.
distinguishes his work is the large masses of semineutral color
that bind his patches of vivid color. He was a plein-air painter,
FURTHER RESEARCH :
bringing his models before him in the sun-drenched coastal Los Genios de la Pintura Espanola Sorolla by Florencio de Santa Ana (American
setting. He differs from the French impressionists in color translation separate). Santa Fe, N.M.: Quijote Publications.
Sorolla by Trinidad Simo. Santa Fe, N.M.: Quijote Publications, 1980.
application. Whereas they used broken color, he used solid form
The Painter Joaquin Sorolla y Bastida edited by Edmund Peel. London: Philip
much in the tradition of the Spanish masters. Wilson Publishers, 1989.
Basic to his sense of form is the use of thin and thick paint
application. Much of the canvas was layered very thin in MUSEUMS
transparent oil with adjacent swatches of impasto, opaque color. Hispanic Society of America, New York; Sorolla Museum, Madrid

Joaquin Sorolla y Bastida, SEA IDYL. Oil on canvas, 590" x 78/2" (151.1 em x 199.4 cm).
Courtesy of The Hispanic Society of America, New York.
132
WINSLOW HOMER (1836-1910)
As a young man, Homer began illustrating for Harpers Weekly. mastery of value make the paintings great. After Degas, I have
During the Civil War he was sent to the front to illustrate the studied and learned more from Homer than from any other
life of the soldier. He later traveled to France and then spent single artist.
two years in Cullercoats, England, studying and painting in an
English watercolor style. Back in the United States, Homer
FURTHER RESEARCH
eventually established a studio in Prouts Neck, Maine. It is here Winslow Homer Watercolors by Helen A. Cooper. New Haven, Conn.: Yale
that he did his great coastal paintings. He also traveled to the University Press, 1986.
Bahamas and the Florida Keys as well as the Adirondacks and Winslow Homer—American Artist: His World and His Work by Albert Ten Eyck
Gardner. New York: Bramhall House, 1961.
Canada. On these outings he worked on location in watercolor. Winslow Homer by Lloyd Goodrich. New York: Whitney Museum of American Art,
I feel that his greatest work was in his watercolors 1973.
throughout most of his career and his later oil paintings of the The Life and Works of Winslow Homer by William H. Downes. New York: Franklin,
1974.
Maine coast. In these oil paintings, his power of simplicity both
in composition and in color are evident. As mentioned earlier,
MUSEUMS
he carried The Principles of Harmony and Contrast of Colors by National Museum of American Art (part of Smithsonian Institution), Washington,
Chevreul with him and incorporated these theories in his D.C.; Metropolitan Museum of Art, New York; Sterling and Francine Clark Art
painting. Many of the coastal paintings use just two colors, red Institute, Williamstown, Massachusetts; drawing and print study rooms for
watercolors: Art Institute of Chicago; Brooklyn Museum; Museum of Fine Arts,
orange and blue green, but his range of semineutrals and his Boston; Portland Museum of Art, Portland, Maine

JOHN SINGER SARGENT (1856-1925)

Sargent was born in Italy to American parents and started
FURTHER RESEARCH
painting at an early age. After living for a short time in Paris, he John Singer Sargent by Patricia Hills. New York: Abrams, 1986.
spent most of the rest of his life in London. He made a great Sargent Watercolors by Donelson Hoopes. New York: Watson-Guptill, 1984.
living as a portrait painter of high-society Europeans and John Singer Sargent by Carter Ratcliff. New York: Abbeville, 1986.
John Singer Sargent: Drawings from the Corcoran Gallery of Art by Edward J.
Americans. I believe that his greatest works were his plein-air Nygren. Layton, UT: Gibbs M. Smith, 1985.
oil and watercolor landscapes. In these paintings one can feel
his love for both nature and painting; he is not concerned about MUSEUMS
a commission but is painting just for himself. His paintings are Whitney Museum of American Art, New York; Brooklyn Museum; National
characterized by spontaneous, loose, facile brush strokes. He Museum of American Art, Washington, D.C.; Corcoran Gallery of Art,
Washington, D.C.; Museum of Fine Arts, Boston; Metropolitan Museum of Art,
was a master colorist who consciously worked with warm and New York; Tate Gallery, London; watercolors can be seen by appointment at
cool color in every area of the painting. His outdoor painting drawing and print study rooms at: Brooklyn Museum; Metropolitan Museum of
captures intense shimmering light. Art, New York; Worcester Art Museum, Worcester, Massachusetts

JOHN HENRY TWACHTMAN (1853-1902)

Twachtman was born in Cincinnati, Ohio, where he studied his canvases were filled mainly with white chalky light. During
under Frank Dubveneck. He went abroad and from 1883 to 1885 the winters, he taught at the Art Students League in New York.
studied at the Académie Julian in Paris. There he was highly
influenced by the impressionists and began painting in that
FURTHER RESEARCH
manner. When he returned to the United States, he bought a John Twachtman by Richard Boyle. New York: Watson-Guptill, 1979.
farm in Greenwich, Connecticut. Here, like Monet at Giverny,
Twachtman did his masterpieces. He concentrated on lyrical MUSEUMS
themes like a water pool on his farm, and loved to paint snow Cincinnati Art Museum; National Museum of American Art (part of Smithsonian
and atmosphere. His paintings became lighter and lighter until Institution), Washington, D.C.; Metropolitan Museum of Art, New York

133
LATE 19TH- AND EARLY 20TH-CENTURY PAINTERS

ARTHUR MELVILLE (1855-1904)

Melville is unknown in most countries outside his homeland of effective blotchy movement. If exhibited today, his work would
Scotland, but still I feel that he should be mentioned. I saw a be as contemporary as most paintings in a national water media
few paintings of his when I was in Great Britain, and they were show.
the most memorable images of my five-week studies there. In During his lifetime he was well known. After returning from
1878 Melville went to Paris to study. He was in contact with the Spain, Morocco, and Italy to Scotland, he established himself as
impressionists and then went to Barbizon for further growth. the leader of the Glasgow School. He served on committees
After a three-year stay, he ventured to Egypt and the Persian with Whistler and Sargent to judge and select works of art for
Gulf. His mature paintings center on his travels to Spain, exhibitions. Melville spent his honeymoon in France, where he
Morocco, and Italy. He worked primarily in watercolor—or, and his wife stayed with Rodin. His work should be known. The
more accurately, water media—to capture a strong feeling for color and light that he achieved are unsurpassed in water media
light and color. painting.
Melville developed an approach to his painting that distin-
guished his unique style. He would first prepare his paper by
FURTHER RESEARCH
impregnating it with opaque Chinese white watercolor. He Arthur Melville by Agnes Mackay. Calne, England: Hilmarton Manor Press, 1951.
would then make a light drawing and commence applications of (This is an extremely rare book, with only 500 copies published.)
transparent watercolor. The white underlayer would enhance
the application of pure transparent color, and at times if he MUSEUMS
Dundee City Art Gallery, Dundee, Scotland; Glasgow Museums and Art Galleries,
wanted to push and pull his paint to create transitions, he would
Glasgow, Scotland; Victoria and Albert Museum, London
simply scrub the underlayer to lift opaque paint and create

Arthur Melville, AUTUMN—LOCH LOMOND. Watercolor on paper, 23¥4" x 33Y2" (59.1 cm x 85.1 cm).
Courtesy of Glasgow Art Gallery and Museum, Glasgow, Scotland.

134
Gage THE EIGHT AND ITS SCHOOL

In the first decade of the twentieth century, some artists in George Luks, William Glackens, Everett Shinn, Maurice
New York formed a group called The Eight. Many of these Prendergast, Arthur B. Davies, and Ernest Lawson. (Con-
artists were dedicated to painting the everyday common life in nected with these painters but somewhat younger were other
the city. This was termed the Ashcan school. Some were more artists such as George Bellows and Edward Hopper.) This
experimental and advocated new and unacademic approaches. school helped to change the course of modern art in the United
They all reacted against the traditional school of the National States. Although I have studied and admire all these painters,
Academy. These eight painters were Robert Henri, John Sloan, two really stand out in my mind: Robert Henri and John Sloan.

ROBERT HENRI (1865-1929)

Henri was a dynamic individual and a natural leader. He was the system of color harmony. Henri developed a very personal style
leader of The Eight and probably the most influential of this of painting distinguished by loose, spontaneous strokes and
group. Besides doing his own painting, he was an inspirational harmonious color relationships.
art teacher in New York City; many of his students have since
become leading painters of newer contemporary schools. He did
FURTHER RESEARCH
not teach his students to follow his own painting style, but Robert Henri: His Life and Art by Bernard B. Perlman. New York: Horizon, 1984.
rather to grow and develop their own personal vision. His book Robert Henri and His Circle by William Innes Homer. Ithaca, N.Y.: Cornell
University Press, 1969.
The Art Spirit is still in print today, and his philosophy continues
The Art Spirit by Robert Henri, edited by Margery A. Ryerson. New York:
to inspire artists. He was a landscape and portrait painter who Harper & Row, 1984.
had learned from the masters Velazquez, Hals, and Rembrandt. The Eight by Mahonri Sharp Young. New York: Watson-Guptill, 1973.

He studied the impressionist painting approach and for a while

painted this way. He was constantly experimenting with color MUSEUMS
Whitney Museum of American Art, New York; Wichita Art Museum, Wichita,
theories and taught these theories to his students in New York.
Kansas; Metropolitan Museum of Art, New York; Museum of New Mexico, Santa
Finally he settled on the Maratta System, a rationally ordered Fe; Brooklyn Museum; Art Institute of Chicago

JOHNSLOAN = (1871-1951)
Sloan was a newspaper illustrator in Philadelphia who moved to nudes and landscapes. He also was a fine printmaker and did a
New York and became a great painter and teacher. He was a series of etchings on genre themes in New York City.
very close friend of Henri’s, and they spent much time together
talking of color theories and art philosophy. He was one of the
FURTHER RESEARCH
organizers of the famous Armory show in 1913 that brought Selection of Etchings by John Sloan edited by Robert FE Bussabarger and Frank
contemporary art from Europe and the United States together. Stack. Columbia, Mo.: University of Missouri Press, 1967.
John Sloan: Paintings, Prints, Drawings by Robert L. McGrath. Hanover, N.H.:
He was an instructor at the Art Students League and was its
University Press of New England; 1981.
president in 1931. His book Gist of Art preaches his theories and John Sloan 1871-1951 by David W. Scott and E. John Bullard. Washington, D.C.:
beliefs on drawing, composition, painting, and color. He used National Gallery of Art, 1971.

the Dudeen Triangle system for color, a system I studied that

was an impetus for the development of my own color wheel. His MUSEUMS
early painting is of the Ashcan school, painting the everyday life Delaware Art Museum (Sloan Archives), Wilmington; Columbus Gallery of Fine
Arts, Columbus, Ohio; Whitney Museum of American Art, New York; Metro-
of New York City. In his later years, Sloan became even more politan Museum of Art, New York; National Gallery of Art, Washington, D.C.;
experimental with his color application, while painting a series of Bowdoin College Museum of Art, Brunswick, Maine

135
mee CHE TAOS SCHOOL

Taos is a community of artists located in northern New Mexico books on the Taos school in general. Look through these books
at the foot of the Sangre de Cristo Mountains. Its culture is and visit some of the collections listed. You will find paintings
based on those of the Indian and Hispanic peoples; several with fresh approaches, beautiful light, and exciting color
Indian pueblos are nearby. harmony.
At the end of the nineteenth century, Anglo artists from the
East traveled to the Southwest in search of new painting
FURTHER RESEARCH
material. When Ernest Blumenschein and Bert Phillips found Pioneer Artists of Taos, rev. ed., by Laura Bickerstaff. Denver, Colo.: Old West
Taos in 1898, there were only twenty-five Anglos living in the Publishing, 1984.
community. The light and atmosphere of this area are unique to Taos: A Painter's Dream by Patricia J. Broder. Boston: New York Graphic Society
Books, 1980.
northern New Mexico. The color and texture of the mountains, The Legendary Artists of Taos by Mary Carroll Nelson. New York: Watson-Guptill,
valley vegetation, arroyos, and streams—and the Indian and 1980.
Taos and Its Artists by Mabel Dodge Luhan. New York: Duel, Sloan, and Pierce,
Hispanic cultures—opened a new world to these artists.
1979.
By 1920 there were many Anglo painters living and working Masterworks of the Taos Founders by Peters Corporation staff. Santa Fe, N.M.:
in Taos. Many of these painters had studied in the East and had Peters Corp., 1984.

been abroad to study in England, France, and Germany. Thus Picturesque Images from Taos and Santa Fe by Patricia Trenton. Denver, Colo.:
Denver Art Museum, 1974.
their paintings had solid foundation in color and composition. I Victor Higgins by Dean Porter. Notre Dame, Ind.: University of Notre Dame,
love the paintings from this era. There is a fresh energy of 1975.
Leon Gaspard, 2nd ed., by Frank Waters. Flagstaff, Arizona: Northland Press,
excitement that radiates from these works. Artists such as
1964.
Robert Henri, John Sloan, George Bellows, John Marin,
Marsden Hartley, Edward Hopper, and Georgia O’Keeffe at
MUSEUMS
one time or another painted this area. Today Taos is a thriving Museum of Western Art, Denver; Denver Art Museum; Rosenstock Arts,
community with new artists settling there all the time. Denver; Colorado Springs Fine Arts Center; Harwood Foundation, Taos, New
Each artist of the Taos school has a personal vision and sense Mexico; Helene Wurlitzer Foundation, Taos, New Mexico (by appointment);
Museum of New Mexico, Santa Fe; Fenn Galleries, Ltd., Santa Fe; Gerald Peters
of color. Those I have studied most are Ernest Blumenschein, Gallery, Santa Fe; Museum of Albuquerque, New Mexico; Roswell Museum and
Victor Higgins, Oscar Berninghaus, E. Martin Hennings, Leon Art Center, Roswell, New Mexico; San Antonio Art League; Stark Museum of

Gaspard, Tony Mygatt Lucas, and Doel Reed. Although there is Art, Orange, Texas; Thomas Gilcrease Institute of American History and Art,
Tulsa, Oklahoma
not much literature on any individual artist, there are many

POMC eRN Tae

Aa
Emest Blumenschein, ADOBES IN WINTER. Oil on canvas, 34” x 50” (86.4 cm xX 127.0 cm).
Courtesy of Museum of Western Art, Denver. Photograph by James O. Milmoe.
136
Me VIORE AMERICAN PAINTERS

There are many other American artists whom I admire and from
whom I have learned. Some of these are more traditional in
their painting, while some are more contemporary. Of the many
painters, I will mention N. C. Wyeth, Edward Hopper, George
Bellows, Georgia O’Keeffe, Andrew Wyeth, Wayne Thiebaud,
and Wolf Kahn.

NEWELL CONVERS WYETH = (1882-1945)

N. C. Wyeth studied illustration with Howard Pyle, a well- imagination and creativity. Wyeth’s compositions contain a highly
known illustrator, at the Howard Pyle School of Art in Wil- unusual placement of shapes, and his color was magical. He was
mington, Delaware, in 1902. He spent some time in the West influenced by the Spanish colorist Sorolla.
sketching, painting, and illustrating before setting up a perma-
nent studio in Chadds Ford, Pennsylvania. While very young, he
FURTHER RESEARCH
became an extremely well-known illustrator. He did the N. C. Wyeth by Douglas Allen and Douglas Allen, Jr. New York: Bonanza, 1972.
illustrations for The Last of the Mohicans, Treasure Island, An American Vision: Three Generations of Wyeth Art by James H. Duff, et al.

Kidnapped, Robin Hood, Rip Van Winkle, and many others. Boston: New York Graphic Society Books, 1987.

These books are still being reprinted with the original illustra-
tions. To me, however, these works are far greater than mere MUSEUMS
Brandywine River Museum, Chadds Ford, Pennsylvania; New York Public Library;
illustrations. He obviously lived in them and used tremendous Southern Arizona Bank and Trust, Tucson

EDWARD HOPPER (1882-1967)

Hopper attended the William Merritt Chase Art School and watercolors, which Hopper painted throughout his life, also
studied with Chase and Robert Henri. He went to Paris from reveal his clear feeling for light and form.
1906 to 1907 and studied the impressionists work. There he
became interested in light, and his palette became lighter. His
FURTHER RESEARCH
first success was in intaglio printmaking. His prints of people Edward Hopper by Lloyd Goodrich, New York: Abrams, 1985.
and life in the city show unusual vantage points for composition, Edward Hopper by Robert Hobbs. New York: Abrams, 1987.
strong value relationships, and great line quality. Edward Hopper: The Art and the Artist by Gail Levin. New York: Norton, 1986.
Hopper’s Places by Gail Levin. New York: Knopf, 1985.
Hopper was almost forty when he had had enough success in
commercial art to begin painting full-time. His subjects are
MUSEUMS
either of the city or rural landscapes and deal with the coldness Whitney Museum of American Art, New York; Yale University Art Gallery, New
and isolation of people in their environment. A strong, harsh Haven, Connecticut; Metropolitan Museum of Art, New York; Museum of Modern
light, either natural or artificial, characterizes Hopper’s paint- Art, New York; Hirshhorn Museum and Sculpture Garden (part of Smithsonian
Institution), Washington, D.C.; Wichita Art Museum, Wichita, Kansas
ings. They also have a distinct sense of form. His on-location

GEORGE BELLOWS (1882-1925)

Bellows moved from Ohio to New York City in 1904 to start his
FURTHER RESEARCH
painting career by studying with Robert Henri, and they George Bellows: Painter of America by Charles H. Morgan. Millwood, N.Y.: Kraus
eventually became good friends. Bellows also studied with Reprint and Periodicals, 1979.

H. G. Maratta and learned his harmonious color theories well. George Bellows: The Personal Side. Macon, Ga.: Museum of Arts and Sciences,
1984.
He also taught at the Art Students League in New York. George Bellows and the Ashcan School of Painting by Donald Braider. Garden City,
Bellows is best known for his fight scenes, but to me his N.Y.: Doubleday, 1971.
cityscapes and landscapes are the most exciting. He had a
vigorous, spontaneous application of paint and an unusual sense MUSEUMS
for composition. His color was rich, visually stimulating, and Columbus Gallery of Fine Arts, Columbus, Ohio; Museum of Fine Arts,
Springfield, Massachusetts; Metropolitan Museum of Art, New York; Whitney
highly personal. He had an elongated, stylized approach to his Museum of American Art, New York; National Gallery of Art, Washington, D.C.;
figures and landscapes that make them easily identifiable. Corcoran Gallery of Art, Washington, D.C.

137
MORE AMERICAN PAINTERS

GEORGIA O’KEEFFE (1887-1986)

O’Keeffe studied art at the Art Institute of Chicago and the Art
FURTHER RESEARCH
Students League in New York. She taught art in Amarillo, Georgia O'Keeffe: One Hundred Flowers by Nicholas Callaway. New York: Knopf,
Texas, and West Texas Normal College. In 1916 she had her 1987.
The Art and Life of Georgia O'Keeffe by Jan G. Castro. New York: Crown, 1985.
first one-woman show at Gallery 291 in New York City. She
Georgia O'Keeffe: The “Wideness and Wonder’ of Her World by Beverly Gherman.
eventually married the director Alfred Steiglitz, who was a well- New York: Macmillan, 1986.
known photographer. An Enduring Spirit: The Art of Georgia O'Keeffe by Katherine Hoffman.
O’Keeffe is most widely known for her numerous large, Metuchen, N.J.: Scarecrow, 1984.
Georgia O'Keeffe: Selected Paintings and Works on Paper by Margaret Morris.
abstracted floral paintings, and for her landscapes of the Santa Fe, N.M.: Peters Corp., 1986.
Southwest. (One famous series shows animal skulls against a
desert background.) The essence of forms is evident in her MUSEUMS
paintings, and her motifs follow an abstract, rhythmic pattern. Art Institute of Chicago; Whitney Museum of American Art, New York;
Metropolitan Museum of Art, New York; Museum of Modern Art, New York;
Her paintings are also very sensitive in their use of color,
Philadelphia Museum of Art; Amon Carter Museum of Western Art, Fort Worth,
derived from her inner vision. Texas

ANDREW WYETH
Andrew Wyeth is the son of N. C. Wyeth. Born in 1917, he
FURTHER RESEARCH
grew up in an extremely creative environment and was painting Andrew Wyeth: The Helga Paintings. New York: Abrams, 1987.
full-time by his late teens. He had early success with loose The Art of Andrew Wyeth edited by Wanda M. Corn. Boston: New York Graphic
Society Books, 1973.
colorful watercolors of land and seascapes, a period of his art
Two Worlds of Andrew Wyeth by Thomas Hoving. Boston: Houghton Mifflin, 1978.
that I like very much. However, he is best known for his tightly In the Footsteps of the Artist: Thoreau and the World of Andrew Wyeth with photos
controlled egg temperas and dry-brush watercolors. In these by James A. Warner and Margaret J. White. Wilmington, Del.: Middle Atlantic
Press, 1986.
paintings Wyeth applied earthy semineutral textural layers of
An American Vision: Three Generations of Wyeth Art. Boston: New York Graphic
paint. His use of value is superb. Although he is known as a Society Books, 1987.
realist, his paintings compositionally are very abstract. Selecting
subject matter around Chadds Ford, Pennsylvania, and Cushing, MUSEUMS
Maine, he creates moods that emanate from a sensitive, very Brandywine River Museum, Chadds Ford, Pennsylvania; William A. Farnsworth
Library and Art Museum, Rockland, Maine; Philadelphia Museum of Art;
personal vision. Some of his best egg temperas capture a
Delaware Art Museum, Wilmington; New Britain Museum of American Art,
quality of light that I have only seen in his and Vermeer’s work. Connecticut

WAYNE THIEBAUD
Thiebaud was born in Mesa, Arizona, in 1920. He developed an interaction and a method of paint application that emulates the
interest in drawing and decided to study commercial art. After surface of the subject. The paint surfaces have a thick alla
working in this field in Los Angeles and New York, Thiebaud prima sensuousness about them. The edges of the images in his
returned to school. He attended San Jose State University and work have adjacent bands of color that he calls halation, which
California State University, where he pursued his interest in radiate, create vibration, and ease the transition to the next
painting. In 1951 he began teaching at Sacramento City College area. His paintings get to the essence of the subject. He
and in 1960 was appointed to the Department of Art at the believes that all art comes from previous art and that one must
University of California at Davis. In 1962 he had a one-man study the masters, go to major exhibitions, and test one’s work
exhibit at the Allan Stone Gallery in New York City, for which against the best.
he received national recognition. His images at the time were of
pies, gum ball machines, and food, which tied him in with the
FURTHER RESEARCH
pop art movement. He has since done a series of paintings Wayne Thiebaud by Karen Tsujimoto. Seattle, Wash.: University of Washington
using the figure, and is currently working with cityscape images Press for the San Francisco Museum of Modern Art, 1985.
of San Francisco. All Thiebaud’s painting is done from life, from
drawings, or from memory. MUSEUMS
Thiebaud’s work is remarkable for its rich, vibrant color E. B. Crocker Art Gallery, Sacramento, California; Oakland Museum, California;
San Francisco Museum of Modern Art

138
 Bre ; , - =
S&S
Wayne Thiebaud, URBAN FREEWAYS. 1979-1980, oil on canvas, 4498" x 36%” (112.7 cm x 91.8 cm). Private collection. Used by permission of t he artist.

139
MORE AMERICAN PAINTERS

WOLF KAHN
Kahn was born in Stuttgart, Germany, in 1927, and moved to looking at the work of great colorists.” Kahn believes that —
the United States in 1940. He attended the High School of because one is “more alert to the possibilities of color, all sorts
Music and Art in New York City and studied with the well- of other possibilities then go along with that: the possibilities of
known abstract expressionist painter Hans Hofmann from 1947 greater affection for things, greater tenderness towards the
to 1949. He uses a variety of recurrent subjects from nature, world at large, greater generosity in life generally. . . . If you
such as barns, ponds, forests, and the river. “I think familiarity are an artist in any kind of way, what you are really driving
with a place is essential. . . . In order to make a good painting I toward is to become a deeper person.”
have to know the site very well. . . . My art is based on
deepening the experience rather than having a lot of different
FURTHER RESEARCH
experiences.” Wolf Kahn: Landscape Painter by Martica Sawin. New York: Taplinger, 1981.
Strong gestural drawing and daring color are typical of Kahn’s Pastel Light by Wolf Kahn. Barrytown, N.Y.: Station Hill Press, 1983.
work. His sumptuous fields of color establish the emotional Wolf Kahn: Landscapes (catalogue for traveling exhibition) by Dore Ashton. San
Diego Museum of Art, 1983.
potential of the composition. Kahn’s images deal with radiance
of light from objects in nature—not so much the divisions
MUSEUMS
between things, but more the lack of division between them. Grace Borgenicht Gallery, Inc., New York; Meredith Long Gallery, Houston;
Kahn states, “I have no color theory. I think that I just have a Harkus-Krakow Gallery, Boston; Gerald Peters Gallery, Santa Fe, New Mexico;

good color sense and have learned a lot about color simply by Fontana Gallery, Philadelphia

Wolf Kahn, MOVING IRREGULARLY BACK IN A WOODED SPACE. 1987, oil on canvas,
26" x 30" (66.0 cm x 76.2 cm). Private collection. Used by permission of the artist.

140
Mam HISTORICAL PERSPECTIVE ON COLOR THEORY

I firmly believe that a solid foundation in the theory of color is today. He was an unsuccessful painter from Chicago who
essential in developing a vocabulary of artistic self-expression. developed a rationally ordered system of color harmony and
The more any artist can learn about mixing color, color traveled to the major art centers to demonstrate his system and
relationships, value and intensity of color, how color affects sell the pigments that were needed to make it work. These
color, the emotional content of color, dominant hue, and how pigments were called Margo Colors. From about 1912 to the
color affects the eye, the more accurately that artist can say early 1920s, his teaching attracted the attention of many major
what he or she wants to say. Mood, emotion, atmospheric American artists, including members of the Ashcan school.
effects, light quality, form, and accurate rendering of the subject Robert Henri, John Sloan, and George Bellows, three artists
can all be achieved with this knowledge. It takes a great deal of who used color in very unusual and particularly exciting
time and continual study, but in the end it is worth it. This idea relationships, were all advocates of the Maratta method of
has been constantly reinforced as I delve into various move- achieving harmony of color through triadic arrangements.
ments throughout art history. Denman Waldo Ross, lecturer of design at Harvard University,
In my research of these movements throughout the history of wrote a book entitled The Painter’ Palette, published in 1919,
painting, I have become aware of how certain systems and color which maps out some of Maratta’s triadic color theories.
theories that developed during various times have influenced Maratta’s theories helped these artists conceive of color
the direction of painting. The painters of the Middle Ages and harmony and relationships abstractly before painting the picture.
the Renaissance used carefully set palettes and definite tonal Henri actually believed in this system so strongly that he
relationships in the development of their work. They used a resigned his teaching position at the New York School of Art
proven system for mixing and applying paint. This approach had (the Chase School) over it. He wanted to require all the
been handed down from master to apprentice, generation to students to adopt this painting approach, while others felt it
generation, in order to ensure that the tradition, quality, and should be optional.
knowledge would continue. The seventeenth-century Dutch Major contemporary art movements such as op art and color
school (with artists such as Rembrandt, Vermeer, Rubens, field painting have been influenced not only by the nineteenth-
Hals, and de Hooch) used the grisaille (gray) system of painting century work of Chevreul but also by the work of Josef Albers
and glazing color. As described earlier, this system ensured and Johannes Itten. Albers’s book Interaction of Color (rev. ed.;
strong value relationships and the solid development of form, as New Haven, Conn.: Yale University Press, 1975) and Itten’s
well as beautiful transparent color depth. book The Elements of Color (edited by Faber Birren; New York:
The development of color took a giant step in the mid- Van Nostrand Reinhold, 1970) deal with color optics and how
nineteenth century as a result of the scientific research of the color affects color. The ideas of vibration and radiation, so
Frenchman M. E. Chevreul. His theories were published in his prevalent in these movements, can be found here.
book The Principles of Harmony and Contrast of Colors in 1839. Many of today’s painters use the color theory developed by
This book was the main influence on color for the impressionists Albert H. Munsell to develop a good basic understanding of the
and neo-impressionists and has had a major influence on such relationship of value, intensity, and hue. Noted color expert
modern schools as op art. Chevreul dealt with the harmony of Faber Birren has written over twenty books on color, dealing
monochromatic colors, adjacent colors, and complements, and with virtually every aspect of the subject. His work will provide
the concept of dominant hue. His theories of simultaneous in-depth information for the serious color student.
contrast, successive contrast, and mixed contrast are still being As you can tell, the history of art and the history of color
taught in color theory education today. The impressionist theory have always been closely intertwined. The work of the
Camille Pissarro was an advocate of his theories and spread the authors, scientists, and painters just mentioned—as well as that
word to such artists as Cézanne, Monet, Renoir, and van Gogh. of many others not mentioned—has made it possible for major
As for American artists, it was mentioned earlier that Winslow art movements to develop. Each new art movement, in turn,
Homer carried Chevreul’s book everywhere and referred to it as has provided new possibilities for color theory. Painting and
his bible. The pointillist scientific painting system of Seurat and color theory are constantly in a dialogue, learning and benefiting
Signac is the direct result of Chevreul’s theory of mixed from each other’s breakthroughs.
contrast. A similar relationship holds true on an individual level. An in-
Ogden Rood, a professor of physics at Columbia College in depth study of color theory will enhance an artist's ability to
New York, wrote the books Modern Chromatics in 1879 and paint, while hours of painting will enhance his or her under-
Text-Book of Color in 1881, which were readily accepted by the standing of color theory. By developing both together, any artist
neo-impressionists. His books dealt more with light, wave- can build a solid foundation of knowledge that will ultimately
length, and optics concerning color. free him or her to discover a surer, more personal approach to
Hardesly Gillmore Maratta is certainly not a familiar name self-expression.

141
Ms EPILOGUE

For two weeks I worked on this painting. I had to travel by four- and it was still part of him. He was savoring the moment.
wheel drive two miles down a steep, rocky road to get to the That is how I felt about my painting. I did not want the
site and set up my large easel and palette that were hidden in experience of working on it to end, yet I could not wait to see it
the timber close by. It was mid-September, which meant that I completed, varnished, and framed. I loved that painting!
could expect any kind of weather from corn snow to warm sun. Furthermore, that is how I feel about this book. A lot of time
To continue to work during such changeable conditions, I built a and work have gone into it, and the project has brought me
shelter by stretching clear plastic over the top of my easel to great joy. Much love and caring have gone into the paintings,
some adjacent aspen. But in fact I was enjoying working on this studies, and manuscript. During the two years that it has taken
painting so much that I hardly even noticed the weather. Each to complete this book, it has always been on my mind. I would
day I would wake and look forward to working on the painting. love to hold on to the experience of working on Color Choices,
One day early on while working with this composition, I took yet I am even more excited about giving birth to these ideas in
an artist friend along. He did a completed study while we were the book. We are here to grow as painters and can do this by
there. While driving us home I noticed that he continued to look reading, learning, sharing our knowledge, and continuing to
at his painting, which was braced up against the back seat. I pursue our painting. I hope that the information and thoughts in
could see that he felt good about his painting. He had created it, this book will help you along your painting path.

a
x
ype
cag
re
ee
NAR
ee a
aser

EARLY AUTUMN BEAVER POND Acrylic on cold-pressed Crescent watercolor board no. 114,
24" x 36" (61.0 cm x 91.4 cm). Collection of Doris Hennan, Carole Hennan, and John Bruce.

142
Gas BIBLIOGRAPHY

Albers, Joseph. Interaction of Color, rev. ed. New Haven, Nochlin, Linda. Realism and Tradition in Art, 1848-1900:
Conn.: Yale University Press, 1975. Sources and Documents. Englewood Cliffs, N.J.: Prentice-
Birren, Faber. Color: A Survey in Words and Pictures. Hall, 1966.
Secaucus, N.J.: Lyle Stuart, 1984. Ocvirk, Otto G., et al. Avt Fundamentals—Theory and Practice,
. Creative Color. West Chester, Pa.: Schiffer, 1987. 5th ed. Dubuque, Iowa: William C. Brown, 1985.
. History of Color in Painting. New York: Van Nostrand Quiller, Stephen, and Barbara Whipple. Water Media: Processes
Reinhold, 1965. and Possibilities. New York: Watson-Guptill, 1986.
Boyle, Richard J. American Impressionism. Boston: New York . Water Media Techniques. New York: Watson-Guptill,
Graphic Society Books, 1974. 1983.
Brett, Bernard. A History of Watercolour. London: Hamlyn Rogers, Peter. A Painter's Quest: Art as a Way of Revelation.
Publishing Group, 1984. Santa Fe, N.M.: Bear & Co., 1987.
Chevreul, M. E. The Principles of Harmony and Contrast of Rood, Ogden. Text-Book of Color. New York: Appleton, 1881.
Colors. New York: Van Nostrand Reinhold, 1967. Ross, Denman. The Painter’ Palette. Boston: Houghton Mifflin,
Cooper, Helen A. Winslow Homer Watercolors. New Haven, 1919.
Conn.: Yale University Press, 1986. Saitzyk, Steven L. Avt Hardware. New York: Watson-Guptill,
Dustan, Bernard. Painting Methods of the Impressionists, rev. 1987.
ed. New York: Watson-Guptill, 1983. Samuels, Mike, and Nancy Samuels. Seeing with the Mind’s Eye.
Gottsegen, Mark D. A Manual of Painting Matenal and Toronto: Random House of Canada, 1975.
Techniques. New York: Harper & Row, 1987. Sawin, Martica. Wolf Kahn: Landscape Painter. New York:
Graves, Maitland. The Art of Color and Design. New York: Taplinger, 1981.
McGraw-Hill Book Company, 1951. Silva, Jose, and Philip Miele. The Silua Mind Control Method.
Henri, Robert. The Art Spirit, edited by Margery A. Ryerson. New York: Pocket Books, 1978.
New York: Harper & Row, 1984. Sloan, John. Gist of Art: Principles and Practise Expounded in
Homer, William Innes. Robert Henri and His Circle. Ithaca, the Classroom and Studio. New York: Dover, 1977.
N.Y.: Cornell University Press, 1969. Truettner, William H., et al. Art in New Mexico, 1900-1945:
Hoopes, Donelson EF The American Impressionists. New York: Paths to Taos and Santa Fe. New York: Abbeville, 1986.
Watson-Guptill, 1972. Tsujimoto, Karen. Wayne Thiebaud. Seattle: University of
Itten, Johannes. The Elements of Color, ed. Faber Birren. Washington Press for the San Francisco Museum of Modern
New York: Van Nostrand Reinhold, 1970. Art, 1985.
Leymarie, Jean. Watercolors: From Diirer to Balthus. Vandier-Nicolas, Nicole. Chinese Painting: An Expression of a
New York: Rizzoli International, 1984. Civilization. New York: Rizzoli International, 1983.
Mayer, Ralph. The Artist's Handbook of Materials and Tech- Wilcox, Michael. The Wilcox Guide to the Best Watercolor
niques, 4th rev. ed. New York: Viking, 1981. Paints. Perth, Western Australia: Artways, 1991.
Myers, Bernard S. Encyclopedia of Painting. New York: Crown, Worcester Art Museum Staff and Susan E. Strickler. American
1979. Traditions in Watercolor. New York: Abbeville, 1987.
Nelson, Mary Carroll. The Legendary Artists of Taos. New York: Young, Mahonri Sharp. The Eight. New York: Watson-Guptill,
Watson-Guptill, 1980. 1973.

143
Me INDEX

Acrylic, 23, 75, 101, 121 Glasgow School, 134 Reverse negative approach, 123
Afterimage, 38 Glazing, 44, 71, 110, 113 Rood, Ogden, 141
Albers, Josef, 141 Ross, Denman Waldo, 141
Alla prima method, 44 Harmonious color, 55
Analogous colors, 54—65 Henri, Robert, 96, 135, 136, 137, 141 Sargent, John Singer, 41, 95, 133
dominant and subordinate, 56 High-key color relationships, 57 Secondary colors, 12, 14
full-intensity, 58 Homer, Winslow, 9, 38, 95, 133, 141 complements of, 18-19
harmonious, 55 Hopper, Edward, 136, 137 triads of, 83
high-key, 57 Semineutrals
range of, 56, 59 Impressionism, 30, 128-29, 132, 133, 141 with analogous colors, 57, 58, 59
selecting palette of, 54, 55 Inner vision, 118-23 with complementary colors, 18-21, 42-45
with semineutrals, 57, 58, 59, 60 Intensity, and value, 26, 46, 47, 48, 56 with split-complementary colors, 68-69
Ashcan school, 10, 135, 141 Intermediate color, 80-81 with triadic colors, 80, 81, 88, 89, 90
Intimism, 131 Sholder, Fritz, 35
Bellows, George, 136, 137, 141 Simultaneous contrast, 38
Birren, Faber, 141 Kahn, Wolf, 140 Sloan, John, 10, 38, 135, 136, 141
Blake, William, 70, 127 Sorolla y Bastida, Joaquin, 70, 110, 132
Blumenschein, Ernest, 136 Light, and color, 96 Split-complementary colors, 66-77
Bonnard, Pierre, 95, 125, 131 color relationships of, 68
“Broken color,” 128 Maratta, Hardesly Gillmore, 135, 137, 141 dominant and subordinate, 69
Melville, Arthur, 131 glazing with, 71
Casein, as medium, 63, 74 Mixed contrast, 38, 44 selecting palette of, 66-67
Cassatt, Mary, 129 Monet, Claude, 95, 128, 129, 141 semineutrals with, 68-69
Cézanne, Paul, 130 Monochromatic colors, 28-37 transparent-opaque approach to, 70-71
Chevreul, M. E., 9, 38, 128, 141 black and white with, 30-31 Studio painting
Chiaroscuro, 126 value relationships of, 28, 29, 31, 32, 33, from inner vision, 122
Cloisonnisme, 130, 131 35, 36 from on-location studies, 104-9, 121
Collage approach, 75, 90 Munsell, Albert H., 141 Subordinate color(s), 45, 46, 47, 56, 69
Color(s) Sumi painting, 118, 119
black, 30 Neutralizing color, 42—45, 59, 60
earth, 20 Taos school, 136
and light, 96 Oil painting, 23, 110, 111 Tertiary colors, 12, 14
and mood, 48, 49, 51, 61, 63 OKeeffe, Georgia, 35, 136, 138 complements of, 18-19
neutralizing, 42—-45, 59, 60 On-location painting, 96-109 triads of, 84-85
and paint manufacturers, 15, 16-17 with acrylic, 101 Thiebaud, Wayne, 138, 139
personal approach to, 95 color studies for, 104—9, 121 Toulouse-Lautrec, Henri de, 131
transparent-opaque approach to, 70-71, painting approach in, 97-99 Translucent color
111-16, 123 palette for, 96-97, 100, 101 glazing methods for, 110, 113
vibrant mixtures of, 22 subjects in, 96, 98, 120 with opaque and transparent color, 70-71,
white, 31 Opaque color | 111, 113, 115-16 ;
See also Palette methods of applying, 44 Transparent color
Colorists, 124—42 with transparent and translucent color, glazing methods for, 44, 110, 113
Color schemes. See Analogous colors; 70-71, 111-16, 123 with opaque and translucent color, 70-71,
Complementary colors; Monochromatic Optical color balance, 13 111-16, 123
colors; Split-complementary colors; Triadic colors, 78-93
Triadic colors Paint manufacturers, and colors, 15, 16-17 dominant, subordinate, and intermediate,
Color wheel, 12, 40, 54, 55, 80 Painting application techniques, 110-17 80-81
See also Quiller Wheel See also On-location painting; Studio painting primary, 82
Complementary colors, 38-51 Palette with pure hues, 86-87, 88
dominant and subordinate, 45, 46, 47 based on Quiller Wheel, 23-25 secondary, 83, 90
in nature, 38-39 for on-location painting, 96-97 with semineutrals, 80, 81, 88-89, 90
with semineutrals, 18-21, 42-45 other arrangements of, 101 tertiary, 84-85, 90
warm and cool, 40#41 traveling, 100 Turner, J. M. W., 70, 95, 127
Cool colors, 40-41 Palmer, Samuel, 70, 127 Twachtman, John Henry, 133
Curators’ Choice (Fromme), 124 Pointillist method, 44
Postimpressionism, 130-31 Value
Dasburg, Andrew, 96 Primary colors, 12, 14 and intensity, 26, 46, 47, 48, 56
Degas, Edgar, 9, 128 complements of, 18-19 in monochromatic color scheme, 26, 28, 29,
Dominant color(s), 45, 46, 47, 56, 69 triad of, 86 31, 32, 33, 35, 36
Dudeen Color Triangle, 10 Principles of Harmony and Contrast of Colors, Van Gogh, Vincent, 9, 95, 96, 130, 141
Dutch painters, 110, 126 The (Chevreul), 9, 38, 133, 141 Vermeer, Jan, 9, 126
Pure-color accent, 51
Earth colors, 21 Warm colors, 40-41
Eight, The, 10, 135 Quiiler Wheel, 8, 10-11, 13-23, 96 Whistler, James, 95
Winter, Charles A., 10
Gauguin, Paul, 131 Rembrandt van Rijn, 9, 126 Wyeth, Andrew, 9, 138
Gist of Art (Sloan), 10, 38, 135 Renoir, Pierre-Auguste, 30, 128 Wyeth, N. C., 137, 138

144