Course work: Painted some additional squares on the Stage Four project, this time mixing cadmium yellow with lemon yellow (~1:2), and cadmium red with alizarin crimson (~3:1), to produce an approximation of a “true primary”, then using a mixture of the above combination to produce an orange, in a manner similar to that done in Stage Two. This time I made some mixing notes in my sketchbook, as I should have done previously.
Reading and theoretical studies:
Stephen Quiller Painter’s Guide to Color
Watson-Guptill Publications, New York, 1999
Pp. 35-70
(This book and its predecessor Color Choices, Watson Guptill Publications, New York, 1989, are both useful books, especially for water-media artists. The author has selected a set of primary, secondary, and tertiary colors from the wide variety of tubed paints available, and while some of his choices may not be quite in the mainstream of color theory, he defends his reasoning clearly, and paints very well with his chosen colors.)
Marylin Scott The Acrylic Artist’s Bible
Chartwell Books, Inc., Edison, New Jersey, USA, 2005
Pp. 6-89
Sketchbook work: Continuing my experimentation with limited palettes, I painted a color circle with yellow ochre, burnt siena, Paynes’s grey, and their intermediate mixtures. As one would anticipate, all the intermediate mixtures are greyed, and the Payne’s grey and burnt siena mixture is a very deep brown. This palette might be useful for painting sandy or stony semi-desert areas, but one would need to add a substantially bluer “blue”for skies.
I then did a little sketch of a piece of crumpled paper.
Time today: Two hours 19 minutes
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