Sunday, December 11, 2011

Painting the Same Design Four Ways

Here is a step-by-step demonstration of how to do negative painting with abstracted figures. The principles John Salminen taught in the DVD mentioned on November 16 (Insights from Nonobjective Painting) are utilized in this demo.
I was doodling while watching TV and made some interesting abstract heads. I was interested in just how much one could distort the features and have it still read as a human head. I decided to overlap three of these doodles and found the resulting design to be pleasing. I would make four copies of the design and experiment with different color combinations and value patterns.
Here is the drawing with the lines drawn in Magic Marker. It is taped to a window. I also put a plan for the layers in with the first layer being a circled number one, the second indicated by a circled number two, and so on. When you draw with Magic Marker, be sure to have heavy paper or layers of newspaper underneath, since it will make permanent stains through the paper onto your furniture if you don’t (as I learned the obvious way).

Here a 9 x 12 piece of 140 pound Arches paper is taped over the design on the window. As you can see, you can easily see the drawing through the watercolor paper and you can lightly pencil in your drawing.

In this demo, I chose the five analogous colors, green, blue green, blue, blue violet, and violet, for a predominantly cool painting. You will always have a pleasing color combination if you choose five colors that are next to each other (analogous) on the standard color wheel. Then you use the complement of the middle color as an accent color to liven up the painting through contrast. In this case, that would be orange, the complement of blue, the middle of the five colors. 
I taped my watercolor paper to a board at about a 60 degree angle so washes would flow. For the first layer of the demo painting, I loosely painted sap green over everything but the small pieces I wanted to remain unpainted, so I could decide at the end what to do with them. Sap green is a good granulating color, so you get some organic texture to contrast with the geometric design. 

After the first layer dried, I painted transparent cobalt blue with a bit of opaque green all over everything that was not to remain green, the lightest value. You can see there are two green shapes, one large, and one rather small. I plan to leave one of the eyes green for a very small third shape. The shapes have variety, and the middle one is irregular and interesting. According to Salminen, some shapes of the darkest dark should go around this shape. But since I am painting negatively, this will have to wait. As you can see, with just two layers, the painting already reads as three faces.

After the second layer dried, I put on the third layer of ultramarine blue mixed with a bit of cerulean, all over everything that was not to remain light blue. Again, I have three light blue shapes remaining that show variety of size and complexity. 

After the third layer dried, I put mineral violet mixed with a little opaque pale violet on everything that was not to remain dark blue, as the fourth layer. I also put mineral violet on the darkest dark shapes that abutted the pale middle shape.

I went on to add a fifth layer of some ivory black without waiting for the fourth layer to dry, because I wanted softer edges away from the center of interest. I also put in a few small black shapes around the big middle shape.

THEN, I added my accent color, bright orange, on three of the spots I saved as white. I mixed a little orange in the background and over the pale green shape. I did a few details, and then I evaluated with a mat.

And with the mat I could see that I had too many hard edges, so took a wet elephant ear sponge and blurred some, below:

I painted three more versions of this drawing. Here I used these five analogous colors: yellow orange, orange, red orange, red, and red violet, with blue green as the accent color. The accent color is the complement of the middle of the five analogous colors. Complements are directly opposite each other on a standard color wheel.

This one uses the five colors from orange to violet, with cerulean as the accent. Red is the middle color, so green would be the complement, but sometimes it’s good to use a “split complement” -- one color over from the complement. Cerulean is a sort of greenish blue.

This one includes yellow green (leaf green), green (sap green), blue green (turquoise), blue (cobalt blue), and blue violet (ultramarine), with red orange (organic vermillion) as the accent color. 

You might try this yourself. It was an enjoyable experience to experiment with colors and values and negative painting in a series of almost identical drawings. I may put a couple of them together in a diptych and call it “Facebook Friends.”

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