Saturday, December 18, 2010

The Color Note

ColorNote On Wash-In ©1955Allison
In the Reilly class we spent the first half-hour of each session drawing from the model, the remainder of each session would be devoted to painting the figure. A pose would be set on Monday and kept for the rest of the week, giving us the opportunity to complete one figure painting each week. Monday was devoted to the Wash-in which would dry overnight. On Tuesday we mixed the palette and would begin the Lay-in. As the complexions were mixed we developed a color note, a small 4"x6" oil sketch of the figure in the corner of the canvas, to verify that the palette "averages" would represent the model's local (specific) complexion in light and shadow. It includes the background averages simply stated, the whole thing taking no more than 15 minutes. The color notes should represent the "Poster"; a simple but comprehensive statement of flat shapes and major color averages. This insures that your color choices, including the complexion, are in balance with entire painting.

From Reilly's notes:
It must show the kind of light. The color of the light, the position of the light and its size, distance and strength relative to the model. In this illumination it must describe a particular condition of skin (in general first) in a chosen particular pose.
The model must exist in atmosphere (air) in front of a background.
Put in light & shadow only, on each object or area.
Put in 3 lights and one shadow on the model.
Put in known quantities.
Put in extremes- darkest first, then lightest. Strongest chroma then weakest chroma.

    © John Ennis 2010

    Next Topic: Complexion

    Tuesday, December 14, 2010

    The Reilly Palette: a Palette of Convenience

    To set up the figure-painting palette, you must first create the string of neutral control values described in the previous post. By the 1970's the Grumbacher Reilly Neutrals were no longer available. In the Faragasso class we sometimes skipped adding Raw Umber, perhaps for the sake of expediency, finding that the cooler grays worked well in neutralizing flesh. Gamblin makes three useful grays, calling them Portland Grey Light (v.8), Portland Grey Medium (v.6) and Portland Grey Dark (v.4). Their Munsell value designations are on the tube label. You can intermix to get the rest, and you can mix those with the Raw Umber string to create absolute neutrals. You might consider contacting Gamblin and encourage them to expand the line of Portland Grays to include all nine values. 

    Local Colors
    Place store-bought colors adjacent to the Neutrals at their appropriate value. Paints that will help make local colors, e.g. blonde hair, blue scarf, green drapery. Many of the dark paints accumulate around the first or second value, and for convenience I move them to the far edge of the palette.

    Convenience Colors
    The next mixtures on the flesh palette are part of what Reilly called a "Palette of Convenience". First create a string of yellow-red (orange) values, and a string of red values. These additional strings of paint will correspond in value to the Neutrals.

    A schematic for the palette, most likely done by a student. It shows Cadmium Orange
     at value 6, and employs manufactured paints for the red values of 5,4,3,2 and 1.

    To create the yellow-red string begin by mixing Cadmium Orange which, depending on the brand, comes from the tube at about value 6 or 7. Add white for lighter values and mix with Burnt Umber for darker values.

    The red string begins with Cadmium Red Light, which, again depending on the brand, comes from the tube around value 5. Add Titanium White to get the lighter values. Create an admixture of Alizarin Crimson (a cool red) and a little Burnt Umber to achieve a true red at first value, and mix this with Cadmium Red Light to make the red values 2 through 4.

    Finally, to create the string of complexion values, cross mix each neutral value with it's corresponding value of red and yellow-red to arrive at the average complexion at that value. That mixture will depend on the models complexion average, i.e. pale and cool, warm and ruddy. Try to keep the hue and chroma consistent. Remember this is the complexion average, as you might see it from across the room. The local changes (red nose, gray chin) will be addressed as you paint. 

    In general the human complexion ranges from red to yellow-red, from pale to colorful, from dark to light. Reilly's palette facilitates mixing the subject's complexion while allowing for these local changes that occur in the flesh. Mixing this palette is time consuming, but it becomes a time saver when it really matters, during a live sitting. A palette of convenience.

    In class we mixed a drop of oil of cloves into each pile of paint to extend the drying time. The palette would remain wet all week this way and so would the paint on the canvas. Be forewarned that this may also extend the drying time of the painting. There are other ways to keep your palette wet; by submerging the palette under water, or freezing it. I prefer to mix and tube the colors, so that they are always at the ready. Empty tubes are available at some art suppliers.

    © John Ennis 2010

    Next Topic: The Color Note