Monday, April 14, 2014
The above 180-183 is the result. Using a burnt umber as a starting point it has a warm reddish feel that is pulled back by a little bit of blue violet. The lighter tones are wonderful neutrals. I've had it in stock at the shop and without my saying anything (Like look look a new color) several customers have added it to their pallets
Sunday, November 18, 2012
When I started making pastels,
way back when, I did so because I loved the feel of them. It was my Goldilocks moment. The few pastels that I had used before were either to hard and scratchy or way to soft and crumbly. I do like to push a bit when I "draw" so I hope you can understand my problem. Experimenting with different chalks, clays, talcs, etc. I could change how each stick would feel. Suddenly a whole new experience was opening. I had color that I could push against and it wouldn't crumble and be reduced to dust but left in its wake a beautiful rich intensity. They were smooth without being slick.
Monday, June 14, 2010
I've been thinking of updating the sets that I offer. I haven't changed the single color sets since I started- and I made about 200 colors. Now that the line is 350 colors maybe it is time. This is one option that I have been considering for the blues. My original set was a range of 5 of 5 different blues. Now I am thinking of changing that somewhat, bringing in a couple of new colors. One would be the #514 which is a very dark navy blue, almost black. Another would be my #4 a very cool bluish white. The numbers for the set above are: 514, 540, 340, 641, 510 / 520, 341, 80, 430, 140 / 521, 343, 81, 431, 221 / 522, 344, 82, 433, 142 / 4, 524, 84, 434, 144 .
Here is a picture of my current set. The numbers in this set are: 80-84 / 430-434 / 340-344 / 540-544/ 520-524 . Any thoughts about this? Some other suggestions?
Friday, February 12, 2010
The black and greys that I make (#450-460) have a little burnt umber mixed with the black to give a warm tone.
Tuesday, January 12, 2010
Recently I've had three pigments that I use become unavailable. This has led to a couple changes to the color groups that I make. The biggest change is to the group 280-284. Not being able to get the main pigment for this group led me to rethink what I wanted to do with these colors. I liked the aspect of the color getting yellower as it lightened instead of getting paler. First of all I wanted to make the darker color in the group darker and richer. The bigger change came however in the lightest color. I couldn't get a good duplication with other pigments that I had available and I was looking for a good yellow green to use in my tropical set. I finally setteled on the color pictured and then worked with the darkest and lightest colors to make the middle ones.
There were a couple of other colors that also used this pigment but in both cases I've just mixed other pigments to replace the older color. The new colors came very close to the old ones the only difference being that the new colors are not as gritty as the old pigment was. Which, all in all, I can live with that.
Thursday, April 30, 2009
I've also gotten a couple of new pigments that I was experimenting with. They are both transparent iron oxides, one yellow and one red. Think of them as an intense raw sienna and burnt sienna. I use the yellow to mix with the bright yellow that I have to give it a nice earthiness while still keeping the intensity. The same worked with the red to give a good range of bright but not electric colors. These are the colors #740-743.
Wednesday, September 24, 2008
I came to the show full of anticipation to finally see a large group of his work. I've seen a few and looked several times at the limited number of books there are, read the biography from a few years ago by Janet Abramowicz. There is something to seeing the actual paintings as opposed to the reproductions. Yes this is always true, but more true in Morandis' case. The one thing that is missing is his touch. The way his touch make a rhythm around the painting. I really noticed it first in the flower paintings about half way through the show. It was the way he marked the vase and then the flowers, the delicate balance of the whole. Several paintings on, there is a lull of a wall of landscapes which I don't particularly care for, I thought it was great to see this many paintings, to be able to see what makes one good and one great and another even better. As I looked at a couple of paintings which didn't look as good as some others, I started to really see them. The ever so slight way that the space between two of the objects became more important than the space to the left of the object and the inflection of the line describing the edge of another object started to play off the space to its right. I couldn't see these things in a reproduction. The paintings are these amazing poems of rhythm and form. They are everything that I want to see in a painting and everything I could hope to put into my own.