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Low Tide .
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Message
Posted
Hope your feeling better today Sylvia, you know I can’t paint without Payne’s Grey it’s my go to colour for most things I’d paint.
Mixes lovely with Alizarin crimson , for a love dark sky , excellent for faded old ships hulls etc, I know you don’t like it you have mentioned that before. I doing this painting to escape from another rainforest painting that is predominantly green and is doing my head in it’s taking time as it’s on canvas , drying time is longer . The other probably is when I step back the green doesn’t always look quire right .
Posted
Tony of all the artists in the world to wield a brush ....purist nah that's not me , I Chuck all sorts in the mix. It's purely a personal taste thingy I find it a dead colour Paul and I have had this discussion several times .I'm sure he was expecting my in put.
Deep purples, browns ,a bit of cad red sometimes ultramarine and lovely richness ensues.
Posted
Oh yes I did certainly think you would put me to rights Sylvia. I do love this sort of conversation we agree to disagree but also agree that there are many ways of doing things. Payne’s grey is one of the colours I was introduced too when I first started to paint, I like it from the very first brush load , I don’t use it to darken colours but used in various strengths and mixed with others I can have some quite good effects. My paint books would look odd and incomplete without it in there ,I’m sure lots of artists have their must have tubes of colour, one old friend would not be without a tube of white despite known that he could use the white from the paper.
Posted
I’m with Sylvia on this - I find Payne’s Grey really deadens a painting. Having said that, if you add a strong layer of Winsor Violet on top, it makes a lovely rich black - use it quite often this way. And I’m also one of those who can’t do without my white gouache - useful for so many things.
Edited
by Jenny Harris
Posted
Too much Payne's Grey really dulls things down, but a little bit, in the right place, is helpful. Think of Rowland Hilder's work (which I often do, and wish I could emulate it!): he used Payne's Grey, Neutral Tint, Lamp Black, and quite often Indian ink with watercolour - THAT would set the purists going all right. Point is of course, and it always is the point, in the right hands all of these things can enhance and strengthen a painting: it's when they're resorted to because we don't know of any other way of making a dark that things start to resemble a trip down the coal cellar steps without a torch.
I remember a painting by Ian Sidaway, in which he used Paynes Grey - much diluted of course - to represent a belt of distant trees: worked perfectly. But I bet he wouldn't have used it for nearer darks, at least not unmixed. As Alan B pointed out a few days ago, HIlder was very much a painter of tones and contrasts - it's there that he has most to teach us, the juxtaposition of strong lights with strong darks. He even got away with painting a sea scene by glazing Lamp Black over Viridian - YOU try that and see what happens.... it may not turn out quite as you'd hoped; it certainly didn't turn out as well as I'd hoped.....
The only caution I'd advise is that we shouldn't be afraid of the darkest darks we can get: but often, a touch of colour in them, eg in chromatic black, will add subtlety and depth.
Posted
Hi Paul, I just have jumped in this post.
Nice painting again, sketch and plans - I'll try to follow up...
I'm losing my mind because of the kitchen refurbishment.
They have started at 9th Feb, today is 27th...
Well.
What's the progress?
Rubbish in the kitchen, leftovers, dirt and dust.
Today the sink was mounted.
Yes.
It took nearly 3 weeks to put on floor cabinets to get the sink done!
Something has happened though, because they left the house without water pressure at all...
I'm not painting, I just can't get to it while living on this rubbish left in the kitchen.
They have promised this is the last week, and it's done.
It's nearly a full month since they started.
Sorry for sharing my upset, I'll try to catch up the forum news when this is all over.
Posted
Art - it'll pass. I know you know that, but sometimes it helps to remind ourselves. I'm due to have some work done here, and even the anticipation of it stopped me working for a few days - the thought of moving things out of the way, where on earth will I put them, should I start now before I'm sure of the installation date, and then have things moved out of the installers' way, but absolutely in my own way..... I have decided on the que sera sera approach: will cross the bridge when I come to it.
Best wishes with your temporary (note: temporary) disruption - think how much better you'll feel when all is in place, working, and you can get on with your painting again.