Newsletter September, 2004 A Free Newsletter for Those Who Love to Paint

Color of the Month

Cobalt Blue cobalt

This is a clear, crisp blue. I find it to be neither very cool nor very warm. I use it mostly for skies or objects where I want that particular blue. Use it for midday skies where you don't want the purples of dawn or dusk. It is a pretty blue but the genuine pigment is quite expensive so I save it for when I use it on its own. I do not mix it with other colors too often. I will mix white into it for a lighter value and I use ultramarine with it to create a deeper value. It's a nice color to have around for the clear blue hue. Add some to your palette for fresh, different blue.

Tool of the Month

Bulletin Boards

It's helpful to have one, or two are even better, in the area where you paint. One can be used for the normal stuff, phone numbers, 'to do' lists, show applications, favorite cartoons...

The second, or half of one if you don't have the room for two, dedicated to your art. Post sketches for the next project or so, color charts (manufacturer's or home made), postcards of favorite or inspirational paintings, a quotation or two to keep you on the right track. If you don't want or have a second board, the wall will do or even the back of a door - just somewhere that you see daily. Keep stuff on it that will excite you and motivate you as you create your art.

Seeing White

When you begin paintings do you start on a bright white canvas? Most people do, yet that may not be the best thing to do. But, you say, that's how they come, or if you make your own, that's the color of gesso. Just because they come that way doesn't mean you can't modify it before you begin and here's why you should.

For one, sometimes that big white space can be scary. Where to begin? What if it gets messy? What if it smears? Plus all the other 'Do I really want to start' type of questions.

Secondly, all colors are relative. You must judge each stroke you place against what is already there. If there is only white to begin with then that changes how things look and throws your judgment off. What looks OK at the beginning may not look OK when more of the canvas is covered.

It helps eliminate the tiny white spots between colors on a canvas. If your strokes don't exactly touch there will be color already there to merge the areas.

Lastly an under painted color can enhance the finished painting, giving more depth and interest to your work.

That's why and now here's the how. Thin paint with medium and a little turp and wipe a transparent layer over the blank canvas. It doesn't have to be even, it's better if it's not. If you wipe it on with a rag instead of brush, you can work it into the weave of the canvas and still not leave brush strokes. You probably don't want to add texture to the surface. Don't just use turp, if you thin paint too much, you can get to a point where the paint can lose its stability. Your choice of medium is fine. I like Winsor-Newton's Liquin since it also speeds up drying time.

What color to tone with? Your choice, since it will be thin and transparent keep it not very dark. When you are cleaning your palette you can use that paint to prepare the next canvas. If you are planning a sunny landscape you can use yellowish colors to bring a warmth to the whole painting. If you are planning a painting with a dominant color -- use the color opposite on the color wheel to help balance the painting. If you are planning a portrait use a greenish tone to give a base for the flesh tones...

If you are worried about sketches not showing up on the toned canvas then use chalk or a conte crayon or vine charcoal or a quilter's pencil or thinned paint to make it easier to see.

You just may find that an extra layer of color will bring a little extra to your finished work.

Sample toned canvases

Sample Palette

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