I had promised to breakdown my palettes for the Black and White show at Robert Lange Studios, which is still up through the end of the month. Opening night in pics: Amazing space, great art, and tons of people. (Sorry I am a bit late in posting this):
With black and white, the addition of a few subtle color choices can start to bring a greater truth, or a more natural aspect, to what could be a limited depth of painting. What I noticed when putting a warm color into the shadow or into the light was that it made the grays (mixed with strictly black and white) appear very blue. At this point of my experimenting with this new palette I started thinking about temperature, and that is one of the most important aspects of a painting: the color relationships. My goal was to find a nuance and subtlety with my color choices. Each color added to the B&W mixture was very small, as a little addition shifted the color noticeably in one direction, either towards warm or cool.
'Turning Point' Palette:
Ivory Black - Alkyd Quick Dry White - Virdian - Yellow Ochre - Raw Umber
Ivory Black - Alkyd Quick Dry White - Yellow Ochre - Raw Umber - Burnt Sienna - Phthalo Blue
This was the only painting where I blocked in the background with a graphic Pthalo Blue shape and the foreground with a yellow ochre - burnt sienna shape. Much like a landscape painter might tone the canvas before going out in nature. Usually this tone is a nice warm wash of yellow ochre/burnt sienna/cadmium red or any other This underpainting acts as a counter to all of the greens and blues in nature by using a color mixture that complements. It also helped me set up my composition. Once this was dry I worked wet on wet as per usual. However you can see little areas of these two punchier colors coming through and providing a nice injection of life to the painting.
Ivory Black - Alkyd Quick Dry White - Hansa Yellow - Raw Umber - Transparent Oxide
Ivory Black - Alkyd Quick Dry White - Hansa Yellow - Raw Umber
All paintings are oil on board and 24" x 12" in size.