Color studies made me pull out this portrait of Lolita, (not her real name, but it fits the come hither look in this eleven year old's eyes). The under painting was laid in. The values were wrong. In an hour, armed with my new understanding of oil color saturations, I brought her up to where she should be using Vianna Szabo's premise that fewer colors are needed as long as they derive from the three primaries. For Lolita, I chose four colors--Cad. Yel. Med.; Cad Red Med; Red Oxide; Ultrmarine Blue. For black I mixed the blue, the red oxide and a bit of cad red med. For the white, I stuck with Frake White. Unlike Schmid, I don't count white and "black" as palette colors. They are common denominators for making harmonious tints and shades from basic hues. The hour or so I spent last week making Schmid's color chart was--now wait for it--VALUABLE! :-))
0THER NEWS: I DID IT! I entered the Michigan Artist Competion. I decided it was time to collect my first late-in-life rejection slip, but at the same time let the art crowd know there's a new wannabe in town. The prize is 5 k and would buy a lot of supplies, but the odds of winning are like the lottery, a zillion to one. Only two entries are allowed for a fee of $40. When I get the rejection notice, I'll chalk that off as another charitable contribution to the arts. I entered
Cake Shop and Cherry Torte, two of my pastry paintings. I figured what the hell, landscapes, flowers, portraits, abstractions will be in abundance, cakes and tortes will not. The difference may make the difference? Variety is the spice of life.