|An extensive color chart exercise done in the 70's when I started using acrylics seriously.|
This one included the effects of ivory black on the palette colors I thought were essential.
"If you wish to make sure your painting will succeed, a minimum of three things must COME FROM YOU. The first thing is KNOWING WHY you want to paint your subject.
The second is AN ANALYTICAL GRASP of what you see.
The third is THE SKILL TO CONTROL THE PROCESS of painting." --SCHMID
I definitely know why I am painting My Guys. I love seeing the three of them together. I do have an analytical grasp of understanding what I see. I DO NOT have as much skill as I need to control the process. But I know where and how to get it.
|This self portrait is an excellent|
character study considering his letters.
Letters to Theo, by Van Gogh who does seem to have some tendencies that make me suspect he was bipolar, is also surprisingly tedious. Van Gogh goes on and on for pages. I felt pity for Theo standing in his study reading religious yada,yada yada, blah, blah, blah from his dear, sweet, overly zealous, very pious older brother. So while hanging in there and reading what were thought to be interesting books, I'm really skimming through.
Not so with Richard Schmid's Alla Prima. I was devouring his every word till I had to stop smack in the middle and take time out to make a color chart with the twelve basic colors of his limited palette. Schmid really stressed the importance of going through the trouble. Not at all up on oil colors, and the colors of oils being different than acrylic colors, charting them seemed like a worthwhile exercise to upgrade my oil skills.
Though relatively new to oils, I am not new to color charts. I did them in my student days using my basic acrylic colors mixing one color with another then exploring the results of adding black and white. They were quite complicated. Years ago black was okay. Schmid is a no black guy. He mixes his own. On his charts only white is used. --Titanium. I chose Flake White instead; quite a few portrait painters prefer it. It's warmer than the blue-ish Titanium.
|While waiting for the recommended format to arrive ,I made a sample color chart from|
the basic colors on Schmid's limited palette minus Cobalt Violet--according to
Schmid, not a must have, but, according to me invaluable.
Anxious to get into it, but not having the size panel Schmid suggests (8 x 16), I got started anyway on a panel I did have adding my own touches--a column for the gray made from all the colors equally mixed together, a column of the best three colors in this palette for mixing the darkest "black," ( Ultramarine, Alizarin, Transparent Oxide Red) and a patch of the mid tone gray that came from that "black." I like shades of gray. They have the power to harmonize, the same as the addition of white to all colors produces harmony.
|My Guys are getting warmer after sampling Shmid's limited palette.|
possession for their mom.
"Disasters are invitations to learn more" --SCHMID.
SCHMID'S BASIC PALETTE
Cadmium yellow lemon; Cad yellow light; Cad yellow medium; Yellow ochre; Cad red medium; Terra Rosa; Alizarin crimson; Transparent Red Oxide; Viridian; Cobalt Blue Light; Ultramarine; Cobalt Violet. (Cobalt Violet is not on my trial chart; it will be on the chart the next time. Schmid mentions it and uses it a lot, but didn't put it on his list for some reason or another. I think it was economics. Cobalt violet is expensive.--But the savings of having a palette limited to twelve colors plus white allows for indulging myself).