Tag Archives: color

Back to the Lesson Paintings

July 11th, 2009 | Posted in Carrie Lewis

Now that the portrait of Guienne Hanover is completed and drying, it’s time to turn back to the lesson paintings.

I got back into that mode of painting by starting the color work on two more paintings. Blue Cooler (shown below) and Impulsion. That brings to five the number of paintings that have entered the final phase of the Flemish technique.

I also brought the portrait of the Little Dog down from the drying room. No painting has been done on that as yet but it is back in the pipeline.

So far, I’ve found this phase to be both the most interesting and the most frustrating.

It’s the most interesting because I can wash on a layer of color and see what happens. It’s almost like opening gifts on Christmas morning. If I don’t like the look, I just wipe off that color and try another. What a delight!

It is frustrating because on some paintings, all I can do is put on color, then wait for the paint to dry. In some cases, color is applied only to very small areas.

But the value of all the work that went into the Umber Layer and Dead Layer becomes increasingly more clear with every painting. Most of the work is done in those two phases, leaving the fun stuff for the end.

One thing I’m looking forward to is doing a landscape or two in this method.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , , , | 0 Comments

Finally…Color!

June 13th, 2009 | Posted in Carrie Lewis

Studies in the Flemish painting technique entered a new phase today: color.

Three paintings were ready to being color work and I worked on all three of them.

Two of them, Contemplation and Joker involved nothing more complicated than rubbing the first color into the backgrounds and the horses themselves. Just a few minutes for each one and they were done for the time being.

I used Magnesium Blue throughout the entire painting (except the white blaze) and Prussian Blue in the dark areas on Joker (shown below).

Contemplation (shown above) was started with Yellow Ochre in the lighter areas and Raw Sienna in the darker ones.

For both paintings, I used a rag to apply the paint and smooth out the paint layer and used no solvents, mediums or oils on either the panels or mixed in with the paints.

Afternoon Graze, which was actually the first one I worked on, had more involved work done on it.

I began with the sky and painted forward and downward from there, painting color over each of the hills in the painting. By the time I finished, only the horse was still in the dead layer stage.

More detailed information on the work done is available on the page for each painting,

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , | 0 Comments

Thoughts on Color

June 4th, 2009 | Posted in Carrie Lewis

One thing I’ve been able to do over the last two weeks is think.

And one of the things I’ve thought about is beginning color work in the Flemish technique.

The work I’ve done so far on umber layers and dead layers has been, for the most part, interesting. But some of it has also felt suspiciously like wading upstream against a current that wants to do something else.

Part of the current is the desire to work in color on something other than a portrait. Another part is to see some real detail. Yet another part is to see something finished! Anything!

With the beginning of a new week and returning health, I’ve been looking at the lesson paintings that are either ready or nearly ready for color and planning my next steps. Some interesting ideas have come to the fore during those (physically) idle moments that may make the process more streamlined in the long run.

One of them is the treatment of backgrounds.

As I write this post, three paintings that are past the three-week drying period in the dead layer. They are Contemplation, Joker and Afternoon Graze. Of the three, only one (Afternoon Graze), has a full background. The other two are tonal.

Of those two, one of the horses is going to be black and it was that realization that led me in the direction of thinking about color and backgrounds.

Someone at the Sunflower Arab Show in April commented that the dark umber backgrounds looked like wood and that the paintings had the look of being painted on wood. I thought at the time that it would be very interesting to develop a painting that way intentionally.

The thought that arose with Joker was to leave the background in the dead layer stage and only ‘color’ the horse. What if the horse was fully developed in color and the background was left alone? What would be the end result?

I can already see that the portrait of Joker could be completely finished fairly easily because of the color of the subject. It wouldn’t take much color to give the entire painting the look of full color.

Likewise, the horse in Contemplation is a fictional horse and can be any color I want him to be. That means I can build him out of the background almost as easily as what I could do with Joker. Just chose the first color and get started.

Those two may be good projects for getting back into some kind of painting rhythm, but there is a certain amount of appeal to starting with a landscape, too. A good deal of thought and anticipation has been devoted to painting the sky and land in Afternoon Graze, too.

So who knows where I’ll begin. Suffice it to say that the first three projects present some interesting and unique possibilities for beginning the color work in the Flemish technique.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , | 0 Comments

May 6 – Georgia Workshop First Paintings

May 6th, 2009 | Posted in Elin Pendleton

Yes, some of my students in the Georgia workshop do WONDERFUL paintings!!
After the value studies in the first day of the Color Boot Camp workshop, the “recruits” are given the challenge of painting without mixing–but choosing values (lightness or darkness) based purely on the colors straight from the tube. The results are wonderfully colorful, exciting, contemporary works. I share two of them with you in this email.

The first one of the draft horse is done in acrylics and is an 8 x 8 canvas. It was a great challenge for these folks to not mix colors, yet they all admitted that the exercise taught them volumes about the true values of their pigments.

When we know the values of our colors, it allows us to make exciting color choices and perhaps not trying to mix on the palette. It also showed the students that colors have an “inherent value” when they come out the tube.

The second painting I’ve attached is of a rooster done in oils. It is 9 x 12 inches and has a little glare on the right side. But it, too, is very successful in the exercise.

The third day has us doing misty light and finishing up our moonlight work from yesterday. These students are spot on with design and drawing skills, yet I have one who has not used acrylics before…just watercolors!

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

©Copyright 2009 by Elin Pendleton. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , | 0 Comments

Apr 11 – Workshop Demonstration in stages

April 12th, 2009 | Posted in Elin Pendleton

In doing these Color Boot Camps, I need to demonstrate times of day for the attendees. Here’s the first step of the acrylic for backlight, and I’ll present it here in stages, so you can enjoy the process as well as the finished demo. This is a 9 x 12 surface (under the workshop lights some glare upper right).

I start by saying how important values are for backlit subjects. So in putting a large dark area down and covering the canvas this much at the get-go, I’ve “darkened the stage” for the drama that is to come. It’s a mix of thalo green and burnt umber. Those swirly marks are my “designing mind” planting the location of the focal points that are to come. More on this one tomorrow.

Here’s another image from the April workshop, this one done by Christine F., who was absolutely pleased that the Color System created this 18×24 oil canvas without modifying her painting style or subject choice! I hope you enjoy it as much as I did seeing it unfold so quickly to this point in just one afternoon. It validates my faith in the Color System to help artists change their work for the better. I’d like to also quote a recent “CBC” attendee who posted this email to the ColorSystem group on Yahoo Groups:

I finally did it! After lurking in the shadows of this list, reading all the posts while drooling with envy, I WENT TO BOOT CAMP!!! And am I GLAD I did. It was way more valuable than I could ever have imagined. I learned, and learned and then learned some more. Elin is a fantastic teacher with an abundance of enthusiasm, knowledge and generosity. I enjoyed every moment…I suggest strongly that you get yourself to Boot Camp. And if you can’t get there quickly, at least start by studying the color flash cards. Your life as an artist, and your paintings will never be the same! Thanks, Elin, FOR EVERYTHING.

Congratulations to new Collector Donna Matson from Los Angeles/Palm Desert on her purchase of my painting “Solitude” from the PAAR Whitewater Preserve Show. See the painting here (new window).

You can see my entire blog HERE.

My workshop schedule for 2009 is HERE. (Spaces only in the Maine-in-September workshop now.)

Color System information can be found HERE.

If you need to email me directly, please click here.

©Copyright 2009 by Elin Pendleton. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , , | 0 Comments

Apr 7 – Workshop Over, Next One Coming

April 8th, 2009 | Posted in Elin Pendleton

I just opened the June Riverside workshop today, and already six of the ten slots are filled with deposits. Wow. I know that the Color System is such a needed tool for artists, as I can see that it works; I saw it in students’ work this past weekend. I took some more images from this last workshop, and will be sharing their paintings with you in the days to come.

Here is the one I did as the demonstration for evening light, on a 12 x 16 panel in oils, using the Color System to convey time of day on the light falling on the pack mule and the landscape. It is a quick study, roughly done in about 30 minutes. However even at this loose stage, the light is set and the color “reads right” for the warm late afternoon. The students then took their own source material, and spent a half day doing their own paintings in evening light.

Here’s Pat’s 8 x 10 acrylic which she did from her own black and white photograph. I enjoy seeing every student’s painting style in these workshops. And so fun to see the wheels turning in everyone’s head as they THINK about painting!

I have a new flyer for the workshop in Florida. You can view it online here, and please share it with your friends “over there”.

You can see my entire blog HERE.

My workshop schedule for 2009 is HERE-Florida and Maine!

Color System information can be found HERE.
If you need to email me directly, please click here.

©Copyright 2009 by Elin Pendleton. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , | 0 Comments

Apr 3 – First Day of Color Boot Camp

April 6th, 2009 | Posted in Elin Pendleton

Today ended the first full day of the April Color Boot Camp here at Two Trees Studio. I am pleasantly tired tonight, yet smiling as I do when I know the students had a valuable day behind them. I demonstrated how to make a fairly good old painting I had much better, by the knowledge of the Color System I’m teaching. I took this 24 x 36 acrylic that I painted back in 1998, and with glazes and some enhancement of areas, transformed it from a ho-hum nice painting to a definite morning light piece. I’d painted it in 1998 during the month after my dad died as a series of pathway paintings, coming to grips with losing a loved one, and the path we are all on during this stay on earth.

In the Color System, morning light is suffused with yellow (mostly) and shadows take on some characteristics of the receding night sky. It was fun to change the areas of sunlight and shadow to reflect this, and yet to hold to the integrity of the original painting.

Here’s the old version for you to see what the original painting looked like before the demonstration of how to fix a canvas.

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE.
Color System information can be found HERE.
If you need to email me directly, please click here.

©Copyright 2009 by Elin Pendleton. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , , | 0 Comments

Feb 23 – A Big One – 30 x 40 Oil

February 24th, 2009 | Posted in Elin Pendleton

I’m using some of the photographs I took in Georgia last year to create this morning light landscape of the forests, fields and fences of the area on Fay’s farm. This is the rough design, painted over a scuffed orange wash to get rid of the white.

You can already see the tension created by the horizontal fence line, the verticals of the tree trunks, and the angled fence line taking you into the picture plane. Interesting how just a few lines can already create a feeling of depth on a flat surface. The color will only enhance this! I’ll be using the Color System to depict morning light. I know there will be an animal or animals in the composition, but right now I haven’t decided where they’ll go. I know they’ll be back further, so you’ll have to seek them out, traveling the design path to get to them. Painting is such fun!

I’ve decided to open another workshop here at my studio in California–in June–the Three Day Color Boot Camp. Returning Boot Campers are “Repeat Offenders” and three timers are getting “Re-booted”! Looks like it will be from Thursday evening, June 4th through Sunday, June 7th. I have five slots tentatively filled so far, and if you’d like to be a part of the fun, just email me.

You can see my entire blog HERE.
My workshop schedule for 2009 is HERE. (June isn’t listed yet.)
Color System information can be found HERE.
If you need to email me directly, please click here.

©Copyright 2009 by Elin Pendleton. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , | 0 Comments

Jack Russel portrait drawn in colour pencils

January 18th, 2009 | Posted in Sheona Hamilton-Grant

Ascot is a rare view: the result of my tackling colour.

He is drawn in graphite with a touch of coloured pencil and watercolour.

Gayle Mason’s (Fur in the Paint) explanatory post has been a tremendous help. Her post on drawing cat eyes put me on the right track and it went from there. Gayle is not only a real expert at rendering, beautifully, animals in mixed media but is also very generous in explaining her process.

Digging in my heels and “just” going for it with lots of trial and many errors have been “what it took”. I’m happy with the (almost)final result, the colours are discreetly present, there is depth and the portrait is faithful to my style. (I will put the portrait out sight for a few days and only then bring it back out to make any adjustments and tweaks before signing, spraying and framing.)

I only hope I have trialed and “errored” enough to be able to do another: Joris (Ascot’s brother) has also been commissioned…

©Copyright 2009 by Sheona Hamilton-Grant. See original post here.
To learn more about this artist, visit her website.

Also tagged in: , , , , , , , , , , , | 0 Comments

Nov 13 – Open Acrylics and Defining the Color System

November 14th, 2008 | Posted in Elin Pendleton

I’ve been asked to “explain” my Color System–Hmmmm. That can be a bit of a challenge, since it requires a minimum of three full days by Color Boot Campers to get an inkling of what it is all about. So I’ll pose the question to all of you who have been through a Color Boot Camp, and have seen the Color Flash Cards:

How would you describe the Color System to someone unfamiliar with it?

Please reply in one of two ways: 1) post a comment to the blog, so it will remain there permanently for others to see, or, 2) reply to this message and I’ll put some at the end of this message once it has gone out. I’ll really enjoy your responses, and hope you’ll do #1 and post them as comments to this blog entry on the blog site. If you reply to the email, you’ll only talk to me. I think there’s much to be offered in how you see the Color System. So can you help me out?

Now, here’s an 8 x 6 evening sky painting done with those Golden Open acrylics, using the Color System. It was a out-of-head sketch done at the very end of the workshop at the Art Expo with Suzanne next to me and Catherine across the tables. We had a great time! This one is available for $175 including shipping as a nice example of the sunset skies and also “open” acrylic handling. Paypal is fine. Fun!

I’ll be starting another large canvas over the weekend for you, and again I’m going to use those Open Acrylics. I think I will also video the process, and consider assembling the various footages I have in the digital editing room into a new DVD–called “Acrylics and Oils with the CS”… or something.

You can post a reply to my blog here.

Color System information can be found HERE.
If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , | 0 Comments

3 in a row, horse photo.

November 12th, 2008 | Posted in Donna Ridgway
There’s something about this photo that catches my attention. It could be that I spent about three hours out in the horse pasture to finally catch three horses lined up like elephants marching!

I like the way their forms are repeated right down to the end. You kind of wonder what you’re looking at, then the tail on the last horse gives it all away. You can tell from that tail, these are horses.

And just for fun, here they are in living color. I go back and forth as to how I like to look at them best….Class, Bunch and Murphy, all in a row!
Donna Ridgway

©Copyright 2008 by Donna Ridgway. See original post here.
To learn more about this artist, visit Donna Ridgway’s website.

Also tagged in: , , | 0 Comments

Oct 19 – 90% covered and a Break

October 19th, 2008 | Posted in Elin Pendleton

Yesterday you saw the blues going in. Now the canvas is 95 percent covered. I’m still in the cool box as I paint the rocks in the foreground with the “big three” sky colors, creating the illusion of their reflected colors from the blue overhead atmosphere. Variations on those mixes creates the visual interest there. You can click on the image to get a larger verson with more details.

Although the light area at the upper left is in sunlight, I painted it completely with cool mixes to keep it back there.

At this point, I stopped to take a photo because of the warms that are (finally) appearing on the grassy area across the water and on the rocks and pine needles in the foreground. I wanted to share with you the painting at this stage with the cools in place. Compositionally, do you see how the three trunks on the left mirror the lit three trunks on the upper right? Ties the whole image together with implied lines going between them–like a bridge across the water!

As long as the painting holds up with cool box mixes, adding the warms in smaller percentages will always enhance, not destroy, the composition and color balance. As I’ll be painting so much detail in the foreground, I want you to have a resting place, separate from the horses across the water. In fact, those horses will be much less prominent than shown by the areas unpainted, because when I paint them, I’ll pick colors and values that will have them blend in–just like the “Morning Pasture” painting from September 14th’s blog entry (opens a new page).

I just love a painting at this stage–the source material and the painting are now distantly related, yet the details that will fully tell the story are not yet in place. When you paint, do you put the focal point in first? How much more can you get, if you delay that addition until the rest of the canvas is singing along? Now that my canvas has the basic colors in place, the fun begins as I make each area more interesting to you, the viewer. Eye candy!

You can see my entire blog here.

Color System information can be found HERE.

If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , , | 0 Comments

Waxing Artistic

October 18th, 2008 | Posted in Linda Shantz
Rubytuzday

It was rather on a whim I decided to take the most recent FASM workshop offering. Encaustics are a medium I knew little about but found intriguing. After seeing some originals in person at the FASM general meeting where the teacher for the workshop, Cora Brittan, gave us a presentation, I thought if I could manage to attend and cover my usual barn work, I would! I even had everything on the materials list, so I didn’t have to buy anything.

Simply speaking, encaustic painting is a process that uses wax. Techically what Cora taught us was mixed media, involving everything from drawing, ink, linocut printmaking and collage. I decided to keep it as simple as possible – I’m a painter, so I felt a bit out in left field! Like a good workshop participant, I did a couple of drawings the night before, so I wouldn’t spend half the day working on my drawing and not get a chance to actually play with the wax. It’s something I always encourage my own workshop participants to do, with varying degrees of success!

Poseidon

I found out, very quickly, that it would take a bit of trial and error to come up with work I was actually happy with, though I will show you what I did anyway. I used a combination of technical pen, coloured pencil and oil pastel for my drawing. The first one, which I’ve posted at the top, I went back over a second time with the wax – once I had a better idea of how it worked! The photo doesn’t show it, but I used some of my very cool Sennelier iridescent oil pastels over top of the wax as well.


At the very least, I had some fun with colour today. The last one I didn’t finish, only putting the wax over the drawing I did with the tech pen. You can see I used the same drawing again – all of the colour is from the waxes. Certainly nothing resembling the intricate designs our instructor produces! I believe I will be sticking to oils for the time being, but every now and then it’s nice to just play! I kind of felt like I was back in grade school!

©Copyright 2008 by Linda Shantz. See original post here.
To learn more about this artist, visit Linda Shantz’s website.

Also tagged in: , , , , , , | 0 Comments

Sep 11 – Continuing the Landscape, and the Flash Cards are HERE!

September 11th, 2008 | Posted in Elin Pendleton

Oh, my! Thank you for your response to the Color System Flash Cards! I’m prepping envelopes and Alberto will be here today to fill and send them off for you. It was wonderful to be able to offer them at a much lower price than I originally thought. I do hope that some of you will let me know what you think of them–a mini review?

Here’s the next 45 minutes on this canvas… mixing cools and dark values to fill in the “framework” of the composition, and then putting in the middle distance (mid-ground) ultramarine blue affected grasses. No details at this stage. Again, I’m just covering the canvas! Although I sometimes feel a tweaking need to slip into the warm boxes, I curtail it and instead mix up other hues that still read “cool”. Almost every mix is more than two colors, too. That grays down the overall “feel” of the painting, and if I add any warms, they’ll only be enhanced by the cooler hues.

Source material again for your enjoyment:

You can see, that although my warm boxes are completely “out of the picture” (HA… Pun!) the differences between the colors in the painting and the colors in the photograph are already diverging. This is why I absolutely love painting and the Color System, because it gives me much better choices than just those in the source material.

You can see my entire blog here.
Color System Flash Cards at this link:
http://www.elinart.com/pages/flashcards.html

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , , , , | 0 Comments

Sep 5 – Forgot the Swatch on the Cow

September 5th, 2008 | Posted in Elin Pendleton

Yesterday I was so excited about the Flash Cards that I forgot to add the swatch of the cow for you to see that purple! But sometimes thing happen this way, so I can explain more fully why something works for me. And so it is. Here’s a circle from the shoulder of the cow, against a neutral gray background. Can you identify the colors? The painting is here, too, smaller, to refresh your memory.

Training the eye to “get it right” when you mix colors takes time, and a neutral gray area around one’s colors can truly assist in identifying the colors. That’s why on my taboret, both my glass acrylic and oil palettes are sitting on top of gray painted wood. With each mixing of colors, I have made my job of identifying the colors that much easier. Look at the same circle below, surrounded by white. All you see is the circle, and we miss the beautiful variations of color within the circle. The color is dominated by the value contrast, plain and simple.

Working on a high value white palette will make you change your colors to be lighter than they need to be, because of that contrast issue. And your eyes will tire quickly as they adjust constantly between the color and that high-value white. The palettes of the old masters and many seasoned painters are a patina of every color–which equates to…. you guessed it!…. GRAY. I like a clean palette, so painting the wood underneath gray solved the dilemma for me.

You can see my entire blog here.

If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , | 0 Comments

Sep 4 – How Now, Purple Cow? Moonlight

September 4th, 2008 | Posted in Elin Pendleton

A purple cow doesn’t look purple when it is painted in moonlight, but it truly is. You can see that by isolating the color and putting it on a neutral gray background. (See below for the swatch from the cow’s shoulder.)

Knowing how to paint something that is white (or black, or both) during different times of day is the whole concept about the Time of Day Color System. It requires practice, and most importantly, THINKING to get great color every time.

I did this 12 x 16 inch oil painting as a demonstration piece for moonlight during the workshop in Sebastopol a week ago, and then left it in the camper when I returned. Hmmmm, I wonder how many other paintings are sitting up on a shelf to be discovered later?

I received the first color proof on the Flash Cards… they are going to look great! Some minor tweaking on my end to get the colors spot on, and then we’re going to do the print run. I had originally scheduled only 100 sets to be done, but know from your response that I need to do a much larger quantity. For that, I thank you so much. I hope you’ll get a LOT of information from them, and you’re going to be the first to know when I have them in my hands! Here are six of the seven fronts of the cards–can you identify the different times of day? (The cards will have some helpful text for those color bands along the bottom.)

They look a little silly all lined up like this…

You can see my entire blog here.

If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , , | 0 Comments

Aug 30 – The Boy Finished

August 30th, 2008 | Posted in Elin Pendleton

Although this accidentally went out before it was supposed to, I did further editing and here it is again.

It was a quick matter to put the finishing touches on this canvas while teaching in Sebastopol’s workshop. The sailboat just fell into the composition, and made a complete story. I even like that the mast is a bit bent, like things in life–showing character!

The shadow on the sails was done with yellow ochre and the “usual suspects” of ultramarine blue and white. I drilled into the students’ heads that over half of all shadows are made from the sky trio–ultramarine blue, alizarin and yellow ochre in some proportions, and it is in evidence here.

I hope you’ve enjoyed this lesson painting. It is available as I write this, although at $220 through PayPal, it might be gone before long.

The long-awaited Color System Flash Cards are AT THE PRINTER!!! I’ll be proofing them in a few days, and THEN they’ll be printed! Yippee! You all will be the first to know when they’re in my hands.
Here’s a sample of the back of one of them (the cards will be much larger):

You can see my entire blog here.

If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , , | 0 Comments

August 26 – Back from the Workshop!

August 26th, 2008 | Posted in Elin Pendleton

Landscape painting "before" fixing color. Copyright Elin Pendleton, all rights reserved.

I’ve returned from a wonderful five days up in Northern California, teaching the Color Boot Camp workshop and doing a demonstration for the ASW painting group in Sebastopol, about 30 minutes north of San Francisco. What fun! Great group, and the workshop was full of laughter and “head-hurts” with the Color System knowledge going in. Many made great strides towards/into good color choices for the time of day they were painting.

The demonstration paintings I did during the workshop and meeting are examples of my evolving style in how I want to have my art appear after the hiatus of last two months. It’s been wonderful to reach into the oils with such certainty about how I want the end painting to be.

It’s easy to admit that artists grow and change, but perhaps not so exciting to know that other artists also go through this. Above is a painting I did back in 2005, and one I brought to the workshop to show evening light as it can be done on location. I knew the Color System in ‘05, but hadn’t refined it enough to “pull it off” every time. That’s typical of newbies to the CS, because it takes a while before the Color System can be involved in every one of your color choices. I was still relying on the “good ol’ choices” because they were familiar.

While in the workshop, I told the students what I was going to do to the painting, and then did it. The changes are subtle, perhaps, but the overall painting has been “stepped up a notch”. Here’s the finished work.

Landscape painting "after" color-fixing demo. Copyright Elin Pendleton, all rights reserved.
You can see my entire blog here.

If you need to email me directly, please click here.

©Copyright 2008 by Elin Pendleton. See original post here.
To learn more about this artist, visit Elin Pendleton’s website.

Also tagged in: , , , , , , | 0 Comments
RSS for Posts RSS for Comments