Researching the Answers…
“Every Masterpiece begins with an idea…” is an oft-quoted phrase of many successful persons. My philosophy is that my “Masterpieces” are answers that I have yet to find the correct questions to unlock them with. My research, therefore, is my way of asking those questions. Along the way, I’ve found both answers and questions that weren’t obvious to me in the beginning of my process—in function, form, and execution. I invite you to join me below for highlights…
PIEMONTITE GENUINE is offered by Daniel Smith. They describe it (in part) as follows: “A deep ruddy violet is the darkest value of this watercolor; adding water produces lovely violet-brown granulation with a carmine tone.” I would add that it also produces lovely flesh-tones that run the gamut from ‘medium’ pink to deepest walnut. Because of its granulating (separation of particles) nature, it’s not a beginner-friendly pigment. With this in mind, I painted a large (11x15 in) test sheet where I could investigate ways of manipulating this paint. I do the same for each and every ‘unique’ paint that I buy. These test sheets are invaluable to me; without them, I’d have no easy record of what I’ve tried and found to be successful or not. In my ‘excavation’ progress, I’ve found that many pigments—from primaries through unique—are highly reactive to using ‘non-traditional’ techniques on wet paint: e.g., applying plastic wrap, parchment or gauze; dropping bleach, alcohol, or other liquid; spinkling particles other than salt. This method also allows me to test the limits of adding water to the paint; blooms, resists, blends, and layers are all put their paces as a result.
To date, I’ve made similar test sheets for Green Apatite (antique jade with brown accents), Moonglow (deep violet that separates), Sodalite (heavily textured grey), most ‘earth’ related pigments, and many multi-pigment paints: i.e. “Rose of Ultramarine” (DS), which combines Quinacridone Rose with (French) Ultramarine Blue. I don’t go through this process for all my paints…as that would take all my time. But…some answers take many attempts before I’ve found the right question.
Colours are wondrous
Have you ever looked at a colour and didn’t have a handy frame of reference for what it is? It’s that ‘green’ that isn’t mossy or electric, grass or evergreen, muted or vibrant? Blues that are neither sky or sea, reds that don’t look like a specific fruit, or oranges that don’t remind you of any orange you’ve ever seen. This class of colours is the one that makes my creative soul soar!
One of the many joys of painting in watercolour, versus oil, acrylic, or other media, is that there are so many pigments (the active ingredient) that make this possible without having to concentrate on mixing just the right shade or hue or using additives for special effects. On the right, you’ll see a graphic of such a pigment that quickly became one of my must haves
Colour Charts & Mixing
We all made Colour Charts in primary school, yes? Like many other persons, I felt a noticeable level of dread the first time I sat down to make a mixing guide for my new paints (I’d been absent from creating art for some decades). I’d already learned my primary, secondary, and tertiary colours: red, yellow, blue; orange, green, purple; and, red-orange, yellow-orange, etc. through blue-purple (indigo), respectively. I also knew how to make greys and beiges. How wrong I was!!
Just look at all those lovely greens, pastels, and browns.
Shack in Rose of Ultramarine
On the right, I present “Shack at the End - in Rose”. I’m not a fan of ‘traditional’ landscapes; I’m far more drawn to subjects that look like they have an interesting story to share with us. The source image for this piece was on PixaBay and seemed to be screaming about how lonely the shack was. It was lonely … but hopeful.
This shack turned out to be an excellent subject for painting with just one pigment; I chose Rose of Ultramarine from Daniel Smith. As it’s a mix of pigments, I was able to achieve the delicate pinks, hints of blue, and deep violets evident in the final piece. I enjoy the freedom and challenge of using a single pigment as it allows me to fully investigate the changes in tone, value, and temperature in what I’m using as a subject.
It doesn’t work for all colours, but when it does … wow!!