Its going to be a breif post tonight. I saw Jeff Beck play tonight in Boston, and its quite late. What a concert! He is an amazing artist,the variety of sounds and moods he gets is unequaled by anyone else. He closed with a couple of Les Paul tunes, very surprising. He's on tour, see him if you can. As a surprise opening act they had Derek Trucks and Susan Tedeschi, one of the few people out there who could conceivably open for Beck.
I have been talking about color temperature. One of the comments asked why you would want to paint your lights cool, or warm rather than the "true" way they appear. The simple answer is that color is subservient to design like anything else in a painting. There are times when you want accuracy, and times when you want poetry. In the summer with all the green out there, you might want to think about how much of that you want in a painting. Sometimes you can observe variety into them, but when you can't its handy to know how to install it. I did a series of posts on painting greens.
Painting the lights cool or neutralized and the shadows warm in a high summer landscape, eliminates a lot of the more chartreuse greens that can be so overbearing. Forcing your greens in the light towards a warmer note adds red which neutralizes them too. In the summer, choosing your color temperature can be a survival trick.
I will be back and possibly more useful tomorrow.
Posts
9 comments:
Jeff Beck, I know that was great.
I haven't listened to Beck's stuff since, well, the 70's. I'll have to rediscover....Also from that era, remember Frampton's Camel,after Humble Pie but before the Frampton Comes Alive stuff. For some reason your mention of Beck has me thinking of that. Wonder if that stuff is out there.
Stapleton is right to talk about playing around with warm and cool. Sometimes it is the only way to make the painting look right.
I just posted a few of Stape's oils on my blog and talked about a few of the similarities and differences between our backgrounds. (Since he is rumored to be 19 feet tall, I only said nice things).
What are your thoughts on the discussion in the Birge Harrison book where he suggests doing a landscape underpainting all in reds, then placing the cool notes on top, matching the value, but trying to hit the color?
He mentions that this may be a way to get more vibration in a painting, and would certainly add those much needed warm notes often neglected in a painting.
I actually tried this once, doing an underpainting using only cad scarlet, Aliz Crimson, and white.
It was a fun exercise, but I am not convinced.
gregory:
It was epic.
.........Stape
Simmoone:
I saw Frampton play with Camel in about 72 in Central Park NYC.
He no longer has his trademark hair. Soon I won't either!
...........Stape
Philip:
Thank you for featuring me on your blog. I am out here on my branch with all the classical realist guys who aren't too sure I am one of them.
..................Stape
Richard;
I think it is a recipe for disaster. The last thing you want under a painting in my opinion is a powerful color of any kind. A moderate tone is one thing but cad red? I have seeen beginners show up with bright red canvasses and get killed out there. It makes it hard to judge your colors and values and puts a common note in both your lights and shadows, which I don't want..
..Stape
Jeff Beck... was this at Foxwoods?
Did he have Tal Wilkenfeld on bass?
Shes amazing.
Derek Trucks is on par with Beck in my opinion, different kind of player but man he has the touch. Excellent choice for the opening band.
Post a Comment