This is a jar of pure pigment. This week I have been continuing my pigment studies and my research in color theory. Pigment and color theory are different areas of research – a person can work with color using a computer monitor, but to get it to translate into paint requires a different skill set. As any painter can tell you, color mixing is a skill that takes years to develop. While there are no real short cuts, I am always working on ways to explain things and make them into a system. Understanding the pigment in your paint is the first step. 💙
Transitions, framed. I spent this summer hustling on finishing two big projects, which have been really exciting. Neither are directly related to my work here, but I have been carving out moments to keep studying pigments and working on the color studies. I am working on a series of 100 of these studies! This is #34. 😊
Lately I have been in love with the Blue-Yellow spectrum! Yellows are some of the hardest to handle pigments, and it has been a challenge to unlock this gradient in practice. Van Gogh’s Café Terrace at Night uses this combo perhaps most successfully of all, but there he uses a few more colors in the composition. My aims for this piece are a little different... it was almost a practice piece, but it came together in ways that exceeded my expectations. //
Inside There Is a Symphony 5”x7,” oil on panel
I’ve been using Ultramarines lately. Most of you know that I have a long-standing, almost spiritual interest in the weather. It often finds its way into my work... the way that the color of light affects everything. This one is from last week and something in it derives from the tempestuous transition between winter and spring that we have here in the Rockies. We will have snow one minute and sun the next. Winter surges like sea, and seems to be unwilling to give up its grip, even though the spring is inevitable.