Developing Sheen and Luminescence; the Illusive Art of Mixing Color

"Fuchsia Fantastic" acrylic on 18 x 14 canvas

My latest project above, is finished. I do wish I could have achieved a better “hot pink.” There are so many variations of red, and when you add a touch of dark blue and a small dab of white sometimes you get lucky, and sometimes not. I wanted the painting to be seen as a whole and not have a bright color jump out and grab you, so maybe the compromise I made works best. I’ll let you be the judge.

"work in progress" hot pink!

One of the most complex colors to paint is white. If you’ve ever spent time in a paint store trying to select a white hue for your walls, you know what I mean. We currently have an off white color on our walls. I chose a sample square of “Marshmallow White” to make some touch ups. Ooooops! My color choice showed up grayer and darker on the wall.

I have another sample of “Antique White” which I’ll try next. I’m hoping this will be a match. There is a slight undertone of gold in the mix rather than gray.

Trying to paint white on a canvas is quite another matter. White isn’t just white. White reflects the colors you have in your painting and may essentially mirror every color in the rainbow. White is neither a primary color, nor a secondary or tertiary color. It is considered an achromatic color “of maximum lightness,” according to Ora Sorenson in her article “A Rainbow of White” in “the Artist’s magazine,” Jan./Feb. 2009.

“White is not the absence of color but a combination of all colors in the visible spectrum in equal proportions,” said Sorenson.

(Notice how the white costumes reflect every color in the painting and seem to glow from within)

When painting an all white composition, each element of white must differentiate itself from the one next to it in order for it to reveal its shape and appearance. Using a distinct set of complimentary colors in the shadows and contours of each object such as red and green, yellow and purple, or blue and orange, not only separates forms, but adds a luminous quality to the finished piece.

Another method of adding distinctness is through glazing. Once the painting is dry, adding a simple glaze of color over each object can add a glow and a hint of color. Contrasts and highlights can also add depth and interest to an all white painting.

(Notice how the white feathers reflect the water and lily pads)

Using too much white in the mixing of color can sometimes be overkill. Colors may look pasty and lifeless. But if white is the main color in your composition, play it up big and make it take on a life of its own as it shimmers and reflects from within all of the colors it actually contains.

Don’t be afraid of white. Use it sparingly in mixing colors, but turn it into something splendid when you use it as one of the main players.

(The whites in this paiinting reflect the colors that surround each object)

Success is a Lonely Walk we must take by Ourselves

"Siesta"  8 x 10 original drawing (reminds me of Key West!)

Being an artist is a lonely pursuit. Remembering what you know and putting it into practice requires self-motivation, skill and continued study. I’ve known artists who are professional students. They constantly take classes, but never quite get beyond the stage of exploration. They think that the next great class will surely make the difference between success and failure and in their ability to paint that perfect painting. Sadly, it never happens.

Only you can develop your brush strokes and style. You may learn value and color, you may understand another person’s technique and recommendations, but unless you continually practice your brush strokes and develop your own process for painting, you’ll be stuck.

"The Neptunes -- Octoband"   http://etsy.com/shop/anfinsenart

Plugging away and working while everyone else is at play is difficult. In order to climb, you must put in the time. It is by doing that we learn. We can read every book on the planet, and take all the classes available to us, but if we don’t put into practice what we have learned, our dreams of success remain in limbo.

"The Neptunes -- Trumpeteers" http://etsy.com/shop/anfinsenart

The biggest hurdle for most artists is finding time and space. Don’t wait until all your ducks are in a row. Don’t put off painting until you have the ideal space or allocated chunks of time. Delays are excuses. They keep us from making commitments.

Robert Genn’s twice-weekly newsletter is being done by his daughter, Sara, in his absence. Sara shared this gem a few days ago:

“Here's my version of English author and illustrator Neil Gaiman's Eight Rules for Writing. I've modified them for painters:

1. Paint.

2. Put your first stroke down and move on with another stroke. Work your strokes and let your strokes work you.
 

3. Stop the painting before you think you should.
 

4. Put your painting aside and start another painting.

5. Always keep in mind that you are your own best critic.

6. Perfection in painting is probably not possible. Excellence in painting is for people who appreciate the poetry of your soul.
 

7. Your style is what you're doing academically wrong. Radicalize yourself -- you only have one life to show you've got style.

8. You need to paint with enough assurance and confidence to know you can do whatever you like. So paint your story and make painting your life. Be honest with yourself about your progress. Always try to do a better job than you did the day before. I'm not sure there are any other rules. Not ones that matter.”

And finally another quote from Gaiman’s book: "I hope that in this year to come, you make mistakes," says Gaiman, "Because if you're making mistakes... you're Doing Something."

That’s all we can really do, friends. We can keep on making mistakes, and sometimes we may get lucky. (Below: work in progress "Fuchsia Fantastic #1, #2)