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DECIDING ON COLOR

The basic pallet I used for this painting was very simple light red, raw umber and yellow ochre, cobalt blue and prussian blue - one red two yellows and two blues. The overall cast of this painting is blue green. My concern to this stage was to keep everything subdued, and to make sure the lights and darks (values) looked correct. I knew I would be adding touches of highly saturated red and yellow hues later. How did I know this? I remembered a painting by Rembrant that had a similar color scheme, all I needed were roughly the same percentage of hues - although the values I wanted would be slightly higher. Why did I use this scheme? The narrative involving an ageing Thor demanded clouds and sunset. Since I also knew I would be showing areas of reddish flesh therefore I resisted using red in the sky and distant landscape. I wanted the blue grey of the storm. When the painting was almost finished I added my toutches of cadmium red and cadmium yellow for the highlights, specifically the handle of the hammer and the toga. These highly saturated colors have the effect of echoing and unifying all the other reds and yellows. Drawing a parallel to music I could say they act like a pure single high note, played an octave above their harmonic chord. Suddenly you see all the reds and yellows unified and reverberating about the canvas. Next we shall embark on a little exercise where I hope you will more fully understand some of these terms and principles. I have found a frame for this painting but I will need to color the timber part. What color will I use and why? Here is the frame Here is the painting [ Lesson Index ] [ Previous Lesson ] [ Next Lesson ]