View Full Version : Complement Study

08-18-2004, 11:13 PM
*shrug* I liked the picture- what can I say? So I painted it.


There's a whole lotta glazing and scumbling going on....

08-19-2004, 12:19 AM
this has a wonderful abstract pattern. Your color is very expressionistic, too. carly

Irene Prior
08-19-2004, 12:49 AM

All I can say is "Dam your good!" The vibrant colors and the way you handled the water, I can actually feel if moving.


08-19-2004, 12:50 AM
Julie, this is fantastic...you took the drama you had in your glass pieces and used it in a LANDSCAPE!!! :clap: :clap: I've recently come to the conclusion myself that if I can't do it with every detail then I'm going to exaggerate the heck out of it...but you're a jump ahead of me and it's coming from your own neat perspective...really love it....ok...neeeeeeeext please :D

Kitty Wallis
08-19-2004, 12:55 AM
Alll Riiiight!

You are growing rapidly.

08-19-2004, 01:15 AM
Thanks Carly- one of the things I liked was the abstract-feel to it.

Thank you Irene- I seem to definately have a unique perspective- COLOUR!!

I think that's it, Sue- you and I have to approach this from our own weird outlook- find the little niche that says "detail" and use it to break into landscape

Kitty- I really, truly appreciate the compliment, but moreso, that pun. Thank you - truly. :)

Kathryn Wilson
08-19-2004, 07:47 AM
Julie! This is amazing! My eye jumps from rock to rock and down again with the water - just like IRL! Love the complement colors - this really sings!

You didn't say how big this was -

:wave: (just noticed the new smilies)

08-19-2004, 08:16 AM
Ooooooh thats nice.... its cold, wet n windy here....... so this was really lovely to open up

08-19-2004, 08:22 AM
This is just magnificent. I love your work and this one reminds me of why, pointedly. Did you use the complements in the shadows, the darker side of the rocks (for instance)? You're stressing in the title a complement study, so, please talk about that. Maybe it's all right there for me to see in the painting but I still want to hear more. You also mentioned all the glazing and scumbling. Elucidate. I wish you'd do more "defined" wips. You're work blows me away. You do the colors like I like to see and do...

08-19-2004, 08:41 AM
This looks like advanced form to me.Wish I could see the abstract before I next start a piece - perhaps you could do a WIP to show us how you get there. It is so vibrant & fluid love it really!!!
Cheers Alexandra :)

08-19-2004, 10:17 AM
I reeeeeally like this colour combo and the limited pallette. You'd do wonders with our Aussie outback scenes with colours like this . . .great stuff . . . this IS art.
Crumby :)

08-19-2004, 11:12 AM
ummm- wow! Y'all are certainly good for the ego. Thank-you- I am so glad you like this.

It's just a study done because I really liked the play of blue-blue-blue against those rosy oranges. The palette is limited, surely, but only in number of hues- not in number of sticks. There's 5 or six blues leaning from a dark turquoise to a royal purple, and the oranges go from burnt sienna to pale pale peach. The painting actually has a great deal more lights in it than the ref- I got carried away doing sparkles and leading the eye. :rolleyes:

Dark side of rocks is a Unison dark gray base, then dark blues, purples and sienna scumbled over, and then the darkest of the light side orange scumbled to give form. The tricky part, though, was glazing reflected light (light blues and violets) onto orange without going green- had to use Schminckes for that to stay soft enough to glaze. I lost control of my center of interest, too, it was supposed to be the rock ABOVE that lightest one (which is too centered- you see it now I've pointed it out, eh? lol) but the light one came out so right, I left it and hoped the contrast would carry- it didn't, but oh well. I tested eye movement by requesting a complete novice come look- watched the eye movement, and then asked. His eyes stayed in, moved 'round in a strong path, and so I figured leave well-enough alone, especially since he had no idea what I was trying to elicit from him. :cat:

Complements are colours which make each other sing; traditionally, blue and orange are complements. (There's a few other colour theories which refute that- and they work too, as long as you stay true to ONE theory throughout the piece. Use too many theories and you end up with Chinese Goulasch with Hawaiin vegetables....) If I had introduced red or yellow in anything other than a very subdued, supportive, manner, (yellow to spark the orange, or red to warm a purple) the piece would lack coherency- it would've ended up being garish. Introducing green would've thrown the piece entirely. I dunno how I know that, I just know that.

As for WIPs- I'm prolly not the best person to learn from that way- I work differently than most folks say to do it, not to mention my WIPs are generally not succesful pieces- I can either do, or teach, it seems, not both. What I CAN tell you, is I always start out with my darkest dark, and mark my lightest light- neither black, nor white, and exaggerate them both just a smidge, then make sure I play in-between. I try very hard not to blend- I want the colours to lay on and against each other and sing pure, so the eye mixes them the way it happens in nature. I stand back and say "No- that needs to be darker and warmer" or "lighter and cooler"- colour TEMPERATURE matters quite a bit to my eye. While I'm well aware of the value of values, it is still hue and temperature choices which guide me- I STILL cannot say "Any colour as long as the value is right". I can SEE that, but I cannot allow that.

As for abstract- well, that's just breaking a piece down to shapes rather than things, and then watching the flow. I had to learn it by taking pieces into psp, masking my center of interest to keep it clear, and then blurring everything else to near oblivion- that way, I could see the "bones" underneath all those "things". Try it with a few photos- you'll see how it works. Another way is to up saturation and contrast- a lot- and then posterize it- that gives you a very neat effect which shows the colours, rather than the "things", how the colours shift from hue to hue and make up "things".

ummmm- sorry, I'm still trying to get my first cup of coffee going, and in the mornings my mind goes a mile a minute, I should know better than posting before I've completely awakened. Again, thank you- I'm very glad you like this. I'll try to get the pics for a glass article done today- and get it to Carly. Maybe that will explain more since it's alla same, Number 1....

08-20-2004, 04:02 AM
hmmm.....Looking at this is like staring at the clouds. The rocks tend to change into other things right before my eyes. Even though this is not a traditional SBJ painting with the signature dramatic lighting, I would have been able to pick this out as being yours from a line up of many paintings.

There seems to be something Escher-esk about this. Even though it's obvious that the water if flowing downward over the log, rock or what ever is submerged, the forground pool appears to be on a higher plane and somewhat round. Then the optical trick reverses and it reads normal......am i the only one seeing this? I don't find it to be a negative or bad thing...it goes along with the abstractish nature of this work. The color causes an electrifying effect to the optic nerve.

While this is not my favorite to date, I give it a :clap: :clap: ( I keep going back to look at it,,not sure why :confused: )

08-20-2004, 12:18 PM
Hypnotic, eh? hahaha! That's what I felt when I saw the photo- and why I saved it. Escher- ha! I wish! That man's brain twists like three snakes in a mating dance- I'd love even half his sense of creativity, but not at the cost of what his dreams musta been like.

It does glow though, doesn't it?

08-20-2004, 11:26 PM
Lovely job Julie!! The colors are great!! :clap: :D:D

K Taylor-Green
08-20-2004, 11:37 PM
Another winner, Julie. It may not be your usual "light" thing, but it is your usual "drama" thing!

08-22-2004, 10:11 AM
The visual equivalent of an extreme sugar rush! Love your supervibrant colours!

The top edge of the long rock on the right is level with the dip in the water and that bothers me slightly. But not much.

08-22-2004, 11:59 AM
Thanks Colleen- that's what attracted me to it, too!

lol Kate- prolly since I'm not allowed to be a Drama Queen in real life, eh?

Thanks EJ- it was quick and fun and flowed well.

08-22-2004, 01:22 PM
Julie - you can check off - rocks and running water in the list of things you can paint very very well. This piece does sing with those vivid complimentary colors. It is so much more powerful because of that limited pallette.

Love it!!! Escher? don't see it - just see something I like very much.


08-23-2004, 10:07 AM
Yes, color is really your thing Julie! Wow! This does sing...the water is great. So instead of landscape, just think color and you do fine.
Aren't complements opposite each other on the color wheel? Yes, the do make each other sing. I love using complements. This works great!


08-23-2004, 11:09 AM
Thanks, Barb- it's a nifty-looking piece- I like it.

Sandy, colour theory has it's own forum here, and they argue like you wouldn't believe. You know how we all KNOW there are three primaries and primaries cannot be "mixed"? They cannot be "made"? That's why they're primaries?? Some folks say you can.

Others say the wheel is a crock- when I read the theory and see the examples, I can understand it, but to explain it again, I get lost- so it isn't making sense to me yet. Still others divide it into transparent and opaque and think if the colour isn't oils, it's just a hue anyway (using "hue" to mean "a colour kind of like").

It's still boring stuff, but there's a whole lot more to colour theory than meets the eye. (pun intended).