Originally Posted by CaKatt
Decided to back up a step from my last painting and try a limited palette with the same reference photo. Not sure how to determine which split to make. The photo seems mainly to be composed of blues and greens so decided on blue-green, green-yellow, red split. Used Viridian for the blue-green and mixed it with yellow for a yellow-green. All my reds seems either too warm or too cool so I picked a warm and a cool closest to neutral and mixed them together. maybe not what a real artist would do but I've got to make do with what I have.
I must say it is an interesting exercise and that I really don't like the result as it stands. It looks like I am viewing the painting through blue tinted glasses. I do plan to go back and rework it, trying to incorporate some warmer colors. Perhaps my yellow green was not yellow enough? Is there some place we can purchase a good quality color chart for reference or would making our own suffice?
9x12 oil on panel
Riding shotgun on route to a three day weekend expo/show with my son to help man the booth. So a few moments here to respond.
I personally think this one works fine...and believe everyone needs to remember what painting the split-comp palette does, frankly...imbues a mood
...which benefits are likely most understood and appreciated painting outdoors. There also it becomes easier in squinting the eyes to detect a hint of a dominant color bathing the scene. Experience in time allows room for creative license.
Also, I'm glad to see the experimentation from everyone...but for those lurking..the limited palette is not so limiting that experiments in any number of strategies would reveal...using a color as a pigment soup or mother color then mix values and paint somewhat as normal. Use a neutral grayer value as a mother color. A complementary palette (Payne often favored blue and orange in is desert and sailboat subjects.
A mood forced on a subject as here may not always be realistic as "local" or optical color...but does not cancel out its working.