palette

Color Schemes

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For our Color Boot Camp final project, each student picked a black-and-white reproduction of a masterwork and imposed their own color scheme on it, repainting the image in the same values with new colors.  Anne chose an analogous color scheme for this Matisse: Red violet, violet, and blue-violet, adjacent colors on the color wheel. The swatches we’d made earlier came in handy for everyone to see what they had to work with:

matiseepalette

The rules were that you had to use one of your previously mixed limited palettes, match the light-dark relationships on the original, and confine yourself to one of three standard color schemes: complementary (e.g., red & green & whatever neutrals you can mix from those two), split complementary (e.g., red, blue-green, yellow-green, and mixed neutrals), or analogous (see above)

Another student covered Wayne Thiebaud, using a split-complementary scheme of green, red-orange, and yellow-orange:

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No one was allowed to look at colored pictures of the original until they were done.

Here’s her version of  “Around the Cake” with Wayne’s own on the right:

thiebaudcoverthiebaudAroundthecake

And below left,  Matisse by Anne, and right, Matisse by Matisse. Matisse showed uncharacteristic restraint with his triadic scheme of the three primaries.

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In many of his later paintings, one can only classify the color scheme as “All of Them.” (We’ll try that one in Color Boot Camp III perhaps.)

Red Robe and Violet Tulips, 1937

Red Robe and Violet Tulips, 1937

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Color Boot Camp

Color Boot Camp, which started in January, is in its final weeks. We’ve had a fabulous session with a group of six excellent painters. Choosing just three pure pigments that fall into the red, blue, and yellow categories, each student mixed a full palette of secondaries, tertiaries, tints, and tones, 81 colors from just 3 colors and white, ending up with a set of useful reference swatches.

jennyorange annemixing

We used that palette to paint this still life, paying particular attention to the colors of the shadows, and how to interpret and make sense of its weird colors with the palette you have. Everyone’s palette was slightly different, since they’re each mixed from different primaries, but each palette has an internal cohesiveness to it, lending harmony to the paintings.

stilllife

Then we ate it.  (The eggs were hard-boiled)