Before moving on, I tried to paint a room setting, from a photograph I set up at my parents house, inspired by their 1950’s chairs! I had difficulty painting it directly, as I had done with all the pictures in the previous post, so resorted to sketching it first with charcoal.
I was pleased with the result at this point. Once I started painting, I felt I lost my way a bit with the colour. I was intending to use the bold complementary combinations previously observed, but found it difficult with the muted colours of the actual room in mind. Referring to Patrick Heron by Mel Gooding, I found a painting in a earthy colours that appealed (Night Still Life 1948).
I was reminded that earlier in this process I thought that the colours used were based on a limited palette, for example, the three cool primaries or the three warm primaries and some of my paintings in the previous post used one or other of those combinations.
Referring to David Hornung’s book, A Workshop for Artists and Designers, I realised that the that the colours I was hoping to achieve could be mixed from an earthy tones triad, plus white.
This is the beginnings of my testing, the top four circles painted in yellow ochre, red ochre, indigo & white (all Winsor & Newton). It was good to explore this and I will revisit it again soon.
The above is my finished painting. Whilst i am quite pleased with it, I lost my spontaneity somewhere near the beginning, deliberated over it for far too long and definitely over worked it, but I was delighted to discover all the colours that could be achieved with an earthy tone primary triad and feel that working in an old book in a Patrick Heron-inspired way has been truly inspiring and improved my confidence.
Gooding M (1994) Patrick Heron Phaidon Press Ltd
Hornung D (2004) Colour, A Workshop for Artists and Designers Laurence King Publishing Ltd