Neutralize

Golden Warmth

Original oil painting 14x18" (sold)

by Susan Roux

Neutralizing color.

Its so important in painting. Its so simple to do. But I think its one of the aspects of painting that is not clearly understood by all. I also think its a lesson that can greatly improve art.

Its the magic tool to create depth on your canvas.

Yes, I know perspective lines create the illusion of depth. But what if there are no structures with receding lines in your painting? Its often the case with landscapes, even still life's. What then? How do you show distance? There is more than size reduction available as your tools.

I teach to beginners. I mean people who have never painted before and don't know how to draw. In 8 two-hour sessions I get them to complete a painting that totally surprises them. There is depth, contrast, unity in color, a captivating composition and a clear focal point. They are so excited about their achievement that most continue on as my students. How do I get them to achieve all this when they've never done or studied anything about art? Neutralizing color.

I will explain it to you as simply as I explain it to them.

Particles in the air. Lots and lots of particles exist in the air. Moisture, dust and who knows what else. We've all seen it. That ray of sunshine that flows in the house with all that "stuff" hovering in it. Can my house be that dusty??? Its everywhere, though we can't usually see it. Now imagine a snowstorm. (In Maine, this analogy works very well...) When its snowing lightly, you can see across the street, but everything looks muted, hazy, filmy. Not like a nice clear view. If its snowing very hard, you can't even see across the street. Why? Its due to all the snowflakes obstructing the view, right? Yes. (For those of you in sunny Florida, you'll have to use your imagination...) Particles in the air do the same thing.

They obstruct the view. The farther something is from us, the more the view is obstructed. This causes every aspect of it to become muted, hazy, filmy. This relates to its color, its detail (usually lack there-of) and its form.

We are all aware that mountains in the distance appear blue, gray, even purple... But what about something across the street? In painting, neutralizing color in various degrees will show distance every time.

Its the most repeated phrase in my teaching. "If something is in the distance, what do we do? Neutralize color!"

Here's the secret formula. Better take out your pen, because its very complicated...

Every color can be neutralized. All that is needed is all three primary colors together. Red, yellow and blue.

When mixed equally, your paint will turn gray. When mixed with one prominent color, it will continue to hold the property of that color, but it will dull out. If you mix the color you want, say "green". Stop and think which primaries are already present. Blue and yellow. The red component is missing. So any "red" on your palette, be it alizarine, cadmium, magenta, purple etc. can be added in small quantity to your green to neutralize it.

There's no need for a complicated color wheel with primary colors, complimentary colors and everything else to confuse you. Just the understanding of needing all three primaries. Red, yellow and blue.

It works for every color. Just mix the color you desire first and then add what is missing. If you want a soft yellow, then mix your desired shade and afterwards add a very small amount of red and blue. If your dealing with light shades, pastel shades, you may find it easier to create pastel versions of both your red and blue before adding them in. (You can make a pale lavender to use...) If your soft yellow neutralizes to gray, simply add more yellow until it pulls back to the yellow property. With time neutralizing, with the correct amount of added primaries, will become easier.

Tomorrow I'll explain how to get neutralized color to work for you. How to implement it into your paintings for optimal impact. Be ready to see instant improvement if you're not already utilizing the wonderful tool of neutralized color.

Happy painting everyone!

Such a "Dub"...

If there's a fruitcake award, please give it to me quick!

I just wrote this post about my painting problem. As I was writing, I decided to fix it and post the finished version at the bottom. Unfortunately in my haste and a cup of coffee short of awake, I failed to photograph it prior to fixing my problem... So now I have this post written about a painting issue, without a photo to go along with it! Sorry... You may want to stop reading now. I even joked about deleting this post. Maybe I should.

I'm finally back in front of my easel! Being everywhere was fun, but getting back to painting feels like me.

The past two days, I've been working to finish up this painting. I'll be delivering it to the Blue Heron Gallery in Cape Cod, in another week. The pressure is on. Pressure to finish up some lingering canvases. Unfortunately my best work isn't executed under pressure...

As I was painting my figure, I was happy with the results. She appeared very striking. I ended by doing her reflection and deepening the bottom water. My brush danced around in juicy shades of purple and blue. (I just bought three new blues and playing with new mixtures had me overjoyed, like a child with new toys!) The oranges were dynamite and sang among the darks. Playing was fun...

Did I get carried away with my new found colors? Did I fail to see what was happening? Maybe I was just away from the easel for too long? Luka Bloom was singing in my ears and I felt so relaxed and happy. My brush was on automatic... You know that's when your true spirit is releasing itself on the canvas. Your deepest self is being exposed. Revealed. Its the recipe for your best work. So why didn't it work, I wonder???

The bottom overpowers the figure. She no longer seems to capture the attention. She's fighting with the reflection and your eye doesn't know where to go. I stared at her for a long time last night, trying to figure out (no pun intended...) how to fix it. What does it need? When I crop out the bottom, she pops out perfectly.

Such a dilemma...

My thought has been to darken some of the top left. However, my intensions weren't to have a dark painting. I was fighting with myself. What to do? What not to do? Blogging is great, isn't it? As I sit here evaluating it for you, the solution I seek reveals itself. I have also been annoyed by the interrupted bands of white. Did I need to connect them somehow? No. I don't think so. I think my problem lies in the contrast of the reflected skirt with the dark water. Though I think its lovely, its also what's pulling the eye away from the figure. No need to darken the top. By dulling her reflected skirt, it will solve the "white blotch" problem at the same time.

Funny how its so easy for me to see what's needed with my students work, but often difficult with my own. It has to be that passion. That attachment we get with every stroke and color we painted. Ideas we tried to execute. Though failures at times, are hard to abandon. I'm happy to see dulling her skirt is all I need to do...

Knowing that, I could delete this whole post and go fix her quickly. But I think its better as a learning tool to post her as is. (Such a Dub...)

On the bright side, I was very happy with the colors dancing around her feet. She's looking down and I just want to watch her splashing feet too!

(My sincere apologies for botching this up... Its amazing you actually read to the end. Thank you for putting up with my stupidity.) Sometimes we just need to laugh at ourselves...

Posted: "Carefree" Original oil painting, 36x12" painted-edged gallery wrapped canvas by Susan Roux

Purple

Shaker Orchard

Original oil painting 18x24"

by Susan Roux

When in doubt, use purple.

These words of advice echoed out of my mouth to my students last night. They were received as a wonderful proclamation of wisdom. In all fairness, with the color palette we use, it does hold true.

I love how different artists have their own favorite color. They've learned to incorporate it into every painting. Their ability to manipulate it and make it "sing" reaches beyond others. They've studied it and tried it in every situation. It becomes more like a in-depth study on that particular color. For me its purple.

Dioxazine purple.

I don't have a painting that doesn't include it. Naturally I teach it to all my students. The first time I have them block in a tree with a purple underpainting, I get a lot of strange comments. Purple trees? By the end of the painting, they become lovers of purple as well. They can see its value and appreciate its many uses.

I find it universal. I don't paint with browns. Yellow ochre is the closest brown on my palette. Rather, purple becomes the substitute. Mixed with yellows, it neutralizes. As a dark in greens, it holds such depth and excitement. With blues, well its just real pretty...

So when in doubt, use purple. It works nicely with everything. It gives your painting a shot in the arm. There's a deep richness that it brings to your art. No wonder it was the regal color of kings robes. It holds the property of standing above the rest. Its interesting and noticed, yet can be so understated. Don't underestimate the power of purple!

It belongs in the sky. It belongs in water. It belongs in the trees and in every dark portion of a composition. Once you unleash the power of purple on your canvas, you will have to agree. When in doubt, use purple.

Magenta runs a close second. Though not quite as versatile as purple, it energizes and accompanies it very well. Try some in your trees next time...

So here is my completed painting. The sky has been warmed and the weathervane added. Thanks to Roisin O'Farrell's email telling me it looked finished to her, I took it easy to preserve the feeling I'd already captured. In her words, "I wouldn't touch it. It's charmed the pants off me, just as it is!" Thanks Roisin. Sometimes we need to here it from someone else. STOP!

It felt so good to paint...

Happy painting and have some purple on me today!