Colorist

John Reidy · 09-22-2007, 10:25 AM

HURRAH FOR HENSCHE!

The quote quite literally sums up my perspective of the challenge of painting and more clearly expresses what I was trying to say regarding all of us being colorists (to one degree or another).

The way I try to use color is to suggest what the subject is doing. In other words, on a face, is the plane I am focusing on turned toward the light or away from it. Observing the surrounding colors, do any of them influence the color of the flesh of this plane in relationship to the light? How bright or dull is the color compared to its neighboring planes. Is it closer to my eye or further away?

All of these questions and more go through my mind when I am trying to determine what color to use. This is why I think of us all (portrait painters) as colorists.

Sharon Knettell · 09-22-2007, 07:33 PM

Quote:

Originally Posted by John Reidy

HURRAH FOR HENSCHE!

The quote quite literally sums up my perspective of the challenge of painting and more clearly expresses what I was trying to say regarding all of us being colorists (to one degree or another).

The way I try to use color is to suggest what the subject is doing. In other words, on a face, is the plane I am focusing on turned toward the light or away from it. Observing the surrounding colors, do any of them influence the color of the flesh of this plane in relationship to the light? How bright or dull is the color compared to its neighboring planes. Is it closer to my eye or further away?

All of these questions and more go through my mind when I am trying to determine what color to use. This is why I think of us all (portrait painters) as colorists.

All portrait painter are not colorists, even good ones.

Some are excellent at making form and subtle skin variations, but are not particularly good colorists. As I have said before color and color compositions can be independent of form, even in portraiture.

I am posting an early one of mine as an example, it has form but is really a black and white painting. It goes from light skin-tones to dark skin-tones. There really is no color. Tints maybe, but you could get the same effect coloring in a photo.

The next is a Bronzino. The form and design are beautiful, but the face goes from light skin-tone to dark skin-tone. The dress goes from medium to dark red. The is really no color composition. The color areas are FILLED IN with tints of color.

The third is an Ernest Major, who is a fine colorist. The skin reflects different colors AND temperatures of light. The white dress is not simply white but is alive with many variations in color, especially the orange reflection of the fan. The dress does NOT simply go from light to dark as does mine. Notice the cool blue tints in the skin, especially in the arm. This is missing in the Bronzino.

John Reidy · 09-22-2007, 07:41 PM

Sharon,

I think we must agree to disagree.

All of your examples still impart to me the artist's decision, whether conciously or not, to manipulate color. Even in a charcoal the artist decides to abandon color (maybe this is too extreme for my point).

Regarding your dress in your first post, you did use color to create the forms even if it flows as the same hue from light to dark.

By the way, the painting is beautiful.

Sharon Knettell · 09-22-2007, 08:24 PM

Quote:

Originally Posted by John Reidy

Regarding your dress in your first post, you did use color to create the forms even if it flows as the same hue from light to dark.

Thank-you John!

That little portrait got me quite a few commissions. It was done more than 15 years ago. I think I have learned (I hope) a bit more about color since then!

Using A COLOR is different than being a colorist or using color well. I can use, let us say, an orange color and go from light to dark, depicting the fruit. That mean I am using a color to fill in rather than using it as part of a field of harmonious color. In that portrait I FILLED IN each area with an appropriate color.

Filling in areas of form, even with the appropriate color is, as I see it, is not being a colorist . That would be like a child with a coloring book filling in the individual areas with crayons. even IF they got the right colors in the right place. It is getting the colors into a harmonious union whether they be flat or have form, that is the role of the colorist.

Linda Ciallelo · 09-23-2007, 07:57 AM

I have always thought of it as being the "color" of the light falling on whatever one is painting. Depth is created not only by values, but by color. I know some people say that it's warm and cool light, but I think that's an over simplification. If one is painting a white fabric, tthe shadows will contain at least three colors, probably more, and the colors will be different depending on a multitude of other factors. One can also interpret the colors in a multitude of ways. That's why I use a limited pallet. Otherwise there are just too many choices. If I were to let myself interpret colors without any limits, my painting would end up being very fragmented colorwise. Using a limited pallet produces a cohesive painting. I think the most important choices are made when one decides what "neutrals" one will use. The grays will set the color tone of one's painting, even for a colorist.

Sharon Knettell · 09-23-2007, 08:44 AM

Linda,

What you are describing is DEPICTING or RENDERING COLOR.

Color harmony is an entirely different thing. It has NOTHING to do with light or form. It has to do with COLOR RELATIONSHIPS.

There are a few well known laws of color harmony.

A: MONOCHROMATIC
The color is variations of one color. The Sargent below is an example.

COMPLEMENTARY
Two colors from opposite sides of the color wheel. Ie. Red and green.
One should dominate-the other could be a grey-as in a grey-green or a slightly less saturated color.

The Whistler you posted is an excellent example of that. It is called both "Miss Cicely Alexander" and "Harmony in Grey and Green".
The backgound is not just a grey-but a grey-green. It is a foil for the complement red-in this example a pink flower. If it were a purple grey-the flower should be a yellow.

The Renoir below is an example of a complementary color harmony, blue and orange.

These are the basic ones. There is also analogous- colors next to each other in the color wheel, tetradic-colors equidistant on the color wheel, split complementary- color on either side of the complement on the color wheel and split complementary- two sets of complementary color in one picture.

The Gauguin below is an example of a split complementary, red and green, yellow and violet.

Sharon Knettell · 09-23-2007, 08:52 AM

Both of these painting use almost exactly the same color harmony-but one is flat, the other has form and light. The first is a 16th century Savahid Persian painting, the second is a 19th century French painting by Bazille.

John Reidy · 09-23-2007, 08:58 AM

Very well put. I see your point.

My defintion of a colorist seems to be more broad range but I believe the majority will agree with your perspective.

I can't get over the idea that to go from mid range orange to a highlight orange to a dark orange to finally an orange with a little bounce of reflective light is not really orange. It is a combination of colors that appear to be in the same hue.

And with that I feel I have exhausted my thoughts.

Julie Deane · 09-23-2007, 09:06 AM

I wish I had more color sensibility, so I'm glad this topic was started so that I could enjoy the delicious examples shown. Thanks to all who posted them!

Sharon Knettell · 09-23-2007, 10:15 AM

Thank-you John and Julie for all of those who participated as well.

Here is a little tip; before you photograph- draw- plan, whatever, your next effort, make sure all the elements obey some color law. If your subject is wearing a cool pink, try a warm green backround behind her/him. I run around with little snippets, fabric, flowers etc. to work out my harmonies.

In my Scottsdale workshop last year my model was dressed in a pale celadon green. She was placed against a rich pink drape. If you arrange you colors beforehand you cannot miss.