Seven hours of corrections is enough for today.  I might just leave it this way.  The abrupt transitions give me additional important information that I’ll find useful when painting en plein air as well as in the studio.

Before and After adjustments

During the last seven hours spent adjusting hues to fit into the three value ranges of light, middle and dark, the fog in my brain that shrouded a clear and simple understanding of mixing colors cleared.  I will sleep well tonight.

Neutrals mixed from complements and near complements

One of the challenges was accepting that I can’t mix a Value 8 yellow without having to call it something other than yellow.  It becomes a green or a red.  Another challenge was working with the transparency of colors such as alizarin crimson, cobalt violet and ultramarine violet.

Color Wheel Five is a single sheet of rag mat board.  I found that I referred to the Richard Schmid color charts I made only when I painted in the studio.  When I paint en plein air I like to travel light.  Carrying the eleven boards with me when I paint outdoors is something I did only once.  Color Wheel Five is an excellent reference for both values and hues, showing distinct nuances between neutrals mixed with complements and neutrals mixed with near complements.

I will post the directions for Color Wheel Five within the week.

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