Treasures galore at the Route 46 Flea Market …

Flea Market Treasures

Deciding what to draw first was difficult, a toss up between the glass inkwells and the colored glass that filled a 1950’s mint tin (I remember those mints well …. soft and buttery).

Colored Glass

I threw the dice and ended up with an Analogous Color Scheme with Split Complements, Yellow as my dominant color.

Color Glass playing The Color Scheme Game

Colors: Yellow-Orange, Yellow, Yellow-Green with Red-Violet and Blue-Violet.

Sketchbook Drawing: drawn first with fountain pen.  I ran out of ink in one filled with Alt Goldgrun ink and continued with another filled with Noodler’s Black Ink.  Followed by watercolor.

Back on track after extensive preparations for the upcoming Color Scheme Game Workshops

Family Treasures No. 29  Goggles and Wooden Circle Stamp

The Color Scheme Game forces reality to dissolve.  The throw of the twelve-sided die indicated an Analogous with Split Complements Color Scheme with the Dominant Color being orange. (Yellow-Orange, Orange, Red Orange with Blue-Violet and Blue-Green).  So much for the black goggles, the yellow tablecloth and the brownish stamp.  It’s great to start the day with such a colorful little painting.  It brings a smile to my face.

Sketchbook drawing: Family treasures No. 29. Drawn first with fountain pen filled with Noodler’s Black Ink followed by watercolor on BFK Rives paper.

Today is not June 13th.

Summer Trees, Color Scheme Game

When steadying my hand, I rested my finger in the not-yet-dry area of the pine trees on the left.  Rather than leave simple shapes, I interrupted the flow with small, do-nothing, busy indications of tree limbs in the large, foreground tree.  My scanner ignored the blue in the blue/green areas of the painting and turned them Kelly Green instead.  I dated the morning sketch as 6.13.12 and it is June 12th.

Things could be worse.

I’m going back out onto the front porch to start the day again.

Sketchbook drawing: Color Scheme Game – Analogous with split complements, Dominant Color is yellow/green.  Drawn first with fountain pen filled with Noodler’s Rome Burning ink, followed by watercolor washes.

Frank went ahead and played with the painting anyway.  I never would have thought to take out the huge tree …  but I like the result.

Without the large tree

Thanks, Frank!

See yesterday’s post to view the original sketchbook painting as well as the digital revision without the stone wall and fence. Yesterday’s Post.

Sketchbook drawing: drawn first with fountain pen followed by watercolor playing the Color Scheme Game to determine the colors. (Analogous with split complements)

This post is for Frank.  I knew that if I mentioned that I didn’t like the end result with the stone wall and picket fence, he would correct it digitally for me and show me what it would like like without them.  I decided to go ahead and do the elimination for myself to save him the time.

‘After the Storm’ without digital removal of wall and fence

The Color Scheme is Analogous with split complements, orange as the dominant color.  I liked the patterns when it was just an ink drawing.  When I added the watercolor, I felt the stone wall and fence did nothing for the composition or the mood of the sketch.

“After the Storm’ without the stone wall

Still too busy.  The fence is distracting.

‘After the Storm’ without wall or fence

Much better!

Plein Air Sketchbook Painting: drawn first with fountain pen followed by watercolor.  Color scheme is based on the throw of the twelve-sided die: Analogous with split complements, orange dominating (Red Orange, Orange, Yellow Orange with Violet Blue and Blue Green)

Sometimes I’m nudged by work I find, or is suggested to me, online.  Sometimes I’m nudged by work I see at an exhibition or I found in a book or magazine.  Within the last thirty-six hours I’ve been hit over the head with input that screams at me to dig deeper, be bolder, take even more chances and to pull together all of my strengths, as well as my weaknesses, in both drawing and painting.

Trumpet Parts No. 77, Watercolor, 11" x 22"

To top it all off, I was given a large, handmade sketchbook, filled with medium weight watercolor paper and a tie, leather cover.  What could be a better way to start a new journey?

The work of Vieira da Silva first inspired me in 2004 when Nicole and I discovered her work in Barcelona.  Three of my strongest oil paintings are the result of her influence.  I have not brought that influence back into my work for many years and I never attempted to bring her influence into still life, landscape or figurative work; I only expressed it through totally abstract compositions.

With a touch of trepidation I take the next step forward, allowing myself to falter and stumble along the way.

The above painting devirginated my new, leather-bound sketchbook. I have to remember that they are all experiments, some succeed, some don’t.  Each page leads to the next and that’s as important as getting out of bed every morning.

Sketchbook painting: sketched first in pencil, followed by watercolor.  Color Scheme is analogous with split complements, Red/Orange, Orange, Orange/Yellow, plus Blue and Violet.

Later ……. the next afternoon ….. I reworked the painting, adding purple ink lines drawn with a dip pen.

Trumpet Parts No. 77, reworked.

I think it holds together a bit better.  There are definitely changes I would make if it were possible.

Two of the paintings from last Tuesday’s Blues Jam provide examples of the Analogous Split Complements Color Scheme.

Big Boy Benny and Keith Van Etten playing at the Blues Jam

In the painting above, the analogous colors are Blue-Green, Blue and Blue-Violet.  The complements are yellow-orange and red.  Of course, I see there is also yellow in there.  When I paint during live performances I am not thinking about color schemes at all.  The next day, while looking at the paintings spread out on the floor, I analyze the color schemes that somewhat apply to the paintings.  By doing so, I become more in tune with color schemes that please me and that express various emotions and moods.

Brian Bam Bridges (Drums) Justine Gardner (Bass)

This second example is the reverse of the first.  The analogous colors are on the warm side of the color wheel, yellow, yellow-orange, and red.  The complements are blue and violet.

For me, the importance of breaking paintings down into color schemes is simply to force myself to explore and understand how the colors work together in a painting so that when I paint en plein air or in the studio, I have more color control.  I want the mood expressed in the painting to be of my choice rather than the result of colors I arbitrarily use, triggered by the reality of the scene I am looking at.  I want to be able to create the illusion of a cloudy day when painting on a sunny day.

The technique is the same for both paintings.  I begin by drawing in black ink with a dip pen and follow with watercolor.