oil on canvas by Wayne Haag, Australia |
Archived Comments
Enjoy the past comments below for Tales the palettes tell…
Robert, I loved your piece on artists palettes. I have been working with acrylics and often save them from day to day but I hate to discard the beautiful pigments at the end of session. Recently I have been working in collage and I use those beautiful bright swatches of dried pigments to highlight a particular passage. Since I am a collage artist I hate throwing away anything that might be used in a collage!
One of my art teachers said that the palette was your best teacher. If you are feeling stuck with a painting, look at your palette, he said, and ask yourself what color are you not using. That is the color that the painting needs. I still think about this and do find that when my palette is full of chalky lights or muddy darks there is usually some part of the painting that has been ignored and needs to be addressed. Cleaning the palette and squeezing out some fresh paint usually gets me back on track. However looking at some of the palettes of historical painters shown here, most of which are full of chalky lights and muddy darks, at some point in your painting career, your palette may cease to have much to say.
Ahh! I love all this recent talk of color. But I must say, as I have earlier and in spite of what other teachers and “greats” have said, before color comes the composition. The play of shapes is the bones, the foundation. Decide on the lights and darks and medium values. Then comes the color.
At a weekend seminar, Daniel Greene used to annoy me with his insistent recommendation one needed to squeeze out a full palette of color in every range of value for each pigment. It took thirty minutes. I felt if I needed a color I could mix it quickly in the value I needed. I found out I was often in error. Even though many times some of the paint was never touched, by seeing the value range on the palette I was better equipped to choose one or the other. Those middle values are subtle and tricky. I think color and value are the most important things an artist can master … and I’m still working on it.
Another thing about palettes is that in the days when artists mixed their own paints, they only put out what they were using that day. If you look at some of the really old self-portraits with palette, you see mostly flesh color paints. I’m not sure why.
Yes… palettes do tell… the science part of painting…very interesting. There sure is something in the air with ? workshops springing up…??? I had a random week last year…did a plien aire in the mountains…not at all impressed the instructor did it to be in the place with company of other artists…it was a last minute thing I had an open week….not a good move…anyways…it was said that an Artist in the States paid for a second house just by teaching workshops… I sure hope students pick their instructors very carefully.
I had a wonderful watercolorist as an instructor years and years ago. He looked like a little Santa Clause, minus the red suit, hat and boots, of course. And he could bring forth the most brilliant, pure, unadulterated colors out of the rattiest-, moldiest-, muddiest-looking palette I have ever seen. How he did it, we (the class) could never figure out!
I am for cleaning palettes because I have one wooden palette for my oils. For acrylics I recycle them from food packages e.g. frozen meat and other food items. I throw them after wards. But I am curious what tales do the palettes of the great masters tell and how they can help me in my paintings.
Just received my first “letter” and must send a note to convey my pleasant surprise. Not knowing what to expect, I was indeed impressed with the depth of information. My day at work is spent analyzing color amongst other things, and todays’ information will undoubtedly creep into future conversations.
I think the idea of not having to look too closely at your palette to know where things are is a good one. It’s too late for me to learn. Yes, or like the keys of a computer — writing goes faster when you don’t have to look.
I enjoyed your recent report on marketing a body of work. My comment ( discovered during painting this week ) is in alignment with your comment that a legend in art is a quirk of nature. I like that. Expanding the ‘ cause’ deeper, I hunch that the marketability of art is in the DNA, just like the color of my eyes.
Throw away paper palette are abomination because cause you to lose good habit of regular placing that an artist with old fashioned wooden can count on. (Chinese artist me).
I’m kinda a bit confused about this. Maybe it’s something new to me.Will look through it. Anyway. thanks.
Took a wonderful color workshop (watercolor) from a dynamic local instructor. This was the first time he’d taught this workshop, and he was working through the content, using us as guinea pigs. I loved the technical stuff…for me the more scientific the better. Anyway, one fond memory was the HUGE case of boxes of kleenex he had brought, and he strode around the room yelling “CLEAN YOUR PALETTE!” All the better to see the true colors shining through.
This is why I like my glass palette. It can never become so messy that I can’t clean it off with a razor scraper, thus destroying all evidence of just how unorganized I can be sometimes. Of course, I also like the method of one of my painting teachers, where she will just roll out some freezer paper, glossy side up and use that as a palette. When finished, just roll it up and toss it out.
The nice thing about freezer (wax) paper used as a palette is you can also just let it dry and then re-use it. Once the wax paper has several layers it can be used in mixed-media pieces and collage.
I hate cleaning palettes. My old palettes are so built up and heavy that they are museum pieces. But does any museum want to collect them? No inquiries just yet.
What really tells the story for me is looking at a students pallete while they are working on a painting. I look at what they’ve been mixing on the palette from their piles of colors. A palette is a palette by individual choice and that’s fine but I want to see if they know how to work with their palette. You can even tell if they’ve got something good going or not just looking at their palette before looking at their painting. For more than twenty years I’ve been working with the same six colors plus white. From that I mix six other colors into piles around the palette. I feel that I can do anything with this palette but I’m always looking at my paint mixtures with the same critical eye I do with my students to see if I am on the right track.
I don’t like people looking at my palette. I feel that as an intrusion into my personal space. It’s good to share practical ideas, but I don’t invite comments on my painting “underwear”. The painting is what I want to be seen, and what matters. I have the same uncomfortable feeling when I see palettes of the masters in museums I am not sure that they were meant to be seen or used for our learning.
tatjana…a palette… like underwear…gives shape…or not.
…didn’t say I wouldn’t wear it…just don’t like showing it…LOL!
yes… : ) the secret of the …. : )
My underwear are much cleaner than my pallet but never the less I applaud that comment. I live in Taos New Mexico and have a non painter friend that collects her painter friends pallets. She sees all kinds of shapes and figures in them and is more fascinated by them than the paintings. Her obsession and this thread gave me new eyes for my pallet.
Roslyn this is gorgeous – delicate yet powerful, very evocative. This kind of painting technique is like listening to a radio play — you hear voices, music, sound effects and your imagination fills in the rest.