Use of different palettes: analogous and split-complementary approaches. Focus on creating interest: use of space, interaction between foreground and background.

 

Self Portrait by Arthur Schilling, 1985

Arthur Schilling was Anishinaabe, from the Chippewa of Rama First Nation Reserve  in Southern Ontario.

Those who have taken a portrait course with me will recognize his 1985 self-portrait,  his last before his death in 1986. It’s a fine example of expression and vibrancy, with a darker edginess. He’s an astounding colourist and an inspiration for confident brushwork.

Schilling was unusual as an aboriginal artist in pursuing the portrait as a means of expression over more traditional narratives. He was undeniably a master at capturing something of the personality of those around him.

“Most people I paint don’t like themselves. I try to reveal their spiritual soul, the quietness that makes us different, that no other nation or people have.”

Arthur Schilling was a natural colourist and whilst bold and expressive, he places colour  based on clear principles for impact and effect. Notice for example, the purple in the background – it weaves it’s way down the side of his face, suggesting contour.

In my own work, I hope l have been influenced a little by Arthur Schilling!

 

Choosing a palette for your painting

We’ve covered some key ideas on our journey through colour:

• Keeping the palette simple; starting paintings with a low-tone base and a limited palette; perhaps using just a warm or cool triad of colours;
• Use of complementary colours in mixing for control of tonal effects and also placement for drama;
• Layering colours and managing transparent effects for vibrancy or just to get  the effect you expected!

Within this framework, many painters focus on the type of palette that will predominate:

• Complementary or analogous
• Warm or cool
• High or low chroma (intensity of colour)

Take a look at this good reference site – I like it because it  focuses on the nature of colour and not painting – in fact, it’s a general colour design site: http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm

The split-complementary palette:

There seems to be some mystique about this thing called a split-complementary palette. It is in fact, perhaps the most natural approach in the world. Although this might be slightly stretching the idea, it’s essentially painting predominantly with an analogous palette and then spicing the image with something at the opposite side of the colour wheel. In theory, split-complementary bypasses the exact complement and paints from the secondary colour either side of it (still analogous) – however in practice, it’s rarely possible or desirable to keep the idea this pure. Examples of this abound, and in fact, in summer landscapes it’s difficult to avoid: all those greens and blues, punctuated by warm, red-zone flowers – perhaps a red roof, too.

Foreground and background colour

Opportunities abound with background colour and motif, as the background can have tremendous effect. It impacts the colour and value balance of course: this is motivation enough, however I think that there’s more to it than that. Colour affects the overall feel and impression of the artwork, creates an ambiance for the viewer and projects something that I’d be challenged to describe. Some people talk about colour auras, and certainly colour is deeply seated in our psyche. That said, the choice perhaps emanates as much from the painter as from the subject.

Here are a few pointers to keep in mind:

1. Any colour can work…cool will distance itself from the foreground elements….. warm will “push” forward  – cool will settle back;
2. Tonal is safer than chromatic for areas that are not the focus of attention…a high chroma background can compete with a subject;
3. Simple is likewise more straightforward. A busy background, unless there’s a message in the motif…will distract the viewer;
4. Brushwork should not compete with the subject. That does not mean that it needs to be boring, just thought of as a “frame” for the subject;
5. Don’t forget the colour of other elements….it all has to fit together!

Again, these ideas are yardsticks to be challenged: perhaps try a high chroma, dramatic abstract design. Go with your intuition. As Chagall once commented: “If I create from the heart, nearly everything works; if from the head, almost nothing.”

Exercise

1. Develop a painting using a split-complementary palette, painting predominantly with analogous colours and finally “spicing the pot” with the complement.
2. Review a couple of artworks: yours or by others. Look at how the colour, background and overall and composition fit together. What impression do you have? Do they  resonate? Why? What alternative approach might work as well or better?