Painting Concepts 301; Advanced Color and Composition
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Painting Concepts 301; Advanced Color and Composition

September 21, 2019

Hello, I’m Buck Paulson, and I’m going to present to you some elements of painting that I think
will enhance your painting, whether it’s composition
or colors and so on. What I’ve done is
arranged a pochade. Now, a pochade is a painting, some people will say plein air, they go out,
and they paint on location. It’s always a small painting, mine, so you put it in a pocket. That’s what pochade means,
you put it in a pocket and you can go
to another location. But what I like to do is
called “plein mem,” “plain memory.” So I’ve done it from memory;
I have that impact and then I’ll make
a painting from it. But today, I want to show you how I could enhance the pochade. So we have a little waterfall, and the thing
that I want to emphasize on this is both composition
and the color enhancement. You look at this right away,
you think gee, that’s
a marvelous waterfall. What I’ve done is made this side more dominant than this one. That’s good, so you don’t just have twin towers there, let this come down. But what does happen,
it hits down here– I want the path
to continue down here. So I’ll start with a little blue color, this is blue and white, Thalo Blue and white,
with a little Payne’s Gray, and I’ll put this down. This won’t make a lot of change, but it’ll give me
something to work into, so I want to
come down here then come
over in here and eventually
out that corner. So that gives me a little bit
of a foundation to build upon. So I’ll take a little white and we’ll see
what happens with this. When I say a little white,
I actually touched it into the blue
a little bit. There, that’s
exactly what I want. Then your eye will either come in this way
or to come over this way. Okay now, another aspect
that will help this– look at this rock– that becomes almost a contrast of center of interest. so I’m going to knock it down
a little bit. I have some of my Payne’s Gray
with a little blue, and I’ll just touch it slightly. I can leave a little bit
of the outline, but you have that, so that then this is a little more important. That’s what you want to feature because you’ve got that light going against that, and then down in the lower right corner, I’ll take some Van Dyke Brown,
and we’ll come over and we’ll make this
just a little bit stronger. So this will help bring
your eye down like this. Okay now, let’s talk
just a little bit about some other aspects
that would help this. If I put just a few leaves out would help. So I have some yellow–
and what are you? Yellow and Raw Sienna,
a little white, and I’ll just put just a couple little, just barely touching. Now as I do this, I have my fingernail touching the canvas, so I control these
just a little bit. These are not meant
to be the divas, these are
the supernumeraries. In other words, those
that support the main item. That might be
a little strong there, so let’s take this one off, so we don’t compete
right above the waterfall. On the other side
we’ll do the same, just a little darker green… just a little bit of these; these don’t need to be
too noticeable. Okay, I think that helps, I think that helps very much because you’ve got a pretty strong dark
against the light there. Now let’s talk about color,
and I just love the color wheel. So I look around and think
what would be helpful? If I have the green here, and I come down to
the complimentary colors, a little violet,
let’s take some of the violet. I have chosen
purple and a little white, and I’m going to come down in
and touch around just slightly here and there. This will enhance my greens,
will it not? Because before, this was kinda dull and this had some sparkle. We’ll put sparkle on both sides. We’ll come over across
this side, not as much, we don’t want to detract from that highlight, but we want to make use of it. Then up into there
and to here. Then when you look up higher, that’s a nice dark, but it certainly would help
if it had just a little, what about–
let’s not take purple, let’s try some blue–
you’re Ultramarine Blue. And we’ll take this
and put this on. I need to be careful
because I don’t want this to look like see-through sky. That’s working
just the way it should. What happens there? Did I, did I make a smudge
when I put this on? Well, let’s say that I didn’t, but let’s say
that it is a smudge. So I have a little
of the Van Dyke Brown, and I’m putting that back in. Okay, I hope this helps you on your composition and on the color enhancement. It’s, it’s a pochade
that still is there as kind of a self-entity, but I can make a painting
from it. I have correct things on it,
so I hope you’ll be able to help your paintings
with those notes. (woman) This program is
funded by The North Dakota Council
on the Arts the Minnesota Arts and Cultural Heritage Fund with money from the vote
of the people of Minnesota on November 4th, 2008, and by the members of Prairie Public.

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  1. To painting from our own photos, does not need to remember how to do it, is everything  there, is a reference mabe better to created our own style. We can have artistic liberty to choose the way to paint beautifull

  2. The colors on Buck's palette:

    Alizarin Crimson, Cadmium Red Light, Cadmium Orange, Yellow Ochre, Cadmium Yellow,
    Permanent Green Light, Viridian, Phthalocyanine Blue, Ultramarine Blue, Dioxazine Purple,
    Van Dyke Brown, Raw Sienna, Payne's Gray, Titanium White

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