Another one made from a small sketch. I’m thinking maybe in future I should choose more carefully when I’m deciding which sketch to paint. The translation from black and white to colour involves depth effects that I’m still only beginning to understand. Still, I learnt a lot from painting this.
I used a limited palette of Titanium White, Cadmium Yellow, Cerulean Blue, and a muted brick-red (pre-mixed from Cadmium Red, Cadmium Orange and Burnt Umber). I think limiting the palette helped to unify my colours a little, although my use of them still went haywire. I didn’t use black, and the darkest tone possible from this palette wasn’t very dark. I also didn’t mix the light colours as light as I could have, so the overall contrast isn’t as high as I usually like it.
I tried to use colour in a way that’s sympathetic to the form and perspective. I kept in mind the idea that warm colours come forward, and cool colours retreat, and that saturated colours come forward and muted colours retreat. I didn’t apply these principles expertly, so the picture has strange inconsistent depth effects that don’t serve the image coherently, but I definitely got more familiar with this aspect of colour in the process of making this painting. The push-pull effects of colour are new to me, I didn’t intuitively have a sense of how that was working until I read some colour theory, but now I’m seeing how it works and I’m excited about finding ways to make the colours work with the image instead of working against it.