Charcoal Series
Maknae Line:
Six Scheme Color Study
Tones.
Although this project was a study in the six color schemes, the lesson that I truly learned was that some of the most beautiful color combinations can be achieved with tones.
Six Color Schemes
Monochrome: I chose to use yellow-orange for the upper left bubble, because I felt I could best represent the peachiness of skin color. However, I underestimated how much time it would take me to paint and re-paint a little face. I'm still not satisfied...
Complementary: Yellow-orange and blue-violet were the colors I chose for the far middle right as I had to work with a leather jacket and dark pants of the right figure.
Split Complementary: Red, orange, and blue-green were the colors I chose. I wasn't expecting the colors to come out so well.
Double Complementary: For the bottom left, I chose to focus on the bike and the blue of the patterned shirt, because there was very little blue in the rest of the composition. I chose red-orange, orange, blue-green, and blue for this section.
Triad: I originally wanted to pay homage to the classic red, yellow, blue, but found that it clashed with the rest of the composition. I was especially obsessed with the deep purple of the hair of the right figure, so the colors I chose were red-violet, yellow-orange, and blue-green.
Analogous: The rest of the painting is a range of colors from yellow to red violet. Despite the wide range of colors I could use, I found it was deceptively harder to use them.
"Generations"
Study in Primary and Secondary Colors and their Tints, Tones, and Shades to create Overlapping and Transparencies
An acryla-guache painting of red, yellow, blue, violet, green, and orange in different hues on vertical registers broken up by horizontal and diagonal lines and circles.
Honestly, I surprise myself by how often I make a 'school project' a personal piece. This particular project was inspired by one my mother did in college. From a young age, I was always fascinated by the large silk canvas that was never hung on the wall because we were moving so often.
The silk strips were held together by a determined seam, without regard to what was once a neatly painted flower. My mother had cut her painting out of disappointment. But at her professor's urging to complete her project, she hastily had a seamstress sew it back together. But, not to recreate the flower. She purposefully had the panels disjointed and off-set. The overall image now evokes the intention of a more abstract design. But perhaps it really was meant to be.... I have long noticed that the petals were drawn with strict angles, the outlines creating a strict contrast with the soft, traditional colors. And despite having known the story behind the piece, I've always still considered it perfect.
When I started this project, I instantly thought of my mother's work. I don't really know how my mind went there. Perhaps it is a true successor.
Background image is the silk painting from the description.
"City of the Future"
Charcoal drawing of imaginative future of Savannah, Georgia
