As requested by Hardin in his comment in the last blog post I’ll show you the working painting and corresponding blocks of colour here. Please bear in mind this is not a finished painting, it is a working painting, and if I was to repaint it I would do it slightly differently by placing the couple less central to the painting, and with more subtle tones to their body shapes and certainly more subtle background than this one is. But, I digress…..
On the top left of the photo are the blocks of acrylic colour from Burnt Sienna to French Ultramarine, starting with the Burnt Sienna and adding a little of the French Ultramarine bit by bit, whilst lessening the Burnt Sienna until it has disappeared all together and there is only a block of the pure blue of the French Ultramarine. The tutor only asked us to do half of that colour blocking – ending at the darkest brown when there is an equal mix of the Burnt Sienna and the French Ultramarine (on the right hand side of the second line). But, just because I’d done it quite quickly I thought I’d carry on until I had ended up with the pure blue block showing the “journey” the colours had taken. When the tutor walked around looking at everyone’s efforts he said in passing my workspace “You’re getting close to being Teachers Pet with that!” which brought a big cheesy grin from me.
The larger blocks of colour on the bottom left hand side of the photo are theÂ ONLY colours used in the acrylic painting – the brown ones that is, the blues are just to show the colours I would have used if I had made the painting a “cold” one instead ofÂ a “hot” one. Browns beingÂ on the hotÂ sideÂ and blues on the cold, as you well know. Â
The tango painting of the man and woman dancing is painted only in the browns on the bottom left hand side of the painting. There are only those four tones in the painting. The whole of the painting was painted in the second shade to give the background a cohesive tonal unity. Then I painted the darks of the mans tee shirt and trousers in shadow and his hair. The lightest colour was used next on his next,Â his arm, her arm, her legs and outstretched neck. Then the midtone was used for the rest – her dress mostly. Pure Burnt Sienna was put on the areas of focal importance, being the strong diagonal of their arms mostly.
So, there it is, a simpleÂ working painting, four tones, strong abstract shapes, a feeling of unity, and heat, done on just three colours – Burnt Sienna, French Ultramarine, and White. Pure and simple. But very clever too, in its simplicity!
But, what do you think of it? Would you like to see more of my work done in this style?