The Old Red Chevy (1948)
6x8in oil on canvas panel SOLD
Artist Note
The inspiration for this one comes from
the Lets Paint New Mexico group.
February 14th Challenge
The original photo was of a
rusty blue truck -
beautifully rusty - but as the theme
this month at the Artists Guild
was on painting
RED
I thought I would demo
I thought I would demo
red in the sun and shade.
In my opinion,
Red is one of the hardest
colors to paint in the light
without going chalky or
losing its local color and turning
pink
due to adding
too much white.
losing its local color and turning
pink
due to adding
too much white.
These are the colors I used
for the truck.
Permanent Alizarin
(with a whisper of green
from all the trees around)
to darken into shadow.
Permanent Red and Grumbacher Red
as base colors
then I
added orange with a touch
of Naples Yellow Light
to make it
even lighter.
The basic principle involved
when painting a dark value like red
is that it cannot possibly go as light
as a middle or light value can.
The exception being highlights
or reflective light on shiny surface.
I really admire this painting by Sargent
using all the values of red.
The background is rich, dark red.
Dr. Pozzi At Home
Hammer Museum, CA
An amazing, life sized portrait.
The one below is by Gauguin.
Women of Tahiti, on The Beach
Musee d'Orsay, Paris.
It is perfect for
showing red in light and shadow
plus
pink in light and shadow.
Pink can go lighter due to it already
being a lighter
value to start with.
Easy to write about, but not as easy for me to do.
I am always intrigued how the principles
are followed by the masters in every style.
I have certainly picked
the pursuit of lifelong learning.
Does anyone else love the fact
that we artists can keep
getting better at our craft...forever?
for the truck.
Permanent Alizarin
(with a whisper of green
from all the trees around)
to darken into shadow.
Permanent Red and Grumbacher Red
as base colors
then I
added orange with a touch
of Naples Yellow Light
to make it
even lighter.
The basic principle involved
when painting a dark value like red
is that it cannot possibly go as light
as a middle or light value can.
The exception being highlights
or reflective light on shiny surface.
I really admire this painting by Sargent
using all the values of red.
The background is rich, dark red.
Dr. Pozzi At Home
Hammer Museum, CA
An amazing, life sized portrait.
notice how dark a value
the red in the light is
below
The one below is by Gauguin.
Women of Tahiti, on The Beach
Musee d'Orsay, Paris.
It is perfect for
showing red in light and shadow
plus
pink in light and shadow.
Pink can go lighter due to it already
being a lighter
value to start with.
Easy to write about, but not as easy for me to do.
I am always intrigued how the principles
are followed by the masters in every style.
I have certainly picked
the pursuit of lifelong learning.
Does anyone else love the fact
that we artists can keep
getting better at our craft...forever?
