Amanda Williams - Portfolio

Tones, or values, are more important in representational painting than colour. A strong statement? Think about it - a black & white photo tells you everything you need to know to identify an object, colour just makes it prettier…

Estimating values is for many the tough part of learning to paint. Squinting helps but even then: what’s what? A value chart gets around that by giving something to measure against. I followed Paul Foxton’s lead and made a set of Munsell “chips” a while back (the bits of wood in the photo) to do exactly that. Using them, by the way, did not turn out to be a crutch for life, as some folks reckon, it was only a matter of months before I was mixing the greys without looking and for the most part even thinking about it. They’re in my head (somewhere…).

Now, that’s all very fine when painting from life in the studio or (gasp!) a photo or other reference. Yeah, I do use photos when I need them. For one I paint ’til late (* think 2am…) and there ain’t much out there to see if one is painting landscape. Or in my recent clouds series: not many to be seen in Chittering over the past months. OK, so there’s the occasional fluffy white against the endless blue but not a one of the moody storms I had in mind. Besides, getting on into the series, I needed inspiration cos my plan calls for a hundred studies - I got to 67 before a more urgent project elbowed them aside - I’ll be back. Anyway, on topic, photos rock sometimes and dovetail very nicely with a value chart or chip while learning to see.

However (there is a point to all this), when I switched from using prints to a screen to display my reference (lots of reasons: among them zooming in on detail and way better depth of colour) there was a problem. Holding the chips up to compare to the screen didn’t work because the screen is bright and light and no matter what angle I held the chip to it I couldn’t get a match as I could with the hardcopy.

That’s where a tiny freeware utility called Pixel Pixie came in. What does it do? Simply a small box (on my screen about 4cm wide) floating over the top of any other software that’s running it displays all kinds of colour info - among them HSV. It does other stuff too but that’s what we want right here. The V in HSV stands for value… the value of the pixel at the end of the pointer. Can you see where this is going?

Read the values off the image, match it to a Munsell chip (or other value chart as you wish) and from there to your paint. Maybe in 10% divisions where, say, everything in the twenties is a value two, or the 50’s a value five etc. This works nicely with Munsell which goes zero for black through to ten for white. Some other value charts have it back to front - no problem - a nice fat red crayon can fix that…

The end result won’t be perfect, of course, because that’s where the art rears it’s head again. Beyond the blocking in of a painting it’s time to “go with the force” (Peter Dailey said that in class once - it still has me chuckling) and adjust to your eye and temperament. It can also be desirable to change values on the fly - raising or lowering the temperature of the painting by mapping to a compressed range. For example, decide that it’s a really moody sky and move everything down to a smaller range of dark colours.

Anyway, have a go, because anything that takes the frustration down a peg or two is worth doing and don’t worry about getting dependent on any tools (photos, chips or software) ‘cos at some point the eye does kick in, especially if you have a guess first, then Pixel Pixie or compare a chip to check it.

Have fun.
Amanda

(* Painting day and night (really should get a life…) offers another problem: colour shifts under different light. I solved the problem with two Daylight lamps: one on the easel and another over the palette table. Works OK. A perfect south facing window - Australia remember - and shorter working hours would be better but neither of those is happening any time soon.)

My preferred process (subject to change without notice) is to work up studies in acrylics and finals in oils. Acrylics dry fast which is an advantage for tweaking colour or value by the “paint over ‘em until it sings” method. Matching those choices for the oils is pretty straight forward, while the acrylics are not so, they have that nasty little shift when they dry. Yeah, I care about consistent colour on my studies… once I’ve made up my mind that is.

One solution to keeping acrylics matchable is to keep the piles of paint wet. The trouble with this theory is that they dry fast (doh!) - especially when the thermometer is topping 40ºC (104ºF)…

So, how? I spritz the blobs of paint with water (or water mixed with a little retarder if I’m feeling flash but I don’t think it makes much difference) then cover it with cling wrap. I do this in such a way that the edge can be lifted just enough to slide the brush in. An occasional extra squirt helps, then a good freshen up with a little more water and new cling wrap at the end of the day. Perfect for a couple of weeks if you must… Toward the end of that time it may be getting a bit cruddy to use but it’s fine for getting a perfect match. I generally just keep it going until the pile runs low and then match it with a fresh lot. And on and on. Playing tag with paint can keep a colour going for months if I need to.

Firstly, I should point out that I’m not always down at the art shop looking for new things. I’m actually a bit of a stick in the mud - preferring to use what I have and hope to get better with more practice. Sometimes I get pushed… and the dominoes effect does the rest.

I’ve been comparing notes with Paul over at Learning to See and he said that he prefers to use brushes called “brights”. I thought they sounded interesting but couldn’t think that I’d seen anything like that at the art shop I usually go to. Thought no more of it.

Then I was looking for information on an oil primer that could be cleaned up with water (I’m allergic mineral turpentine - seriously so!). I’d heard that Art Spectrum made one so I was Googling - hoping for a data sheet. One of things I found was a PDF by them called Oil painting without solvents. Very interesting…

Among other things on the info sheet was a discussion of brushes - mentioning brights and their ability to give “crisper, harder edged brush marks”. Hmmm. About time I thought about these a bit more.

The problem is they’d have to be synthetic too. I don’t use animal products.

So I Googled around a bit and found a brand called Neef - who make a stiff bright synthetic- advertised as “allows for tight control in strokework, smaller sizes can be used for detail or highlight work. Due to the ease of control this brush is ideal for the beginner. The stiff synthetic has the firmest spring”. Beaut. Time to order. Mail order would do - I knew that my art shop wouldn’t have them.

Anyway as a follow up to this I did a bit more Google magic and found that there is a supplier in Perth - an art shop called Murray Gill Fine Art Provisions. I had never heard of them. They’re in Subiaco which is a long way from here. Never mind, we were having a day out maybe this could be the first stop. It turned out to be fun, a great little place with lots of different brands to those I usually see. I’ll definitely be going back.

What did I choose today? A few more Neef brushes - rounds this time. And this little wooden brush support for when you need to put a loaded brush down for a second.

Then it was on to the book stores in the city but that is another post…

Amanda