John McDonald

Newsletter  >  HERE

https://static1.squarespace.com/static/5132270de4b03f8a261c246b/t/54fb2930e4b0cfdf3aca3ecf/1425746224329/June2013+newsletter.pdf

Limited palette for LS  > Cad Y  Light  Prussian B  Aliz C    Raw Umber

This is a warm palette

Raw Umber + white can appear cool even blue when surrounded by warm colours

RU + W + Yellow creates greenish hues

Sky is RU + W + Orange (mix R+Y)

Below to keep the mixture rich in saturation he used pure Cad Y rather than white

Best way to learn is to play with colour  > Creativity and learning flourish when we’re on our edge, out of our comfort zone and out of our spheres of knowledge. We can only learn when we’re in the unknown

Gustav Klimt > HERE

This value structure, coupled with the solid composition, will hold the painting together almost regard - less of what Klimt does with co

 Composition                                                                        Value

Greens at the back are warm  //  Greens at right are cooler but only a subtle difference.

Klimt saves the strongest contrasts in temperature for the center of the painting–at the focal point.

Hard edges only where he wants to draw your attention

 Near the horizon clouds are warmer and shadows of clouds are lighter

Higher clouds are more gray, deeper and more purple

Cobalt blue especially good at creating atmospheric distance

Some BLUE was added to the trees on the right because they are further away.  Test the colours on the canvas to see of there is sufficient value separation before applying.

This is the completed block in  _ aerial perspective.

Crimson + YO for red foreground

Adding darks to the tree  and more trees on the hills  below

Grass YO+UMB  on the hills