De­vel­op­ing Color Sen­si­bil­i­ties

Un­der­stand­ing hue, chroma and value al­lows Veron­ica Win­ters to draw and paint ex­pres­sive works of art

International Artist - - United States Demonstration - Veron­ica Win­ters

Iseek color in emo­tions, find sto­ries in a paint­ing and pur­sue feel­ings in color. Work­ing in col­ored pen­cil and oil paint, I of­ten cre­ate fully ren­dered por­trait draw­ings in col­ored pen­cil be­fore switch­ing to paint and de­vel­op­ing my ideas fur­ther. My sense of color has de­vel­oped greatly over the years where I’ve learned to an­a­lyze the light on a form and how it changes and shapes every sub­ject in front of me. I be­gan my ex­plo­rations in color from the im­pres­sion­ists.

In their paint­ings, we see so much color in the shad­ows, and their ab­bre­vi­a­tion of black taught me to seek color in grey, black and white. Con­trary to that, pow­er­ful chiaroscuro by Car­avag­gio and Baroque paint­ing made me look at a paint­ing’s de­sign and the im­por­tance of light, sin­gling out one color over the rest. This gen­tle ri­valry be­tween the col­ors and de­sign led me to ap­pre­ci­at­ing and find­ing my color

oil on panel, 16 x 20" (41 x 51 cm)

In this self-por­trait I had to com­bine two ref­er­ences to cre­ate a sur­real paint­ing that evokes darker emo­tions. When us­ing mul­ti­ple ref­er­ences, it’s im­por­tant to match the light­ing con­di­tions in all pic­tures used to or­ches­trate com­po­si­tion. When I have a con­cept I want to paint, I of­ten use Pho­to­shop to play with the im­ages to see if they “con­nect” with each other. har­monies in draw­ing and paint­ing, which is a con­tin­u­ous process to date. The last stretch in paint­ing is al­ways the long­est. When every stroke be­comes de­lib­er­ate, ex­pres­sion, light and color unite to tell a story in art. I chase not only the elu­sive beauty but also my lim­it­less de­sire to suc­ceed in paint­ing.

I think it’s im­por­tant to start paint­ing from the right photo ref­er­ence or bet­ter from life, learn­ing to as­sem­ble and to ob­serve the still lifes un­der var­i­ous light­ing con­di­tions. By ob­serv­ing the phe­nom­e­non of light turn­ing the form from life, the artist is able to bring his or her knowl­edge to paint­ing from pic­tures, and not vice versa. To be­gin, ref­er­ences must have a set up with the light from a sin­gle, di­rect light source with clear high­lights and strong shad­ows, and a fo­cal point to make it work. Next step would be look­ing at col­ors and or­ga­niz­ing the sub­ject so there is one or two hues be­ing the strong­est with the rest play­ing a sup­port­ive role.

When we look at color there are three pa­ram­e­ters to un­der­stand: hue (red, green, yel­low); chroma (strength or pu­rity of a color); and value (how light or dark it is). All three pa­ram­e­ters are al­ways at play si­mul­ta­ne­ously. You may want to re­search the Mun­sell color method for that to un­der­stand how col­ors re­late to each other on a scale. I think it’s much eas­ier to con­trol the three pa­ram­e­ters of a color in draw­ing, be­cause col­ors are lay­ered in sub­se­quent lay­ers, while paint­ing re­quires this pre­cise color mix­ing with every stroke. If I need a darker shadow in a draw­ing,

I can sim­ply layer more of the same

Self-por­trait: Fac­ing forty,

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