For the watercolor paintings, I planned two different approaches, a softer and muted one, vs a more vibrant and contrasted one. The results were somewhere in the middle. Especially for the first painting, I wish I had softened some edges and let go certain definitions instead of spelling out everything I saw.
The gouache one is a homework from Watts. It is a practice of the Zorn palette and the tiling technique. I found both the medium and the technique challenging. Tiling is to juxtapose thick layers of close-value paints and blend them (if necessary) later. It’s a good preparation and practice for oil painting, but it requires a lot of patience in value control and shape design. Hehe, patience! 😉
Quasi Zorn is 1) when I realized that I didn’t have ivory black and cadmium red in watercolor and replaced them with neutral tint and pyrrole red; and 2) when I couldn’t decide if the white of the paper counts or I should use the titanium white. The paper white doesn’t help in mixing colors, but the titanium white turns everything too opaque. I will keep digging and meanwhile order some new colors!
I just realize that I almost skipped the entire month of May. Well, I have been painting and taking online lessons from New Masters Academy, Watts Atelier, and Sentient Academy. The art world is online! (There is a potential danger of being overwhelmed with too many good stuffs though 😂.)
I have continued working on portrait and oil with the Zorn palette (I talked about it here). There are still a lot of the basics about the oil medium that I need to grasp, such as keeping my paint clean, using layers, being mindful about brushstroke economy etc. These skills directly affect how far one could push the range of the Zorn palette. As muted as it is, there is drama to be laid out.
The last piece is a bit too much fun. I used Gamsol to dilute my paint and put on a thin layer of background in the beginning. Too much of it makes the paint “watery.” Normally I would wipe it off or wait for it to dry. This time instead, I added more to see what would happen. And wow! It ran down with all those interesting patterns! I don’t know if the piece was ruined or what – it’s a practice painting anyways, but it made me curious about what else this medium could do! 😉
Anders Zorn (1860 -1920) was a great Swedish artist well-versed in watercolor, oil, etching and sculpture. He not only left behind many beautiful artworks, but also a unique palette. As shown above, the Zorn palette consists of only four colors, commonly described as ivory black, titanium white, yellow ochre and cadmium red. Did Zorn really paint with only these colors? Many artists don’t believe so, but the four colors probably served as the backbone of his approach. Zorn believes such a limited palette helps achieving a coherent portrayal of light. Nowadays, some art schools use Zorn palette as a transition from grisaille to full palette painting.
The choice of colors seems odd for me at first. Coming from watercolor, I almost never used white, and used black only in the form of ink, mainly for line work. It’s quite a shock to me to find out that the ivory black, cad red and ochre are in fact a muted version of the primary colors, and the white, as the coolest color in the set, plays big role in controlling the temperature of mixtures we derive.
Here are some exercises I did with the Zorn palette. They are not finished paintings, but a part of my continuous efforts in portrait painting and experiments to find out the potential of this limited palette:
A few notes:
Zorn is not a “pretty” palette, but some of the “muds” you see in my paintings are due to my poor ability to keep my brushes clean, or a lack of assertiveness in my strokes. Not his problem! 🙂
Since it is not a “pretty” palette, the approaches have to be value based, and it’s a great exercises of control in that sense. You can also practice this method with gouache.
I got conflicting information on whether ivory black is considered a warm or cool black, but I think it doesn’t matter. It is less overwhelming than mars black and therefore more versatile. It makes beautiful green, brown, and blue with the rest of the colors.
White is the only true cool in this set, and some artists use lead white, which is probably less overpowering than titanium. I couldn’t find lead white and titanium white works fines if you don’t use it too aggressive and too early.
Apart from cad red, you can also use Vermilion or brick red.
I do see artists adding blue to the black, use a chromatic black, adding a different shade of red, etc. As a practice, I’ll keep the painting within the simple version of these four colors and focus on values and consistency in atmosphere. Fun is the next step.