Don't Call Me Cheap..I'm a FRUGAL Artist

Getting Ready to Change the Paper in my Masterson Palette. 

Wow!  I know what you're thinking and I just want to say, "Don't judge me."  Just look at that messy bunch of dried paint!  I think it is most definitely time to lay out some new colors.  As you know, if you have followed me for any amount of time,  my favorite medium is Acrylic and the palette is really important because of how quickly the paints dry out.  The reality is that paint is expensive and so I try to be frugal and not to waste paint if possible.  I use my Masterson Sta-Wet Palette (12x16) but rather than purchasing the special palette paper inserts, I choose to use Reynolds Freezer Paper.  I can get a large box that is 33 1/3 yards x 18 inches at Walmart for $6.17.  I think that is a good value because this box will last me at least 6 months but being the accountant that I am I decided to do a cost comparison to make sure that it was worth my time to tear my own sheets out rather than having them prepared for me.  I go through a lot of paper especially when I'm teaching students.

(You can skip this part if you're not a number cruncher like meSo 33 1/3 yards = 100 feet x 12 inches = 1200 inches of length.   If each of my inserts are torn at approximately 15 inches that 1200/15= 80 sheets.  That equals $0.07 cents a sheets.  Now at Jerry's ArtArama I can purchase a package of 30 sheets for $7.19 or $.24 cents a sheet.  That is a pretty good difference and now I'm sure that I can cut my own for a 70% savings.)

The paper is wax coated on one side and that is the side that I lay out my paints on.  I have a wet sponge underneath and I often leave a wet paper towels inside for added moisture.   These paints will stay usable for several days and that is pretty good for acrylics.  The paper eventually will break down some and begin to tear or disintegrate, but usually I have to change it before that because I've run out of clean mixing surface, just as you can see that I have done here by evidenced in this picture.  

I would love to hear from you if you have found a practical solution that you really like and that you use as part of your painting process from things you can find outside of the art supply store.  I will share some of your responses on future blog posts so that we all can become more cheap....I mean FRUGAL artists.  

Like a Mad Scientist...Experimenting With Color

Yesterday, I started blogging about a book I was reading written by Margaret Kessler titled "Color Harmony".  I didn't make it off page 15 because there was such good information that I need to spend time  soaking it all in.  I underlined a statement under the subtitle -Increasing Intensity.  Kessler states, "To brighten a dull or tinted color, add a warm color to the mixture."  This is a bit more complicated than that because we all leaned in elementary art class that  if you add primary colors together we get a neutral color.  Not what we want here so she warns that it is important that we understand the proportions of primary color that each color contains.  The natural thought is if you want to brighten a color that you would add white and to darken you would add black.  This isn't  always a correct assumption.  Adding white to a color will often cause the color to be washed out and to look chalky. I will sometimes counteract that by adding some Naples Yellow to the color so that I don't loose the brightness.

 Adding black does darken but can look unnatural according to Kessler.  Payne's gray can darken a color but can also make the color seem boring.  I've decided to remind myself of this fact by only putting the smallest amount of Payne's gray on my palette when I lay out my colors because my natural instinct is to dip my brush in that color when it would be better for me to use dioxidine purple or ultramarine blue for my shadow colors.

Adding the complement of the color can mute and darken the color.  Adding a warm color can brighten or intensify the color. There is a great deal of information shared just on this one page and I know that it is time to pretend that I'm a mad scientist and cook up some color experiments of my own.  I think I just might take a large canvas and just section it off and do a color study this weekend.  Maybe I will just come out with some "Popping" creations and learn something in the process!

Here is my son, Dr. Jared Townsend-a for real scientist

Here Jared is conducting an experiment but I don't think he looks too mad.

Make Your Colors POP

"The road to color harmony begins with understanding the characteristics and properties of the colors on your palette-how to mix and match them so that they work for you.  You must appreciate the full potential of every color and the effect each color has on another." Margaret Kessler

I've had the book called "Color Harmony in Your Paintings" by Margaret Kessler for sometime and I know that when I first received it I flipped through the pages but up to this point I haven't really studied it.  Today I am reading through it's pages and am anticipating the information that I am going to glean from within it's covers.

I find myself underlining several great points on page 15 that deal with the topic of Intensity.  Kessler says, "The key to making your paintings 'pop' is to juxtapose bright hues against dull ones."  I think that I'm going to write this down on a note card and post it on my easel because even though during my painting lessons this has been discussed, I find that in the heat of painting these important foundational points can be neglected.  You really want an object to "POP" you need to paint the lighter values next to a darker color.  Leaves in a tree are a great example.  As you increasingly lighten the value of your leaf color you want to position the brightest leaves in areas that are surrounded by darkness.  I did this in my painting "Fallen" and the birch saplings seem to almost jump off the canvas. Lily also had me place light colors for rocks in the shadows and dark colors for the rocks in the sunlit areas.

Painting completed during my painting lessons with teacher Lily Adamczyk

Last Leaf

This concept again was used in my painting Last Leaf.  The darkness of the pine needles cause the light gold tones in the leaf to just pop off the canvas.