Day Fifty Seven: Woodland Landscape by Charles Warren Eaton
Hello and welcome to day 57 of 100 days of Tonalism.
Today's study is 'Woodland Landscape' by Charles Warren Eaton.
Charles Warren Eaton has been steadily gaining popularity. Many books about him have been written recently calling attention to his excellent paintings. Today's video ended up shorter due to technical difficulties while filming the first color stage. so just a bit of a chat in the narration today.
Continuing on with our assay regarding my Tonalist painting process; today I will give you a list of the paints I currently use in the order that they are arranged on my pallet from left to right. I could try to give you the list based on relative value of the colors or chroma but, I think the actual way that I lay them on the palate will probably be most useful for people interested in my process.
When I first started learning oil painting, I was influenced by several painters to start with a minimal palette of colors. My first color palette was Titanium White, Cadmium Yellow, Alizarin Crimson and Ultramarine Blue. Now I use approximately 17 colors.
There are some colors in this list that I could probably get by without as they are easily mixed. However for ease of painting, I keep them on my pallet. Here is the list as follows from left to right:
At some point in our progression on this blog I will discuss more of these colors and their various uses in my process. Today, I will just cover a few key colors.
In my previous blog I wrote about my pallet at that time and my love of the color Lead White. These days I use a 50-50 mix of lead white and titanium white. I find that this gives me the most flexibility for the types of paintings I like to do. Lead White is a very warm and semi-transparent color while titanium white is cool and extremely opaque. I like to add the titanium white to my lead white to take advantage of that opaque quality. When I use just Lead White alone, I find that I have to use quite a lot more paint to get good coverage.
I should note at this juncture; that's the reason I use (Hue) versions of the cadmium red, orange and yellow are due to cadmiums incompatibility with lead white. All of the true cadmium colors are modern pigments and when mixed with lead white (an ancient pigment) they can produce some nasty oxidation over time. Something good to be aware of if you are interested in using lead white.
Another color on the list is the Torrit Grey. This is a color that is put out by Gamblin and is different every year. Basically it is all the pigments that comes from their filtration system and they mix it into paint. The Torrit Gray that I've been using is very close to a 50% gray. This is a color I can easily mix or do without altogether, but I found this color that is very useful to have handy. It's a color on my pallet that can be easily modified in whatever direction I need quickly.
As I stated above in our progression up to day 100, I will take a few blog posts to discuss other pigment colors, so stay tuned. Also, I will discuss tomorrow about why my colors are laid out the way they are and a bit about the history of the additions of various colors to my pallet.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Woodland Landscape' by Charles Warren Eaton; this is a painting that I've done twice. The first version I traded with a local artist here in Northland New Zealand, for some of their work. I have since done a second version and that is the one we are discussing today.
This painting is quite similar to the last Charles Warren Eaton painting that we did a study of. It is a very simple woodland scene. I'm attempting in my current series of Tonalist paintings to do a woodland scene that has been somewhat inspired by his approach.
To see more of my work, visit my site here
 |
| Painted after - Woodland Landscape by Charles Warren Eaton, Study by M Francis McCarthy - Size 5x7, Oil on wood panel |
Charles Warren Eaton has been steadily gaining popularity. Many books about him have been written recently calling attention to his excellent paintings. Today's video ended up shorter due to technical difficulties while filming the first color stage. so just a bit of a chat in the narration today.
Continuing on with our assay regarding my Tonalist painting process; today I will give you a list of the paints I currently use in the order that they are arranged on my pallet from left to right. I could try to give you the list based on relative value of the colors or chroma but, I think the actual way that I lay them on the palate will probably be most useful for people interested in my process.
When I first started learning oil painting, I was influenced by several painters to start with a minimal palette of colors. My first color palette was Titanium White, Cadmium Yellow, Alizarin Crimson and Ultramarine Blue. Now I use approximately 17 colors.
There are some colors in this list that I could probably get by without as they are easily mixed. However for ease of painting, I keep them on my pallet. Here is the list as follows from left to right:
- Torrit Gray
- Ivory Black
- Phthalo Blue
- Cobalt Blue
- Cerulean Blue
- Cobalt Violet (Hue)
- Permanent Green Light
- Phthalo Green
- Alizarin Crimson
- Burnt Sienna
- Cadmium Red (Hue)
- Cadmium Orange (Hue)
- Green Gold
- Raw Umber
- Transparent Earth Yellow
- Yellow Ocher
- Cadmium Yellow
- White (50/50 Lead and Titanium)
At some point in our progression on this blog I will discuss more of these colors and their various uses in my process. Today, I will just cover a few key colors.
In my previous blog I wrote about my pallet at that time and my love of the color Lead White. These days I use a 50-50 mix of lead white and titanium white. I find that this gives me the most flexibility for the types of paintings I like to do. Lead White is a very warm and semi-transparent color while titanium white is cool and extremely opaque. I like to add the titanium white to my lead white to take advantage of that opaque quality. When I use just Lead White alone, I find that I have to use quite a lot more paint to get good coverage.
I should note at this juncture; that's the reason I use (Hue) versions of the cadmium red, orange and yellow are due to cadmiums incompatibility with lead white. All of the true cadmium colors are modern pigments and when mixed with lead white (an ancient pigment) they can produce some nasty oxidation over time. Something good to be aware of if you are interested in using lead white.
Another color on the list is the Torrit Grey. This is a color that is put out by Gamblin and is different every year. Basically it is all the pigments that comes from their filtration system and they mix it into paint. The Torrit Gray that I've been using is very close to a 50% gray. This is a color I can easily mix or do without altogether, but I found this color that is very useful to have handy. It's a color on my pallet that can be easily modified in whatever direction I need quickly.
As I stated above in our progression up to day 100, I will take a few blog posts to discuss other pigment colors, so stay tuned. Also, I will discuss tomorrow about why my colors are laid out the way they are and a bit about the history of the additions of various colors to my pallet.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Woodland Landscape' by Charles Warren Eaton; this is a painting that I've done twice. The first version I traded with a local artist here in Northland New Zealand, for some of their work. I have since done a second version and that is the one we are discussing today.
This painting is quite similar to the last Charles Warren Eaton painting that we did a study of. It is a very simple woodland scene. I'm attempting in my current series of Tonalist paintings to do a woodland scene that has been somewhat inspired by his approach.
To see more of my work, visit my site here
 |
| Original Painting, Woodland Landscape by Charles Warren Eaton |