Over the last two weeks, I have been experimenting with a new palette. Some of my palettes are very complex and need much time to be developed and refined. But sometimes, I like to have a palette that is very simple and can be used with any subject. This is important especially when one is painting away from one’s own studio and is in an unfamiliar space with different variables such as light quality. I have been apt to use a triad of primaries, red, yellow and blue in these situations. I usually create a hierarchy of intensity within the triad by adding an earth tone as one of the primaries. Some variations on this are:
These palettes express a variation of intensity in one of the primaries and have been in application, used very successfully. But over the past two weeks, I have experimented with this palette:
This is a set of two triads, the first with a high intensity chroma and the second with a low intensity chroma. This seems like a lot of repetition. But what I found is that rather than trying to subdue a color that was too intense, I used its low intensity version. An example would be an orange made with Cadmium vermilion + Cadmium yellow + White vs. English red + Raw sienna+ White. I also made a decision about the quality of the light source. While painting this figure study, the model was illuminated by an electric incandescent light, with a cooler sky light above. In this situation, the intensity of color came from the incandescent light. This left the shadows more neutral. There was also the play of a cooler light on the top planes that added some neutrality and temperature variation on the light side as well as the shadow side.
So in using this palette, I decided that the light side should contain the most intensity and therefore used the high intensity chroma triad to express the primary light source. And I used the low intensity chroma triad to express the shadow side and all receding planes including the background. This gave an immediate feeling of projection to the forms of the figure. The exception being that the triads intermingled in the neutrals along the shadow edge and the reflected light on the top planes on the shadow side. I found that adding a touch of cobalt blue and English red to the top planes on the shadow side united the two triads perfectly through the cobalt blue (high intensity palette) and the English red (low intensity palette).
This arrangement of the palette with its primary concern for the light source and its quality of intensity and color temperature was very successful. I have yet to experiment with the reverse situation, where the light source is cooler and most of the color intensity resides in the half tones and shadow side. But I believe that it will work in that situation as well, as long as I consciously organized and decipher the quality of light on my subject and use the palette accordingly.