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A Weekend in an Art Course – The art of colour mixing , Rod Moore

Art Courses 2019 – The art of colour mixing , Rod Moore

I have been into art and painting most of my life and you never stop needing to learn new areas or keep going back to basic and practice old ones, so at the start of this year I registered on a Udemy course run by Rod Moore (Rod Moore, Complete Colour mixing course for artists).

I started the course last week in the evenings and so far its very good, I like very much the structure of the courses run by Udemy as they are perfect for adult study allowing you to use your spare time to gain new skills.

Here are some of the basic colour mixing techniques I have covered so far…..

Creating a colour mixing wheel.

Here the colours provided in my watercolour palette are laid out on the very outside of the wheel, working inwards I have mixed the primary colours of Blue, Red and then Yellow to show the results of mixing primary colours.

Mixing Blue, Reds, Yellow and Greens.

Most sets of paints contain more than one type of Blue, Red, Yellow and green paints, so in the above images I have worked on taking all the paints in these groups one by one and mixing them with the other paints outside the selected group. The first image for example is using two versions of green, the second two versions of blue – then mixing these with all the other remaining colours.

This type of colour mixing produces some very interesting results and helps show just how different the results of mixing different Blues, Reds, Yellows and Greens with other colours can be.

Landscape colour mixing – wheel and chart.

As said above different available paints can fall into the basic descriptions of blues or yellows and reds, but are individually very different from each other, in the images above I have painted a colour wheel that uses more earth versions of these primary colours.

These versions of the Primary colours (Blue,Red and Yellow) when mixed help to produce results much more likely to be used in Landscape Painting, you can see that they results in a much more earthy looking colour wheel than one produced by more standard primary colours.

I have also produced a colour chart on the right hand side of this page that shows the same mixing results but in block of colour, the standard mixing chart is in the centre of the page and as you can see this produces a much more vivid set of resulting colours, ones much less suitable for landscape painting.

One thing I have noticed while working through these exercises is that watercolour paint does not mix very well compared to Acrylic or Oil paints, which both produce much better stronger results. Its harder to get watercolour to produce many different levels of the mixed colour and for these results to have much depth to them , so my next stage is to repeat all these exercises using artists acrylic paints.

So all in all I feel great about working with this course and had a very enjoyable time over the weekend, I am not intending to turn my blog into just Art and Painting so for now I will return to some photography but its be great fun sharing something different 🙂


A weekend with colour …….

Colour mixing,
WaterColour and acrylics

A weekend in colour

This week I started an online course in colour mixing for watercolour and acrylic painting, so during this weekend I plan to spend as much time as possible learning colour theory.

I worked on the course in the evenings and have already used up a few pages of a new sketchbook, including the pages I have posted here.

I feel that one of the most important things I have learned so far, regardless of the type of paint used (Watercolour or Acrylic) is that I am getting to know them very well, how to mix the basic colours included in a sets of paints and what the results look like. Not all colours act the same even when used without mixing them, some colours produce very smooth results others produce a very grainy texture, some colours don’t seem to go into the paper or canvas very deeply others act more like a dye and the moment they touch a painting surface they stain and fix themselves in very quickly and most likely permanently.

The use of colours

When I first stated painting some years back, I would spend a large amount of time trying to match every single colour in a landscape I was painting, however I feel that since these days I have learnt that doing this is not only exhausting it also does not always produce a good painting. Colours can be used much more effectively when limited and balanced so that they are used to compliment each other. When colour is used to highlight areas in a painting or to soften other areas they can make some parts of a painting stand out and others while still included, fall into the background of the finished work.

It’s all these areas and more that I want to study and regain complete understanding again of both in practice and theory, I can then move onto producing colour sketches and full paintings again.



Colour mixing, using just Primary colours

In order to produces all the colours you want to include in a painting you actually only need three , The primary colours (RED,YELLOW and BLUE), what does counts here however is the type of red, yellow or blue you start with in the first place as this will allow you to produces very different final results.

So this weekend I plan to uses as much paper as possible and produce a colour notebook that I can use during the year to help me when producing any paintings I start working on.

If I get time I will post on my progress but if not, I will on Monday post some results and my thoughts on what I worked on.


Looking at Great painting “The Stour”- John Constable, UK 1776 – 1837


CONSTABLE, John
Great Britain 1776 – 1837
The Stour 27 September 1810
oil on canvas
23.8 h x 23.5 w cm
dated ’27 Sepr. 1810′ upper right
John G. Johnson collection, Philadelphia Museum of Art, bequeathed in 1917

Since I returned to Ireland from a holiday in Germany during November, I have found myself turning to my drawing and painting much more again. This is only natural I feel during the winter months , so far this November and December we have had nearly 200mm of rain here in county Kilkenny, (amazing when you think that this is more than double the about for the entire summer) so its been hard to carry and use a camera as much as in a normal winter.

To help me get inspired and make a start I always find myself looking at my most admired classic painters like John Constable.

To me Constable is one of the most misinterpreted classic artist, mainly due to the fact that today his art work has become Synonymous of twee landscapes used on box’s of chocolates and for jigsaw puzzles. Yet when he was starting his carrier as a painter very few people would take on landscape painting and expect to make a living of any kind. Most of the artists of his day would paint classical works reflecting upon mythical stores or portrait works as commissions for the super-wealthy of his day.

The idea that an artist as good as John Constable was, would spend his time painting open landscapes, farms or rivers made little sense to any of his tutors or his peers, many disowned him for doing so. It is this fact that pulls me so much toward his work, he was one of the first of his kind and cutting edge!, sketching and then painting from life, mostly outside in the surroundings he was painting.

The simple truth is that he was and still is very cutting edge when it come to his abilities to capture people in the landscape, if it were not for the fact he did so and produced so much work, little memory would remain of the places and people he captured.

    The Stour 27 September 1810

The Stour is one of the first of his painting I ever looked at and I still love this painting very much today, I love the loose use of the oil paint and brush work, the limited palette of colours but above all the atmosphere he has captured.

Its also painted in the format I love the most, at 23×23 a Square format. Its not easy to compose an image in a square! but I feel that the results can produces a great painting or photo with great concentration on the subjects you want to capture the most.

Painted Between 1808 and 1816 – the year of his marriage to Maria Bicknell – Constable spent most of his summers at East Bergholt, sketching in the fields and the surrounding countryside. From 1810 he began to paint images of the River Stour, and the activities associated with it, particularly in the area near his father’s mill at Flatford. Indeed, the bulk of his subjects during the first half of his career are images of Suffolk. Many of these are rapidly executed, evocative sketches, painted entirely, or substantially in the open air – often depicting transient atmospheric effects.

Constable painted this view outdoors in the vicinity of Flatford Lock at sunset. He cut his canvas to fit into the paint box he carried, and pinned it to the opened lid while painting.

The landscape around the Stour Valley and Dedham Vale had been admired by poets and artists before Constable (Tate 1991, pp. 53–54), but he made the area particularly his own by painting it over and over again. Constable wrote in later years: ‘I associate my “careless boyhood” to all that lies on the banks of the Stour. They made me a painter (& I am gratefull)‘ (Beckett VI, p. 78).


Digital Drawing – Winter in the Hedgerow, December 2018.

Digital Drawing
Tone Brushes, MyPaint with Wacom Pro M Tablet
Winter Hedgerow
Nigel Borrington December 2018


Drawings from the Hedgerow …..

Art of the hedgerow
Digital Drawings
Nigel Borrington 2018


Drawings from the Hedgerow ……

Art of the hedgerow
County Kilkenny
Digital Drawings
Nigel Borrington 2018


TTOPOLOGY – Dennis McNulty, at the Carlow Visual arts center – OMG I am so confused about Contemporary art ?

This afternoon I took sometime off and visited the County Carlow , Center for Visual arts, having read a description of an exhibition by the Contemporary artist Dennis McNulty LINK HERE!.

Its about a month since I last visited this Gallery, when I did I came away as so often just a little confused as to just what I had witnessed? the work consisted of a single image of a sunset that did not change for 30mins (maybe the video was frozen?) to the sound of bird song in the background!

The latest Exhibition By Dennis McNulty I am afraid to say just left me with the same head scratching feeling, it was described as follows

Dennis McNulty
TTOPOLOGY
03 February – 20 May
TTOPOLOGY, an exhibition of new and retrospective works by Dennis McNulty considers the technologies and systems that have been developed, cast aside, or revised in order to advance our human potential. Coupling technology and art, McNulty explores the fields of science, engineering, built environment, retro technologies and future possibilities. See this link for more details ……

——-

All my life I have been a lover of art , a viewer of many forms of artistic expression, open minded and well able so soak in new ideas – yet I feel it must be many years since a visit to an art exhibition from a currently working artist has produced anything other than a feeling of massive disappointment and total confusion as to the state of modern art.

Personally I feel the time has come for me to stop looking deeper and doing my very best to find that small percentage of good – within the work I take the time to go and see!

I feel its time that the art loving public as a whole start to make it very clear that we are getting sick and a little drawn out with looking at exhibitions that we are just meant to get or at the very least in some way forgive the artist for because at the end of the day, well they art artists aren’t they! and they get something we don’t?.

Fact is however Most people who walk away from a modern art exhibition these days do so with nothing other than confusion if not a little anger, because basically they feel cheated, let down and taken for fools!

I have felt for a long time that currently working modern artists have no interest what so ever in what the viewers of their work think, In fact I wonder just who they are producing their work for? it cannot be for the 99% of the public! I don’t feel that its acceptable any longer to just act as if its the responsibility of the viewing public to get on board or just be dismissed because they don’t get what is at the end of the day trashy, Lazy and ill conceived work!

From my basic understanding of formal art study, artists spend four to five years in an art school taking a degree of some form. During this period the work they produce can be of many kinds and make use of many forms of artistic media, this type of work by itself should not and does not need to be presentable to the public. At the end of each academic year there is usually an end of year show building up-to the final degree show held as a presentation of the students work put forward as their final degree submission.

When you understand these levels that go into passing an art degree, maybe just maybe you can start to understand the kind of work your looking at in some current art exhibitions!

There is also another factor that the viewing art minded public needs to understand and that is that many art tutors in art school are required to hold their own exhibitions each year so that they can show that they are at the very least practicing artists and not just a teacher. Still however these artists work relates in form very closely to the kind of experimental work produced during art school study , basically because these tutors are the very people who are judging their students work!

So here are some questions !

Is the art work that most of the public views in public galleries these days, no more than art school/student level and experimental level work and not the work of professional artists would have not only passed an art course of some kind but also spent many years building on their art study to become a professional artist and with an understanding of the real world?

If this is the case, then would it be fair to say that the confusion around modern art is that we are just not being told about the level at which the artists involved in some if not most of the exhibitions we see, site in their level and progression of work ?

My own feelings are that, the current type of modern art works that I view in most of the exhibitions I take time to go and see, is for me personally for whatever reason basically lazy, fuzzy, repetitive and unacceptable ( well under worked, not over worked for sure!) IMO!. I feel that Modern art finds itself in a position where it is being produced for other reasons than for my pleasure as a viewer of it! I also wonder if the formal art world is not just feading on itself until there is basically nothing left and the bottle is empty!

Will I keep going to art exhibitions, Hell yes! just in the hope that one day I get to see something that I truly do understand and end up walking out of the door once again with a smile on my face !

If Dennis McNulty ever reads this post, not likely ! I have respect that your putting your work out there , its just not for ME!!!

Gallery of an exhibition.


Snow at coolagh old church, county Kilkenny art work, Acrylic on canvas ….

Snow at Coolagh old church
County Kilkenny
Acrylic on Canvas
Nigel Borrington


Pencil on Paper : Whitechurch graveyard , county Kilkenny

Whitechurch graveyard county Kilkenny
Pencil on Paper
Nigel Borrington

The last few one hour sketches I have worked on, I worked in pencil and ink but yesterday I went back to pencil only, using a B, 2B and 5B pencil. The location was a great little church and graveyard in the towns lands of Whitechurch on the south Kilkenny boarder.

I really loved working with ink but wanted to get back to pencil, although the direction I feel that my drawing is going in I am working with mainly line and shapes so there is little difference as yet. With pencil however I like the fact that I can get more tone using different grades of graphite.

I feel the main things I learn during this drawing were, how much to actually include in the drawing from the view in front of me, how I feel I want to represent different organic items such a ivy and trees along with grass and weeds! I feel I got the size of the two grave stone over very well…

I feel happy with the finished sketch, feeling that overall I got across well using the medium the view that was in front of myself. The worked flowed very well with no need to stop during working yet I got a good sense of when to finally stop working and be happy that the drawing told the full story!


One hour sketch, views of Slievenamon county Tipperary

A view of Slievenamon
One hour sketch
Pencil and Ink on Paper
Nigel Borrington

Last week here the weather in Ireland took a wet and showery turn, its starting to feel very close to the Autumn now. As such it was a little harder to finish each of the outdoor sketches that I started, If I have to stop a drawing I intend to return to the same location the next time I have a chance. However the sketch above is one that I did manage to finish, even this one was interrupted for some 15mins while I put everything back into my waterproof pack and waited for the rain to stop.

The location of this sketch is on the hillside just south of Clonmel and the river Suir, with a great view of the woods and its trees, looking towards the mountain of Slievenamon above, about a 10 min walk from the car park.

In the last two weeks or so I have started adding in some graphics pens to my work, I am finding that using these pens helps me keep freely flowing and moving as I work, I will return to just pencils at some point but am really enjoying the look and feel of the lines that these pens are adding. With Pencil I feel I end up with more stopping and starting during working as I think about tone and depth. light and dark, while this is great just for the moment I want to think about form and shape alone.

I am happy with this finished drawing, looking at it I wonder if I have overworked it just a little but I think for the moment I am happy. These are sketches and not final works, I am very happy , more happy if something is to be found in them that I can learn from and progress with.