UMS-Arts

Art, Ideas and Tutoring

 

My recommended Palette

There are so many different paints to buy, not just companies also colours. It’s seems so easy to buy that colour you need, but then you collect much more tubes or bottles than you need. What about spending less money and learn more?

Titanium White

With this one you get every colour lighter and using it more and more white you get pastell tones. In a seemingly colourless sky there’s still the sun in the background that makes our day more or less light. To show that you need rose, yellow and blue tones. That means, white is never only white. Instead there’s always another colour with it.

Cadmium Yellow

– best middle – is a warm yellow that looks like sunflowers oder other summer flowers or the back colour of DHL. It is great for mixing other warm colours. With Vermilion Red you get a bright orange. You get to see those colours in the early mornings and evenings in the sun. This tone is mostly half transparent.

Lemon Yellow

This is a bit lighter and cooler next to Cadmium yellow. For a deep olive green you can mix it with a little(!) black. Usually, it’s transparent. This is helpful for a meadow in the early morning, when you see the first yellow light over the green of the grass. You just need this yellow thinned with a lot of water and put is on the greens. You see, there are reasons for colours being transparent or opaque.

Vermilion Red

This red tone reminds us to the warm red of tomatoes. It is really saturated. Wild poppys are the same. This colour and also the flowers should be seen. This mixed with a little black makes a nice rusty brown, but there are also a lot of things at the sea to make good contrasts to blues.

Crimson Red

This colour you already find in school painting boxes. In this tone is more blue and it is cooler than Vermilion. It’s often already darker. On the contrary to the other red it is transparent. Just with this red tone and ultramarine blue you get a bright violet. If you use Vermillion it would look dull.

Phthalo Blue, Windsor Blue

The names vary from company to company. It is a warm blue, if you can talk about blue es warm. As good blues are mostly very dark you can’t find out at once which blue is it. Mixed with white you get the typical sky blue. So, you know which blue you’ve just used. This tone has not only as acrylic one the reputation to be hold in the brush very well. You mostly have to clean it really well before using somethings without blue.

Ultramarine Blue

Not only loved by Matisse. For me this one is – except white – the most used colour: in the top of the sky mixed with phthalo blue and white or as part of shady areas. Shadows are never just black. Doubt photographs it you see just black in shadows. Put ultramine with a little white in that areas so that you can see.

Black (Lamp Black etc.)

When you have a choice of black tones in front of you, always take the darkest. You probably get the most pigments. Black is always the last remaining tone because you don’t need a lot. It is always opaque and strong. Be careful using it, better less than too much.

Coursework: Britta’s Present

 

 

 

Right for christmas I found Britta’s acrylic work that probably made somebody very happy. Finding the fitting value for light, shadow and glistening surfaces is not easy, but Britta managed that quite well.

Prepared for the Workshop

 

 

You never know how the weather would be like when you announce a workshop for summer and especially in the garden.

Better you prepare for sunny and for rainy weather or better also for a day full of rain. How? I must confess I’m so lucky to have a kind of panorama window to the garden. That makes a relieving feeling when it comes to weather.

 

 

 

 

 

So, I got prepared and did some sketches in advance not knowing with which materials the girls would turn up. So, I mixed them, coloured pencils with watercolour pencils and fineliners, always the real subjects in sight.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In the end I was well prepared with some paper to remember learned things and some goodies that are nice to have as well as being of big help when you paint or draw outside or from the garden atelier with a great look outside.

Some Advice (1)

A sea friend showed me some paintings lately. He was not that satisfied with them. In this case it is of big value to ask someone else. A fresh new view that doesn’t stick to the painting, and you know quite quickly how to go on:

This Shrimp has wonderful hights and depth. You see where the shell gleams and where the tail and eyes are and where the shells overlap.

However, this background… sometimes less is actually more:

  1. Die color comes directly from the tube and is very saturated. It takes the importace from the shrimp.
  2. There are already (because of some used salt) very many contrasts in the background. That makes the filigree “drown”.

Conclusion:

This Background does the painting no good.

Advice:

With good paper you’ve got the possibility to get some of the color off the painting with some papers of the good old kitchen roll – please, very carefully so that nothing happens to the shrimp.

If that is successfull it would be useful to change the color to reduce its saturation and give it to the shirmp. I’d advice a grey nuance that you can get with adding with watery red. 

 

Ulrike Miesen-Schuermann

Ulrike Miesen-Schuermann

I’m Ulrike Miesen-Schuermann, fine artist, tutor and full of ideas for me and for you maybe. Some times just a word or a picture is needed to take us to old and new worlds, where we have collected and still collect treasures, places and memories – with a whole lot of love.

Pin It on Pinterest