Making-of
May I introduce myself painting at the easel. I paint with acrylics.
Photo: Karin Cramer
Glaze painting
Using glaze painting technique you can compose the picture beginning in one color (e.g. yellow, magenta or cyan blue). White is needed in addition to brighten up dark spots. This is called white heightening. Mixing is not done on the canvas. Each layer of paint dries before the next glazing.
To start with the picture is set up with a broad brush. For this picture it starts with cerulean blue • . Additionally I use white • whenever it is needed.
After being certain about the composition the second color ultramarine blue • is added.
Furthermore white, cerulean blue and ultramarine blue • • • are on the pallet.
Now magenta • is added,
also hansa yellow light • .
Finally I have white, cerulean blue, ultramarine blue, magenta, cadmium scarlet, hansa yellow light and cadmium yellow • • • • • • • on the pallet and finish the painting.
Patch painting
Using patch painting technique colors are mixed on the pallet. In contrast to glaze painting working on composition and on colors cannot be divided in separate passes. A lot has to be observed at the same time: cool colors, warm colors, color harmonies, shapes and the entire composition. This is a real challenge.
In the beginning I try to dedicate myself rather to colors then to shapes. I have to examine the established still live precisely and mix the colors I see on the pallet with care.
More colors are applied to the canvas. I am not yet happy with blossoms top left. Why is the pot on the bottom right white, it does not match. Even so it is looking like this in reality, it does not work for the painting.
The pot on the bottom right has found its color, but not the blossoms top left and not yet the entire area on the bottom left. For the background I like the newly invented trees.
Just go on painting.
The blossoms on the top now have got their color and shape. But the area on the bottom left still waits for painting ideas.
Just a single orchid flower on the bottom left und the painting is finished.
I learned about glaze painting and patch painting at Ute Reichel’s painting studio. www.malwerkstatt-utereichel.de
The pigments I use
Magenta, Quinacridon magenta, Cadmium scarlet, Burnt sienna, Translucent orange, Cadmium orange, Gold ochre, Cadmium yellow, Hansa yellow light, Chromium oxide green, Cobalt teal blue, Cerulean blue, Prussian blue, Ultramarine blue, Titanium white
Painters, who impressed me deeply
- Anna Ancher
- Maria Lassnig
- Gabriele Münter
- Georgia O’Keeffe
- Helene Schjerfbeck
- Cuno Amiet
- Paul Cézanne
- Marc Chagall
- Lyonel Feininger
- David Hockney
- Edward Hopper
- Wassily Kandinsky
- Roberto Matta
- Claude Monet
- Edvard Munch
- Vincent van Gogh
Out of my bookshelf
- • Victoria Finnlay – Colour: Travels Through the Paint Box
- • David Hockney – Secret Knowledge
- • Josef Albers – Interaction of Color
- • Wassily Kandinsky – Über das Geistige in der Kunst
- • Jakob Steinbrenner, Stefan Glasauer – Farben: Betrachtungen aus Philosophie und Naturwissenschaften
Color theory
You can paint without color theory. But some like theory and I am one of them. However practice should always come before theory as Josef Albers wrote in his book "Interaction of color". Anyone who now and then likes to complement practice with some theory will find a lot in the internet.
- • Uni Hannover - ITP - Prof. Dr. Dietrich Zawischa - Introduction to color science
- • Dr. Andreas Schwarz - Color didactics (in German)
- • Only few are successfully able to build a bridge between physics and art of painting. Both sides are discussed in detail by Bruce MacEvoy - handprint.com
- • or put in simple words by John Muir Laws "Red is not a Primary Color" - johnmuirlaws.com
