A problem with yellow ochre.
I got too involved with the form of the man's pants in the left panel. I moved the color toward yellow ochre and didn't notice the color mismatch. It was not until I stepped back at the end of the studio session that this color problem hit me. It disturbs me greatly, mostly because I concentrated on form, and absentmindedly forgot to watch the entire painting. The yellow ochre does not play well with the woman's dress, nor does it reflect the man's pants in the fight panel (not the man in the right panel is the same man as the man in the left panel). In any case, this is a minor problem. All I see now are minor problems. This painting is almost complete, and this fact is the opposite of disturbing.
I like yesterday's drawing. I will not draw today. I will go straight to the painting.
A note about reproduction: The painting is evenly lit. In the past, when photographing the painting, I have added lights to the normal overhead bank of lights used during painting. I noticed the extra lights caused areas of color to wash-out. Today's reproduction of Untitled Diptych-04·15·2014 is not quite as vibrant as yesterday's, but overall it is more cohesive because of the even lighting. I continue to grapple with the white paper in reproducing of the drawing. It appears gray in today's reproduction. The choice is always made to exhibit the pencil line, and the consequent form, as best as possible. This does not mean the reproduction perfectly reflects the subtlety of the pencil's values. I will never be satisfied with reproduction.
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