This year the Intentional Creativity Guild and CoW students are delving into color theory to bring more coherence to our work and teachings. After Shiloh began her art career, she started as an Art School drop out - frustrated with the rigid Rules and emphasis on creativity stifling critique - can you relate?
I loved my HS art class, and was one of this kids who drew in the margins of her notes, sketched the neighbors' horses, and played with geometric patterns. I'd get a paint by number set, then use any left over paint on a canvas from the Dime Store. A couple of college art classes were followed by occasional occasional Community College or Art Guild classes, with color theory part of the mix.
The Color of Woman method has relied on a more intuitive use of colour, with the intermittent use of glazing for unification. This year, Guild members from several traditions are bringing in color theory and teachings on using Mothercolour in our paintings. Our first Mothercolour lesson came from Australian artist Jassy Watson
The glazing process we use, covering the canvas with a thin coat of a transparent color at least once, has a similar unifying effect. The recommendation to have several colours on our palette, and dip the brush into ones we wish to use together, rather than thoroughly mixing them before painting, also contributes. A tip from Shiloh's teacher Sue Hoya Sellers was to add a new colour in at least three spots around the canvas.
|Mothercolour swatch #2|
Jassy studied color with the Australian Flying Artist, Merv Moriarty, who learned to fly so he could take art classes to romote areas around AU! Now in his 80s, Moriarty is still passionate about color, art and education! Both Watson and Moriarty are influenced by the Australian landscape.
|Among the Tree Sprites 10-19|
|Mama Gaia - 2014|
What are some of your favorite exercises for exploring colours? Do you have ways you bring unity throughout the piece or a series?
Share in the comments below - and HåPpÝ Paint Party Friday!