I decided to run another of my little comparison experiments with these triad tree paintings. Only there turned out to be two lessons it in.
I’ve been in the studio more than usual this week – which is a bonus. I had a small operation to remove a benign growth in my neck last Wednesday. Having to be at home, and resting, has meant I’ve had a bit more time to go and potter quietly in my own special den. (I do love being in the studio. It smells of paint, and is filled with colour and books and all sorts of wonderful food for the senses)
Using the same paper, and the same three primaries (Perylene maroon, Aureolin yellow and Winsor blue), I just changed my technique slightly when working on these two triad tree paintings.
For the Autumn Triad Tree, I sprayed the paper before laying on the paint. Not very much. Just enough to give the pigment some movement to when it hit the paper.
For the Summer Triad Tree, I left the paper completely dry. The colours stayed broadly where they had been placed, just mixing gently with those directly adjacent to them.
So, just changing that one small variable gave each of these paintings a very different feel. The Summer tree is more alive and vibrant, and the autumn tree is fading softly into dormancy.
The Triad Tree Paintings
Here’s where you can see the paintings on the Running With Brushes website:
I mentioned two different lessons. The second one came when my husband looked at the paintings. Aside from the outlines of the trees, he could not see the difference. I may have mentioned it before – he’s red/green colour blind. Basically, the changes in the way the colours mingled were not apparently to him. He can see the tonal differences, and the outline, but the colours don’t stand out for him, so the difference in technique is completely wasted on him.