Thursday, November 23, 2006


One of the great challenges in painting is to achieve a balance, if not harmony, with the colours of each work. Even analogous colours can cause friction, as different proportions of the same primary battle for recognition. A painter in the early stages of development faces potential traps, such as keeping stronger hues apart with neutral or dark ones. An example, and one that I used, would be to separate colours with black lines or outlines. While the use of black line can work, such as in the paintings of Fernand Léger, it is perhaps best for the less experienced painter to practice colours that are directly connected.

Another way of dealing with colour harmony is to pick a pigment and mix it with most or all other colours, creating unity through that particular pigment. Although white is an indispensable colour, it is an ideal candidate, and of course the one I had to use. A painting entirely composed of light or pastel like hues can succeed; it is again something that could be used to avoid other complications.

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