By Chris Hillman
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Extra resources for An Outline Of The Theory Of G-Sets
BUILDING THE IMAGE 1 Paint the chicks and the geese’s bodies and heads cadmium yellow, using the No. 9 brush. Then paint the geese’s heads and necks cerulean blue and their chests Windsor violet. 4 Geese in the park | 63 When cerulean blue mixes with the wet paint it granulates. 2 4 Add cerulean blue to the lower parts of the geese to create cool shadows. When the paint on the chicks has dried, add dashes of cadmium orange to their heads and cerulean blue to their bodies. Paint the background green with a wash mixed from cadmium yellow, cerulean blue, and emerald green, using the 25mm (1in) flat brush.
Phyllis McDowell 44 | COLOUR 1 Tuscan landscape At first sight, landscapes look both colourful and rather complex, especially if they are made up of many different shades of green. In this painting, however, orange and blue – complementary colours – are used not only to create a dramatic and vibrant composition, but are also mixed together to make a harmonious range of neutral greens and greys. The sky makes up two thirds of the painting and a basic flat wash is used to great effect to capture the appearance of a deep blue sky on a still, hot summer’s day.
Paint a wash of emerald green around the cherries and soften it with cerulean blue. Then strengthen the areas next to the cherries with viridian and burnt umber, to provide a strong contrast with the red. 11 Paint the shadows on the cherries with a mix of cadmium red and alizarin crimson. Strengthen the colour of the branch with burnt umber and add Windsor violet in the darkest places. 9 Paint the branch above the cherries with burnt umber, using the side of the No. 5 brush. The paint will granulate naturally, helping to create the mottled appearance of the bark on the branch.
An Outline Of The Theory Of G-Sets by Chris Hillman