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Colour choice and adjustment

August 7, 2012

Dear Artist,

Some painters nail the exact colour they need on the first go. I'm not one of them. In my experience,Sketch: <i>Alpenglow, Mt Lefroy, Banff National Park.</i> acrylic on
canvas 11 x 14 inches by Robert Genn
Sketch: Alpenglow, Mt Lefroy, Banff National Park.
acrylic on canvas
11 x 14 inches
by Robert Genn
90% share my problem. Colours change as the colours change around them--and you can't know the colour of a passage until you're picking up what you're putting down. The situation is compounded by the presence of (or desirability for) reflected lights, silhouettes, local colours, broken colours, cast shadows, equal intensity lay-bys, etc. Finding the right colour can be like looking for the Higgs boson.

Understanding how colour works is largely a self-taught skill. Two years ago a young New Zealand painter, Richard Robinson, produced a remarkable video on the subject. There's a twice-weekly letter about it here.

Further, every serious painter should study the research of Josef Albers, Albert Munsell, and other colour wizards. Here are a few practical ploys to consider:

* Consider limiting your palette. One of my all-time best tips is to start out with large dollops of six or seven pigments only.Detail: <i>Into the Alpenglow</i> acrylic on
canvas 30 x 34 inches by Robert Genn
Detail: Into the Alpenglow
acrylic on canvas
30 x 34 inches
by Robert Genn
How's about black, white, cad red, crimson, yellow and blue. By forcing the mixing of opposites on the colour wheel, limited palettes facilitate delicious, sophisticated colours.

* Consider "pushing colour." This is where you overstate early on with brighter or "any old" colour in the full knowledge that you can adjust later. Curiously, a gut decision in overstating often gives a delightful energy that doesn't need later modification.

* Consider grisaille. This is where black, white and gray-scale become a chassis for colour to be localized later. Apart from achieving a certain kind of style, grisaille proves once again that relative tone values are more important than local colour.

* Consider "infinite play." Taking care not to overwork, keep adjusting colour hue, intensity and tone value. The hues within sunlight and shadow, for example, are not always obvious at first. Keep playing until you begin to see visual truth.

* Consider glazing. Tone down or re-tone passages with a transparent, generally darker tone spread over a dry under-painting. Warm can be made cool and cool can be made warm, either overall or in selected passages. One of the most underrated and underused ploys, glazing fixes and pulls together lame colour compositions for fun and profit.

Best regards,

Robert

PS: "Any ground subtracts its own hue from the colors which it carries and therefore influences." (Josef Albers)

Esoterica: Lately I've been playing with Alpenglow. Known as Alpengluhen in German, it's an optical Alpenglow feelings, Bugaboos -- acrylic on
canvas 14 x 18 inches by Robert Genn
Alpenglow feelings, Bugaboos
acrylic on canvas
14 x 18 inches
by Robert Genn
phenomenon where airborne snow, water or ice particles give dramatic effects in high mountain atmospheres. More broadly, it's a condition seen toward evening where snowfields and glaciers serve as giant reflectors to the surrounding mountains. Remarkable colours can be seen on the normally shaded side of mountains or on the opposite horizon just after sunset or just before sunrise. I'm finding the effects can be brought to life with gradations--the glow itself is comprised of a wide range of colours from deep blue through pulsating grays, subtle crimsons to hot oranges and yellows. Like trying to nail the Northern lights, synthesizing Alpenglow is a matter of on-the-spot observation as well as patient and persistent mixing.





The Verdaccio palette
by Tom Andrich, Winnipeg, MB, Canada


Recently, in July, I took a workshop from Frank Covino using a controlled palette. It's a pain in the 786 Main Street<br>mural painting by Tom Andrich 786 Main Street
mural painting
butt setting the palette up, but once done the painting goes so much easier and faster. Frank uses a Verdaccio palette. The Renaissance masters used the Verdaccio palette. It is all based on 11 values including black and white rather than the 9 value scale that so many artists use, including Richard Robinson. Thought you might be interested. I have changed my whole approach to painting since I took Frank's workshop and I've been painting for over 50 years and teaching painting and drawing for over 20 years.



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The value of tone values
by Rick Rotante, Tujunga, CA, USA


I have always felt color is an individual thing and we all see it differently. As artists we also Belly dancer<br>oil painting by Rick Rotante Belly dancer
oil painting
interpret a particular color differently. Getting the "right" color isn't as important for me as getting the value of that color. Also, the shade or hue of a particular color again isn't as important as the "correct color and value" as it works in the picture being created. To be a bit more clear - the scheme of colors for the overall effect of the work are more important than slaving to achieve the actual color one may or may not see. The end result is less about accuracy and more about harmony of color used to paint a desired result.



There are 2 comments for The value of tone values by Rick Rotante

From: Anonymous -- Aug 09, 2012

Rick I think you hit the nail on the head here.
Your last two sentences sum it up perfectly.

From: wes giesbrecht -- Aug 09, 2012

Well put.


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We all struggle with colour
by Lisa Christiansen, Tauranga, New Zealand


I have often struggled to come to grips with having to consider value, hue and colour intensity Untitled<br>oil painting<br>30 x 20 inches by Lisa Christiansen Untitled
oil painting
30 x 20 inches
with every 2nd brush stroke, so decided to take colour out of my work until I felt I had mastered value alone. I would then glaze transparent colours over the grisaille underpainting so I knew the values were right and I could then tackle colour and all its complexities separately. I found this technique (although horrendously time consuming) helped my understanding of colour/value immensely—although I must admit I usually wished I had left the grisaille alone as I loved the black and white painting so much more than the end result. After watching Richard Robinson's colour DVD I also gave limited palette a go for the first time using only 2 browns, white, ultramarine and alizarin - quite a freeing exercise. And a big thank you Robert! I have learnt so much from your letters over the past few years.



There are 2 comments for We all struggle with colour by Lisa Christiansen

From: Susan -- Aug 10, 2012

Beautiful work Lisa. Do you have a website?

From: Lisa Christiansen -- Aug 11, 2012

Thanks Susan :0) http://www.lisachristiansen.co.nz


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Old Master Palette
by Pamela Bleakney, Fort Meade, MD, USA


Thank you for today's letter. For the past 5 years or so I've been using the "Old Master's Palette" Frida<br>watercolour painting by Pamela Bleakney Frida
watercolour painting
for my "Frida Series" of watercolor paintings. The palette is made up of Burnt Sienna, Raw Sienna and Payne's Gray. I use Winsor and Newton "Payne's Gray" because it contains a lot of blue. People are always surprised by the variety of colors that can be obtained from these three colors.



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Not satisfied with worn out theories
by Nader Khaghani, Gilroy, CA, USA


Please note that in color, the rehash of the past theories is insufficient. We are likely to suffer Primary yellow<br>acrylic painting<br>28 x 22 inches by Nader Khaghani Primary yellow
acrylic painting
28 x 22 inches
the fate of Latin, a dead language. Albers and Munsell are old news and just a stepping stone for the painters. It is encumbered upon each painter to push color and form to a newer height. Sure we are not all colorists nor formalists necessarily, for that matter, as we read in the Inception Myth of Color and Form (The Grand Conference of Birds at Grant Park/Hueless in Chicago).

Yet whoever we are in whichever way and whatever capacity, we do paint, think, eat and sleep color, so we are adding to our cumulative knowledge of color every day. I am proud of our efforts; it is time to honor the color heavy weights (Kandinsky, Klee, Itten, Munsell, Birren, etc.) but not remain satisfied with the worn out theories of the past and reach for the new shores.



There are 2 comments for Not satisfied with worn out theories by Nader Khaghani

From: Anonymous -- Aug 10, 2012

Lovely

From: Darrell Baschak -- Aug 10, 2012

A wonderful painting.


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Glazing
by Mallory Rich, Sandgate, VT, USA


Very helpful. I've been studying Munsell and that is improving my work. But could you go a bit deeper Island marsh<br>oil painting<br>20 x 20 inches by Mallory Rich Island marsh
oil painting
20 x 20 inches
into the topic of glazing? Thanks for your always-welcome letters.

(RG note) Thanks, Mallory. In my experience, most painters who actively use glazing use different methods suited to (and often invented by) themselves. Here's my system: I'm pretty casual and loosely untruthful during the early part of the painting. At about the halfway point I start to think about glazing—my main reason being to "pull the painting together." I put a glaze on with a rag—often a little at first, then, drying between, more boldly later. Sometimes it's cool (Phthalo blue a favourite) or warm (Burnt Sienna, Quinacridone Orange, Alizarin Crimson, etc.) I then come back in on top with impasto and other finishing accents.



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Drowning in wonderful colours
by Mona Youssef, Ottawa, ON, Canada


"Finding the right colour can be like looking for the Higgs boson." That is the real challenge for Great Heron<br>oil painting by Mona Youssef Great Heron
oil painting
nailing the exact colour. As a matter of fact, it is one of my pleasures when I paint. I feel as if I were sinking or drowning, not in waters but in colours and their many rich tones. You said it Robert, "It is a self-taught skill." I taught my students so much but they really have to make it their own. One of the main keys is to try and try and never give up until you get it right as was visualized at first, but mostly work with passion. Do not be concern about what others may say or want to see!



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Too much theory
by Cheryl Braganza, Montreal, QC, Canada


Your comment about "serious painters" has an elitist air. I have never studied Munsell or Albers New beginnings<br>mixed media painting by Cheryl Braganza New beginnings
mixed media painting
but I do consider myself an engaged and dedicated artist who has picked up colour concepts instinctively and now have my own style. I am not averse to your suggestions, though, but I don't think I could sit through a two hour video on Mastering Color. With Golden, Liquitex, Tri-Art coming out with luscious new hues all the time, I tend to spend less time mixing and just get on with it. For me, too much theory hinders the creative process.



There are 2 comments for Too much theory by Cheryl Braganza

From: Helen Opie -- Aug 10, 2012

My understanding of the reasons for studying theories of others is twofold: first, it saves your reinventing the wheel; and second, it may give you a new, possibly firmer, board to dive into your own work from. We are all free to accept or reject whatever we learn.

From: Anonymous -- Aug 10, 2012

That's folk art or naive art and it is loved by many people.


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The CMV Palette
by Robert Masla, Ashfield, MA, USA


On the subject of limited palette, I have often suggested to students an exercise using a CMY Mt Pilatus<br>watercolour painting by Robert Masla Mt Pilatus
watercolour painting
pallet, as we know from the advances of printing that these colors can be mixed to produce any color. I have them purchase a large tube of alkyd white (to speed drying—I've used almost all alkyd for the last 25 or more years, and have, in the last few years, been using CAS AllydPro paints, as from my experience with all of them, they have the best Chromaticity due to the highest pigment content and pure alkyd resin and very little oil). Then for Cyan, a Thalocyan. Green shade, (if that is not available a Prussian blue), quinacridone magenta for magenta and cadmium yellow light or Hansa yellow for yellow, add to that a carbon black and you have a perfect limited palette. When teaching techniques of the old masters, I have them add yellow ochre for the creation of a verdaccio underpainting. I also suggest CAS alkyd medium fast dry, as it really does fast dry. I use liquin, which most oil painters use to speed the drying of their oils. I use it to slow the drying of my alkyds, but this is a whole longer discussion.



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Richard Robinson videos
by Maria Reinhard, Montreal, QC, Canada


I have received Richard Robinson's DVDs on Color and his Master Class Landscapes. I have watched September Silence<br>acrylic painting by Maria Reinhard September Silence
acrylic painting
them several times and keep watching them, as every time I see them I learn something new. I have become so frustrated in regard to colour, but since I am a visual person the DVDs have helped me to understand all these theories very clearly. Not only that, the notes provided are invaluable reference tools.



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Margaret Ferraro workshops Held in Ontario, Canada.  <a href='http://clicks.robertgenn.com/workshops/workshop.php'>The Workshop Calendar</a> provides up-to-date selected workshops and seminars arranged in chronological order. Please take a look <a href='http://clicks.robertgenn.com/workshops/workshop.php'>here</a>.
Margaret Ferraro workshops
Held in Ontario, Canada.

The Workshop Calendar provides up-to-date selected workshops and seminars arranged in chronological order. Please take a look here.



World of Art Featured artist Gayle Gerson, Grand Junction, CO, USA



You may be interested to know that artists from every state in the USA, every province in Canada, and at least 115 countries worldwide have visited these pages since January 1, 2013.

That includes Dennis Clarke of New Zealand who wrote, "I must congratulate Richard Robinson on his series about colour. I have been down the road for many years and I am still learning, and always will. He approaches the matter from a completely different angle to all the others I have seen and learned from. Absolutely brilliant!"


If you think a friend or fellow artist may find value in this material please feel free to forward it. This does not mean that they will automatically be subscribed to the Twice-Weekly Letter. They have to do it voluntarily and can find out about it by reading our Welcome Letter.



Archived Comments

Enjoy the past comments below for Colour choice and adjustment...

From: Sandra Taylor Hedges -- Aug 07, 2012

The use of Grisaille is my standard for oil painting by creating a greyscale painting of the subject first and adding glazes of transparent oil colour second it makes for less dead paint which can happen in oil easily. Acrylic paint I work mostly in glazes, the quick drying time of Acrylic makes this effortless for continued work time. Both these methods require more planning and foundation work as it is more complicated to go back and fix problems in the later stages.
www.staylorhedgesart.com

From: Andrew Duclos -- Aug 07, 2012

Love the Airedale, had one as a kid, great dogs! Paint on.

From: Linda Anderson Stewart -- Aug 07, 2012

I am fascinated by the complexity of tints I see within what seems like one pink coloured slope. This is a morning view...from my front windows....never the same ...never dull.

From: Tatjana Mirkov-Popovicki -- Aug 07, 2012

Purist oil painters who follow old master’s methods probably won’t like this letter. I like the idea of the Higgs boson ten dimensions or whatever is there beyond our comprehension, waiting to be explored. Infinite play is what I enjoy the most, and overworking has value as well.

From: Gudo Hallstone -- Aug 07, 2012

I think it's best to pick the color(s) that "speak to me"...then it WORKS and I am happy.

From: Beth Kurtz -- Aug 07, 2012

"Taking care not to overwork, keep adjusting colour hue, intensity and tone value." Suggestions about HOW to "take care not to overwork" would prove invaluable to many of us.

From: Sharon Lynn Williams -- Aug 07, 2012

I have all of Richard's DVD's and they are EXCELLENT!! Highly recommended for artists at ALL levels.

From: Mandar Marathe -- Aug 07, 2012

I have the color course by Richard Robinson and it's fantastic!

From: Judith Weinstein -- Aug 07, 2012

I have purchased the color course by Richard Robinson, and I am so pleased with the course. I would recommend it to anyone!

From: Jayne Cummins -- Aug 07, 2012

I've no hesitation in recommending Richard's mastering colour workshops, he is an excellent teacher. He explains thing clearly with lots of practical demonstrations and illustrations. I've been teaching for 12 years and find his material most useful for my classes.

From: Morgan Phillips -- Aug 07, 2012

Richard and his work is outstanding. When delivering how he accomplishes what he does through his DVD's it's refreshing, inspiring, and accomplished. I feel, that I have improved dramatically with my paintings since I used the techniques he illustrates....I am always waiting to see more. I also love his forum where hundreds of other artists share their work, praise, and even help out with advice on how to solve any artistic problems you might be having. I live in the US and it is just an amazing opportunity to have an open communication with someone on the other side of the planet from me about painting.

From: Irene Frost -- Aug 07, 2012

This is a great DVD on colour. Information is well communicated and interesting.

From: Peta Zeller -- Aug 07, 2012

I am currently working through Richard's Mastering color DVD and have found it to be methodical and easy to understand. It is very hands on and the exercises build on each other as you progress through the DVD. It's a fantastic learning tool.

From: Teresa Johnson -- Aug 07, 2012

I have Richard's DVD's and I think they are excellent also. He is a good teacher and he is interested in his students, cares that they truly are learning.

From: terry clare -- Aug 07, 2012

Easy to follow and understand without any arty descriptions. A must for Old Master transparent layers to finish a painting. Perfect for Impressionist realist impassto wet in wet and plein air artists.

From: Dorian -- Aug 07, 2012

Richard Robinson has the most worderful color course imaginable!
The class is easy to understand and will improve you knowledge of color immediately.........

From: Christine Vella Borda -- Aug 07, 2012

Richard's painting instructions have been very useful for me and I have been following him for quiet a while now. There is always something new to learn and I have found his latest videos tremondously useful. Keep up the good work Richard Robinson.

From: Karen Candy -- Aug 07, 2012

Richard's mastering colour DVD's are an invaluable part of my library, stuffed full of so much knowledge its a must have, with loads of easy to follow steps every level of artist can benefit from.

From: adriana lalinde -- Aug 07, 2012

I have been following Ricard Robinson's full course along with others, it has been the best one of all. Really worth to listen to all his videos.

From: Richard Robinson -- Aug 08, 2012

Awe shucks thanks everyone! :-)

From: Stephanie Burgess -- Aug 08, 2012

I bought Richard's mastering color, and while I am still a beginner, my paintings have a much more professional appearance (say my friends and family.) I know it is because of what I learned from this course. I love being able to watch the videos on my ipod when I am waiting for my kids in the car or getting a pedicure. LOL, but I especially love the printouts that I can refer to anytime easily. In my opinion, COLOR is the most challenging and most interesting part of painting. If you get it right, the other dynamics can be a little off and the whole piece maintains it's interest factor.

From: Lyn Martin -- Aug 08, 2012

I have purchased the color course by Richard Robinson, and I am so pleased with the course. I would recommend it to anyone!

From: Valerie May Douglas -- Aug 08, 2012

I have two of Richard Robinsons courses, he explains everything and it really makes sense. His DVD's have become an important part of my library.

From: Lorraine Vatcher -- Aug 08, 2012

I bought the colour course by Richard Robinson when it was recommended by Robert Genn some time ago. It is a very worthwhile course to take. It demystifies all the problems you are having with harmony in your paintings and because it is on DVD you can go back to it for reference whenever you like. It is a wonderful guide.

From: Idan Solomon -- Aug 08, 2012

I have Richard Robinson DVD's and I must say, that beside the fact that Richard is talented and his painting are exciting, he has succeded in bringing color theory and simplify it so much, and now I feel that I really understand how to exmine and understand color and how to create my target color in a few steps.
What I like the most in Richard's lectures in the DVD's is that he doesn't get the fun and the joy of the painting. He doesn't take the painting into a technical borring process. I haven't painted for about ten years and I must say that since I purchased Richard's DVD's I haven't stoped painting and after I watched The whole package of DVD's and all the demonstrations there I understood so much things that I had so much questions about.
Moreover - I like very much Richard's atitude to art and nature, and I follow constantly after his web site in order to learn and explore new things. Sometimes I even watch again parts of the lessons and I found out that even after 5 times you watch it there is always something new that "pops" out which I haven't noticed at the first time I watched it.
Thank's Richard and keep up the good work !
Idan Solomon. Tel Aviv. Israel.

From: Giacomo -- Aug 08, 2012

Richard is a great guy and a great artist. By following his videos courses your skill get a steep improvement that otherwise it will take you a few decades of trials and error. I strongly advice every one to take the short-cut. After all why struggle?!?

From: Pàez de Pruna (Spain) -- Aug 08, 2012

Fantastico!! enhorabuena por tu trabajo, desde España.

From: Rhea Kennen -- Aug 08, 2012

I ordered Richard's Master Course and I am still working my way through it...love and have learned so much. Great for all style and I can proceed at my own pace...I love Richards paintings and hope to paint as well someday.

From: Louis -- Aug 08, 2012

The color course by Richard was very helpful. Especially the section on mixing colors! Previously, if I wanted to tone down a bright red (for instance) I added a green....Now I learned that its better to use a color close-by on the color wheel to do the toning down! The result is much more satisfying. That's just one example.... much more in the course!!

From: Susan K Campbell -- Aug 08, 2012

I am only 1/2 way thru, but Richard's course on color is the best I've encountered. As long as you do all the applications, you will succeed in painting quickly. It is well worth your effort and time. I give it a 5 star rating!!

From: Joan B -- Aug 08, 2012

Richard's color course is really fantastic. I wish I had this available years ago. No one has ever been able to teach this as well, in my opinion. Richard has a gift for teaching complicated subjects in an easy, relaxed manner. I highly recommend his DVD to anyone who wants to move forward..and they will.

From: joanne barton -- Aug 08, 2012

Hi Richard; fantastic courses and instruction, got so much out of all of them. Keep up the great work, particularly enjoyed the Arizona and Nevada lessons..cheers Joanne

From: Darlene Young -- Aug 08, 2012

I watched all Richards colour videos. They're great.

From: salvo -- Aug 08, 2012

Il mastering color per me e' uno dei migliori corsi.

From: Deodanda Pretorius -- Aug 08, 2012

I am a self-taught artist who is serious about the development of my artistic skills and Richard's Mastering Color course as well as his other demonstration DVDs have helped me tremendously to put my painting skills on the next level. The information contained in these modules is an investment for any novice painter that also helps you gain better insight into the theoretical information provided in sophisticated art books. The more your skill develops, the deeper your understanding becomes of the contents of his DVDs. I keep referring back to them even though I am not a novice painter anymore. Richard is a great artist and a phenomenal teacher.

From: susie gregory -- Aug 08, 2012

i have all of richard's dvds..the one on color is especially good!! and i've been enjoying his online workshops..for only $20 a month, you can learn a bunch, stretch your painting muscles and interact with artists from all over the world! quite an experience!!!

From: Kate Evans -- Aug 08, 2012

The creative use of color has always been my thing. Richard's color course has really added to my understanding of color. Thanks Richard!

From: Ningning Li -- Aug 08, 2012

I was waken up by Richard Robinson's book "Mastering Color". It is in simple words to explain the concepts and technics which any serious painters should know. All the basic and important elements are there.

From: Dorothy Debney -- Aug 08, 2012

I bought Richards "Mastering Colour" six months ago, and it is the best purchase I have made in a long while. I struggled with colour before and this is what I refer to all the time now. This lesson is all that any aspiring artist needs, and Richards spells it out so clearly. I am so pleased that I have this DVD and cannot recommend it highly enough.

From: Marilyn Bonnet -- Aug 09, 2012

Since I joined Richard's course online I have learnt so much, and I have been a avid reader of Robert's letter, what a combination for all artist. The more we learn, the better the art. Marilyn Bonnett

From: Ken Flitton -- Aug 09, 2012

Hi Bob: Many thanks for your letter "Colour Choice & Adjustment" I had just experienced exactly what you say. I won Honourable Mention in the Prince Edward County annual art show in June for a ptg which was done as you describe. I just gradually kept altering, (generally lightening more so than darkening) each area, without really knowing whether it was getting better or worse. Eventually it began to come together, somewhat exaggerated as compared to the real thing, but I learned a great deal about just putting down adjacent patches. Your letter really reinforced what I think I perceived.

From: Martha P -- Aug 09, 2012

I've had the privilege of studying with Charles Emerson at Gage Academy here in Seattle, WA. He studied with Josef Albers at Yale, and he teaches about color in all of his classes (with one or two dedicated to the subject),and he has reminded us over and over - "Color is determined by amount, application and placement." It is hard to let go of formulaic notions and let oneself experience color use. The foundational principles always apply in terms of perspective, values and composition, but color is a science and art of its own. In one of the Gage ateliers, students do not advance to color use until the 3rd year, doing exactly what you suggest re: the grisaille. My art friend and I just had the conversation that is the subject of your latest email - and she especially has reached the excitement of "pushing" the color in her paintings. Heady business, this color stuff. Thrilling and despairing all in one.

From: Steve Alpert -- Aug 09, 2012

I've been painting for 40 years. I could not tell you color theory nor would I bother wasting my time making a color wheel. I would sooner take an accounting course or bone up on quantum physics. The artist's eye and sensibility is what it's all about and putting down possibly totally unrelated color on the palette to be mixed on the palette or on the canvas -- this is the discovery part of the adventure, like lacing up your hiking boots and choosing which trail to take, not knowing where each trail will take you. Every artist is essentially self-taught and we become the masters of our own technique. I think it important that the developing artist not get too caught up in the structure and exercises that so many teachers hold on to for dear life. I tell developing artists to spend their time making their work on their own, only going to class if there is a teacher who has a true gift to communicate and inspire. My great teacher/mentor, the late Alan Atwell inspired me to a lifetime of painting by teaching me how to see the world through the eyes of an artist. He never talked about materials or techniques, ever. Art making is a spiritual journey for me, not a another technical entity to try and get my arms around.

I truly understand that many jazz musicians are classically trained. You must play Chopin before you can play Monk. I am not so sure this holds true for visual artists, but that's just my opinion, not necessarily fact. I do like the alpenglow reference!

From: Betty Pieper -- Aug 09, 2012

The alpengluhen technique or awareness took the Bugaboos to what I consider a valued, contemporary approach which honors the whole support (canvas) area. I like the 'flatness' that is anything but of contemporary art and try to paint that way color theories
aside. Pieper

From: Denis Callaghan -- Aug 09, 2012

Colour gets all the praise, value does all the work; as the quote goes.
This problem is solved with Mark Carder's "Colour Checker".
See http://www.thecardermethod.com/

Check out the two minute video and be blown away by the student gallery.

From: Beverly J Raffaele -- Aug 10, 2012

In studying values I ask my husband what he thought the color of shade was. He couldn't answer for the longest time and then he saw it as a darker version of the subject. At that time we were looking at the shade beneath an evergreen tree. I see shade in purples and gray. This article on color was very helpful. "Colours change as the colours change around them--and you can't know the colour of a passage until you're picking up what you're putting down. The situation is compounded by the presence of (or desirability for) reflected lights, silhouettes, local colours, broken colours, cast shadows, equal intensity lay-bys, etc. Finding the right colour can be like looking for the Higgs boson." Yes indeed.

From: Janet Sellers -- Aug 10, 2012

I remember Munsell torture class at Art Center, and while 4 color printing needs that, ugh; I went on a different journey. I honestly chucked that, and just use primaries and add white and black when I like. I found that shadows and colors are so image specific that just doing it, just painting it, as well as working from the Old Masters and especially from Sargent, served me most in color and art.

From: Steinunn Einarsdottir -- Aug 10, 2012

I bought the "Mastering Color" from Richard and would not hesitate to recommend it to anyone.

From: Laurie McKeon -- Aug 10, 2012

I just re-watched this video for the third time. every time I see it, I learn something new! Richard is a gifted teacher and a very, very talented painter. Now... i am heading to the studio to see if I can Do what I just learned. ( -:

From: Alan Brown -- Aug 10, 2012

I just didn't realise how little I knew about colour until I purchased Richard Robinson's dvd. Every aspiring artist should have this course.

From: Kent Wilkens -- Aug 10, 2012

This is my first letter to read and my first comment back. I started painting with whatever colour I could get out of a tube closest to what I wanted. Within 3 years I looked down at my palette one day, white, cad yellow, violet, ult blue, paynes grey, that was it.
I still use yellow ochre and switch back and forth between cerulean blue and ultramarine blue, and have taken to manganese and thalo of late. I can usually mix the colour I want, but if I get a colour I am looking for on the way to my intended colour, I will use that, as it just may be one of those colours that is very hard to mix intentionally, so dont fight it, use it.

www.wilkens-art.com

Love the newsletter so far.

Kent Wilkens

From: Lisa Christiansen -- Aug 11, 2012

Several years ago I remember skipping the colour section when reading Richard Schmid's Alla Prima book (a fantastic book) . I had so much else to learn and I thought I had colour soughted. Then much later on I realised I needed to learn more about colour as my lack of knowledge in that area was letting my work down. So went back to the book and read the very looooong colour section. To keep improving I needed to keep learning. Something I once thought I could master just using my eye and instincts I found I could not (I was limiting myself). In hindsight there was a reason that colour section was so long.

From: Elle Fagan -- Aug 11, 2012

I am printing and framing this email...at least posting it on my NOW board. I met Joseph Albers visiting at my college in the mid sixties - I smiled because he reminded me of my Grandfather with the white hair and kind mein, and he like that and called me up for chat - I will never forget it. That was a day of growth in my work. Just plain GOOD.

From: Galina -- Aug 12, 2012

I have a few of Richard Robinson’s lessons, they are all fantastic. Mastering Colors is extremely helpful and gives so much information. I think I just found a teacher whose teaching resonates with me. I always have been a member of Richard’s on-line workshop as well.

From: Galina -- Aug 12, 2012

I have a few of Richard Robinson’s lessons, they are all fantastic. Mastering Colors is extremely helpful and gives so much information. I think I just found a teacher whose teaching resonates with me. I always have been a member of Richard’s on-line workshop as well.

From: Preety sirka -- Aug 13, 2012

I just love his paintings.

From: Ismael Trono -- Aug 16, 2012

I have so many questions about color schemes and adjustments but Mastering Color by Richard Robinson has open many ways of possibilities to create and be pleased with the results. Thanks and Aloha to Richard Robinson for fine lessons.

From: Jan Neggers -- Aug 17, 2012

Hello, I am Jan 67 years old.
A large part of my life was and is ,drawing and painting.
I have follow many courses in the country and abroad.
I bought last week the course “ mastering colors” of Richard .
I must confess that this course has really surprised me.
I can only strongly recommend the course “ mastering colors” to beginners and advanced painters .
Jan Neggers

From: Shobhana -- Aug 28, 2012

We are groupe of friends ,hobby painters,,,we find cost of "mastering colors " prohibitive...






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Last modified: Aug, 21, 2014