March 20, 2016
Being a colorist at heart, I’ve always been curious in seeing raw pigments and learning about where the colors come from, be it minerals or plants, or those that are created in a lab. My watercolors are infused with color. In my workshops I show my students ways to mix and layer colors to create richer, glowing colors, rather than using color right out of the tubes. I know there are plenty of painters who use specific palettes of color, limited to a small assortment of colors to create a certain tone to their paintings. I’m a color hog, the more the merrier. I never use any browns or black, and rarely grey. I mix them or layer them using all sorts of colors to get wonderful rich colors in my paintings.
And I am curious about where pigments come from. Typically they come from plants or minerals, and sometimes animals. Imagine grinding up a lovely piece of lapis lazuli to get that specific blue in your painting! Blues are purples were most expensive, so its no surprise why they are associated with royalty. With the Industrial Revolution, color and pigments could be developed in labs, and more especially after the Scientific Revolution in the 18th C.
I just found this article on My Modern Met about a lab at Harvard that has a collection of over 2,500 pigments from around the world, and you can go see them. Its the Forbes Pigment Collection at the Straus Center for Conservation and Technical Studies, part of the Harvard Art Museum. They have the pigments there to use in art conservation work, to be able to match colors of old paintings that are being maintained and preserved.
photo from My Modern Met, colors from the Forbes Pigment Collection
Seeing this article made me wistful for an art supply store I went to when I was studying printmaking in Florence way too many years ago. Its called Zecchi Colori, on via della Studio (evocative name, no?). Head a couple of blocks toward the Arno from the Santa Maria del Fiori, the Cathedral that dominates Florence’s skyline, Zecchi is on the right side of the street. The first time I went in there I thought I’d died and gone to heaven because around the perimeter of the store on the top shelf of the supplies were huge glass jars of pigments, bright, intense, glorious. I never did get a photo of them, seems ridiculous since I was so taken with them that I just never took a photo. I did by a crock, though! But I think I need to get into that lab at Harvard…
February 12, 2016
Earlier this week I got to see “Red”, the Tony-award winning play about one of my favorite painters, Mark Rothko. In the first act there’s a terrific back-and-forth between Rothko and the young artist he’s hired to be his studio assistant, of different things colored red. Its a verbal panoply of all things red, and in my mind’s eye as I visualized each thing they mentioned: tomatoes, blood, lips, cherries, apple, red pepper, rose, red hair, beets, lobsters (cooked), sunsets, strawberries, pomegranates, poppies, I saw all those different versions of red: cadmium red, alizarin, vermilion, scarlet, carmine, crimson, garnet and more. All so different, and all so red. I use them a lot. Its a fun exercise, and illustrates so well the differences between warm reds and cool reds to boot. In my workshop 2 nights later we started doing a similar thing, so they could all start envisioning different variations of just the one color.
Its a fun exercise, and illustrates so well the differences between warm reds and cool reds to boot. In my workshop 2 nights later we started doing a similar thing, so they could all start envisioning different variations of just the one color.
Next: I was born in the Year of the Monkey, so it’s ‘my’ year according to the Chinese zodiac calendar. There have been some interesting illustrations for it online on various social media sites, but I wanted to share one with you all especially. A friend of mine, Kay, who does sumi-e, created a lovely tribute to this year here.
And finally, speaking of reds, have a lovely Valentines!
November 10, 2015
My palette in my paintings and in my scarves is typically bright colors. One of the six-week workshops I teach through the local junior college’s community education department is about how being strategic with color combinations can actually enliven colors. So I find it particularly intriguing to be developing a whole set of color ways for my scarves that are in more neutral colors. Here are two I did yesterday, pinned to the canvas-covered board while they are drying.
“Loop de Lou” design, in coffee and brown, and in grey and black.
They are pretty interesting, yes? Now, I’m a sincere coffee devotee, so the first color way was pretty much a “duh” for me. This one will look good with black, on white, on oranges, on light blue, on lavender, you get the idea. The one on the right, the grey, is a nice, cool grey, and will go with everything. Imagine it on red! And as much as these are perfect for winter colors, they’ll be perfect accents for spring and summer colors! Imagine they grey one on red!
Get my scarves online in my Etsy shop.
May 26, 2015
I’ve been doing a few art shows/artwalks recently, so my art-making life has been centered around them.
Last week I was a vendor in a boutique at a luncheon and fundraiser for the local chapter of the Alzheimers Association, I’m happy to support the Alzheimers Association, not only because of people I know whose families have been affected by Alzheimers, but also because this luncheon supports the caregivers of those affected by Alzheimers, and honors a caregiver each year. And I always provide a scarf for the auction they have during the luncheon, which I make just for the occasion in the AA signature purple color.
This event was followed 2 days later by the Balboa Island Art Walk. I really enjoy both these shows, and they both bring me to my target market clientele.
This was my 8th time in the Balboa Island Art Walk. Its held every May, on the bayfront walk of Balboa Island in Newport Beach, CA. The bay front walk goes around the perimeter of the island, and is at most an 8′ walkway. Artists’ displays can be at most 3′ deep. So people can easily get up close to see the artwork, and not have to make that socially awkward, unintentional commitment of walking into a 10×10 pop-up booth space to look at the work. I love that! I wish more art shows could figure this out, that the pass-by rate decreases when people don’t have to walk into a pop-up tent!
And now I’m replenishing my inventory, especially the scarves, for the upcoming Contemporary Crafts Market in Pasadena, CA, on June 5-7.
This is one of the best shows of work by fine art and hand craft makers, where the vendors who are showing are the people who actually hand-make their wares. There is a fee to get into this show, but if you go to CCM’s website, you can download a pass that gets 2 people in free for the whole three days, a $16.00 value! There’s only so many passes available, so don’t delay!
I’ll be primarily featuring my new line of hand-painted pillowcases, as well as my silk scarf line: Poppies and Poppies on Waves (above), Olive Branches, Flower Fields, Layers, Koi, Watermelon Wedges, Apples, and hopefully some designs I’m working out now that I might be able to sneak in!
February 10, 2015
I just read the transcript of Bob Dylan’s speech last week at MusiCares, when he was honored as their Person of the Year. It’s part of the annual Grammys events. I wish I could have watched him, but it wasn’t broadcast on television. However one reporter, Randall Roberts, thought to transcribe it, and the LA Times published it. Its a hell of a good read.
“Fuchsias” ©Jill Rosoff 2011, 6″ x 17.5″
I think it’s important to remember that creativity doesn’t happen in a vacuum. It is almost as if its a redistribution of wealth, that everything that we take in, visually, aurally, emotionally, spiritually, through taste, through feel, through smell, all of it can come back out of us in the art we make, if its painting, cooking, making music, writing, or any other creative endeavor, all of it reflects what we have learned so far. My artwork is influenced by so many things, by what I learned growing up, what my parents taught me, what I saw in museums, what I tasted. Anyone who knows me knows I’ve usually got a cup of coffee with me while I’m making art. I’m influenced by a great latte. Yup, I said that.
Dylan talks about the music he listens to, how he hears the songs and then writes something that reflect them. Read especially the part about the “Come all ye” songs, and what he wrote after that. You’ll have a V-8 slap-your-forehead moment. I look at Van Gogh, and Thiebaud, and Klimt and Diebenkorn, and so many more, and then I indulge in them as I paint my paintings. Going to museums to see the actual work of these artist heroes of mine is like plugging me in, I get all excited and fascinated and wish I could paint right then and there. Thank goodness for my iPhone, I can now take notes on it. But I still often take a notebook into a show with me to jot down things. Musically I try to channel Gabby Pahinui as I struggle to get my fingers, which are ingrained in American folk music rhythms and patterns, into playing Hawaiian slack key guitar. Its my new, great struggle.
Read the transcript here, even if you don’t subscribe to the LA Times online, you can read up to 10 articles a month there for free. I’ve downloaded it so I can go reread it now and then. So can you.
And if you live in or near Orange County, CA, come take one of my watercolor workshops!
April 20, 2014
In my workshops, especially the newer students often use the word “dark” when talking about colors that are the opposite of pale. So I like to ask them, “What do you mean by dark?” This question usually gets a lot of stumped looks.
The word ‘dark’ means having little or no light, when you look it up. So it’s really not a very accurate word to use for a descriptor of deep or rich color values. So I’ve developed a list of contrasting words that I encourage my students to consider instead of the words light and dark. It opens them up a new way of thinking about how to describe colors, hopefully.
These comparisons produce a lot of different ideas about colors. Can you think of any more?
March 20, 2014
I have a workshop of new watercolor painters that just started last night. For new painters, I give out a list of supplies they’ll need to have, including a list of paint colors they need to get. This list includes a breadth of reds, blues, yellows and greens, mostly, noting that they can choose to add any colors they want, that a combination of those colors might not create…usually for me this means pinks, purples, turquoises, and some greens. Black and white are not on my list, neither are the umbers or siennas. I talked about this in a posting a year ago: https://jillpaints.wordpress.com/2013/02/27/about-using-of-brown-and-grey-in-watercolor/
In getting ready for a set of workshops, this one is all about still lifes, I do some research online about the genre, refresh my memory, and find known and unknown painters’ work to show my students. And you know how when you go online that the thread of what you look at can look like a ball of string your cat unravelled? This time I stumbled upon pictures of a eucalyptus tree I’d never seen before: a rainbow eucalyptus.
One sample of a rainbow eucalyptus
A quote from Love These Pics, where I found the above picture (and many others) notes: “The landscaping article Under the Rainbow explained, “As the newly exposed bark slowly ages, it changes from bright green to a darker green, then bluish to purplish, and then pink-orange. Finally, the color becomes a brownish maroon right before exfoliation occurs. Since this process is happening in different zones of the trunk and in different stages, simultaneously, the colors are varied and almost constantly changing. As a result, the tree will never have the same color pattern twice, making it like a work of living art.”
Now, I get to have some fun explaining to my students how all tree trunks are not brown. Happy First Day of Spring!