I lived in California from 1968-1972. As an Air Force Information officer stationed in El Segundo, I loved the weather but did not really appreciate the beauty of the state as much as I do now. My art focus at the time was to become a freelance illustrator after being discharged, so my mindset was not one of a fine artist but one of an illustrator…and to me, as I’ve discovered, they are totally different. So, when returning to California a few years ago, I saw the state in a totally different light. (Click images to enlarge)
I do not know where I was in California when I came upon this scene. I know it was somewhere on our drive from San Francisco to Monterey. You should know by now that I am attracted to neighborhoods…not the modern ones, but those that have been around a while. I was attracted to this scene because of the strong light, the deep red of the house that created such a nice contrast to the variety of greens, and the distant hills…reduced in value and intensity by the atmosphere.
When painting on location or from photographs, we must always decide, first thing, why the scene is important to us, what is it about the subject we want to communicate, and how best to communicate that to the viewer. The answer to all those questions begins, visually, with the composition. The deep red of the house I found tremendously appealing among the lighter elements of the scene, and all the green foliage; therefore, that became the focal point of the painting. Here I begin at the focal point, establishing the drawing and value structure, and working out from that point. The value structure is created using raw umber…no white.
Once the values are established within the focal point, it’s very important that all other values within the painting are in the proper relationship to those. I really like this stage of painting for it is here that the mood for the piece is created. The value structure of the painting is pretty well established, so I consider, at this point, how to enhance the mood and narrative with the addition of people and a vehicle…representing something in keeping with the times.
You all know that I’m a firm believer in the use of a limited palette, after all, I wrote a book about it. The limited palette I speak of basically consists of just the three primaries – blue, red, and yellow. The choice of a palette for this painting was no different…but, which three primaries is the question. The most important color choice for this painting began with selecting the best red for the job. Using that as a beginning point, the blue and yellow were then chosen because they provided the violet, orange, and green mixtures I wanted. I’ve been adding Ivory Black to the palette at times; it is used to neutralize color intensity if needed. Palette selection: Cobalt Blue, Indian Red, Cadmium Yellow Light, Ivory Black, Titanium White.
Beginning again at the focal point, I begin applying color – careful to match the values already established.
“Haven’t Seen You in a While” – 10.5″ x 12.25″ – Oil
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John Pototschnik is an Art Renewal Center Living Master. To view his art and bio, please click HERE
