Marc Rothko’s Secret

April 9, 2019

A while back I mentioned that translucent oil colors are an essential part of my painting technique.  Here’s the scoop!  All oil paints are more or less translucent or opaque.  

In the earliest days of art making oil paints were made of ground up rocks and nuts and berries and bugs and other colorful materials, that when mixed with some kind of vechile, made paint.  Some oil colors are still made exactly this way.

The difference that I’m interested in is whether paint lets light go through – is more translucent, or stops all light – more opaque.

In the early stages of my work I use only translucent colors. I like the effects I get when I put one translucent color on top of another.  It gives the painting the color complexity and visual tension or harmony, depending on the combination of colors,  I strive for in my work.  Toward the end of the painting process I often turn to opaque colors to add a heavier impasto and create further complexity.  That thick – thin contrast is also something I strive for in my painting.  But that’s another subject.

Gamblin Perylene Red

Can you imagine a Rothko painting without the magic of layer upon layer of translucent colors?  Without translucency Rothko’s work would not exist!

FYI: Gamblin Perylene Red is hands down my all time favorite translucent red oil color.

Let’s keep in touch,

Marshall Noice

In Case You Were Wondering About Lapis Lazuli

April 2, 2019

If you, like me, are fascinated by color, I have the book for you.  Author Victoria Finlay’s “Color, A Natural History of the Palette” is a richly detailed, elegantly written, illuminating story of (to quote the chapter names) ochre, black and brown, white, red, orange, yellow, green, blue, indigo, and violet.  The book is part art history, part travelogue, part science lesson, and thoroughly entertaining.  This is no dry treatise on the source of pigments.  Rather it is a delightfully engaging rainbow of stories about our old pal color!

Artist blog
Marshall Noice
Contemporary Art

If you’ve ever wondered where the carmine red in Cherry Coke and lipstick comes from, read on.  You’ll never look at a box of Crayolas the same way again.

Oh by the way, the color in carmine red comes from the blood of insects! 

Let’s keep in touch,

Marshall  

Shake it up!

March 26, 2019

A few weeks ago I mentioned I was heading into the studio to experiment with a more limited color palette. I thought I’d show you the results of that experimentation.

Contemporary landscape of blue, purple, turquoise trees along a river
Shadows on the Taylor Fork
Oil on Canvas, 60×40

The painting “Shadows on the Taylor Fork” uses five colors that are adjacent to each other on the color wheel, yellow-green, green, blue-green, blue, and blue-violet.  OK, truth be told, a little bit of blue’s complementary color found it’s way into the painting. How did that orange sneak in there?  But for the most part the painting succeeds on the strength of analogous color harmony. 

When using a limited color scheme it’s the modulation of value, lightness and darkness, of each color that keeps the composition engaging.  My eye keeps moving throughout the painting and slams to a stop when it hits the orange.  That’s what creates the visual tension I want in my work.

Always trying to keep things a little off balance guys. Let’s not get TOO comfortable!

Let’s keep in touch,

Marshall