It evolved as little lime balls appeared. This painting began before we could see the leaves budding, whilst the trees were still dreaming up their possibilities. The countryside is about to become verdant, the green fuse beginning… but not just yet. It is the time of year when I am eagerly watching naked branches, like a cheerleader for every whispering of green. It is when the wildness softens slightly. Grey Skies Change, by Alex Mcintyre is on the cusp of spring. Please note that insitu images are purely an indication of how a piece may look Complete Size of Unframed Work: H:100 cm x W:150 cm x D:3.2cm ![]() Grey Skies Change by Alex McIntyre is an original ink and gesso on birch panel. Complete Size of Unframed Work: H:100 cm x W:150 cm x D:3.2cm. Grey Skies Change and Chromatic Grey Skies diptych by Alex McIntyreĬhromatic Grey Skies by Alex McIntyre is an original ink and gesso on birch panel painting. I found this week’s theme and exercises extremely rewarding an relevant to the sort of creative career I am pursuing.Grey Skies Change and Chromatic Grey Skies diptych by Alex McIntyre Ĭomplete Size of Unframed Work: H:100 cm x W:150 cm x D:3.2cm It allowed me to look at my painting in a more analytical and observant way with consideration to how colour behaves and works. The colour matching exercise gave me the opportunity to see how difficult yet rewarding mixing real world complex colours could be and I was able to strengthen the newly learnt skills I had obtained that week. I feel as though I’m now able to see what kind of primary and complementary colours I would need to create complex colours in the real world. To see what could be created by mixing opposites on the colour wheel really showed me how I would approach more complex colours in the future. It was a great lesson in colour and how to create darker, more complex colours without using black. I learnt a lot about the outcomes of mixing complementary colours and the complex tertiary colours that can be made. Overall, I found this exercise extremely educative. We had to walk around outside of the studio and find organic material such as leaves or plants that were more complex colours. To put our new skills of mixing complex tertiary colours into practice, we were assigned the task of painting organic material from outside. This really gave us a good look at the what we had created and the kind of colours we were dealing with. Similarly to the yellow/purple chart, I found the tertiaries in the middle to become alike and difficult to differentiate at times.Īfter the majority of the class had completed their charts, we were able to observe them hung up on a wall. ![]() The tertiary colours of this chart were the most appealing to me and also seemed the most natural/earthy. It really showed just how complex some of these tertiary colours could be and how complementary colours effect one another. ![]() Once I had the right colours, mixing in white made them stand out more. Eventually I realised I was mixing the wrong green-to-red ratios and from there, the colours showed better. This was frustrating because when I added more red to lighten the colour, it just became more red-tinted. I felt as though all the colours I was mixing were coming out too dark to be seen properly. ![]() The problems I ran into with this chart was the value of the colours being mixed.
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