I'm enamored with this website: Retronaut. I even love the name. Kind of a kinder, gentler way to say "Steampunk." (Which puts me in mind of my favorite catalog, the one that my sister handed me last weekend because she so DIDN'T appreciate it, but thought that I would. And BOY was she right. Restoration Hardware!!! But that's a story for another day.)
Here's a Retronaut post that is colorful, historically educational, and drives home a certain point about working methods and artistic success: Pallettes of Famous Painters
I hope that it's for real, because the palettes really do coordinate with the works by the masters whose palettes are shown. They run the gamut from Seurat's hyper-organized, color spectrum ordered, clean, neat, palette, through Van Gogh's heavily-impasto-ed, joyful mess of random hues.
So of course, that got me thinking about my palette, and my painting style. AND it got me a bit worried, but life's about learning and I think this will help me to improve my work. The Number One message my palette sends is not "she's an artist," but "this chick is a skinflint." Paint is expensive, and rather than squirt out dollops of the dear product that range through the color spectrum, I tend to consider what colors I think I'll need, and squeek out a chocolate chip sized dot of each, and those only. It shows in my work. <sob>
But all is not lost! We live, we learn, we try!
Right?
I'll post results.
Here's a Retronaut post that is colorful, historically educational, and drives home a certain point about working methods and artistic success: Pallettes of Famous Painters
I hope that it's for real, because the palettes really do coordinate with the works by the masters whose palettes are shown. They run the gamut from Seurat's hyper-organized, color spectrum ordered, clean, neat, palette, through Van Gogh's heavily-impasto-ed, joyful mess of random hues.
So of course, that got me thinking about my palette, and my painting style. AND it got me a bit worried, but life's about learning and I think this will help me to improve my work. The Number One message my palette sends is not "she's an artist," but "this chick is a skinflint." Paint is expensive, and rather than squirt out dollops of the dear product that range through the color spectrum, I tend to consider what colors I think I'll need, and squeek out a chocolate chip sized dot of each, and those only. It shows in my work. <sob>
But all is not lost! We live, we learn, we try!
Right?
I'll post results.
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