Eva Schuster <evaschus@gmail.com>
1 message
Eva Schuster
Mon, Nov 20, 2017 at 3:53 PM
To: Eva Schuster <evaschus@gmail.com>
Colors :: Value, Saturation, Hue, Influences Lesson #1
Swatches in hues and mono laying them on top of the gray scale
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At the end some fun stuff
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Colors :: Value, Saturation, Hue, Influences Lesson #2
Eva, lesson 2
I bought acrylics in the meantime, because my oils just took too long. Interesting now to learn the new medium
with the lessons.
Some practices with tinting with water versus adding white
Monochroms: mars black, phthalo green, ultramarine blue
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Here you can see some sloppiness with the greens, mars black, phthalo green, ultramarine blue
Adding some more exercises with 5 different values in Mars blk, phthalo blue, chinacridon magenta
Stripes, below are stripes with gray scales,
but there are more below with 5 clearly distinctive values, these
are not varied as indicated in lesson
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New start on lesson #2 (these were to late to be commented on by Jane.)
new monochromes – I really like monochromes, never knew that.
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new stripes – use 5 different values
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Made some interesting discoveries on the way:
I often like the gray scales better than the regular painting. Also I like values that are close together. More than
dramatic contrasts.
About the role of value: sames values create unity, it seems. Even though the hues are different you still ‘feel’
you’re on the same plane. The contrast, or a different value, seems a different plane.
What values tell me: what is coming forward, and what is moving back in the painting. Depending on the
combination darks seem to push themselves forward, lights seem to be in the background. But when combined
the experience of space can switch. But I often can’t judge the reds, especially when they are fully saturated.
When surrounded by dark values, reds come forward, and the darks move back, but in gray scale the darks come
Gray scale helps me to see planes in a painting.
Colors :: Value, Saturation, Hue, Influences Lesson #3
Eva, Lesson 3
neutralizing with same value gray: Cad Red Deep
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left: Cad yel med, right: Cad red deep
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left: Phthalo grn, right: Bright Aqua grn
Neutralizing with neutral gray, burnt umber+white
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Muted colors with complimentaries
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This was a great project for finding more greens. I often paint trees and landscapes, and I found so many more
greens I had been looking for at time.
Project 4 still in the works
Works from project 4
These were tiny tests
Same values, and then starting to add contrast by stronger value
one primary color
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one primary color and value contrasts
making it simpler again to see the effect
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making it simpler again to see the effect
playing with different forms, primary and value contrasts
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seeing with and without primary color next to each other
was fun to do this, but not sure whether I did it right. Maybe I have already too much value contrasts in the ‘bland’
Posted by
5:23 AM
Jane Davies
October 26, 2017 at 1:09 PM
Can you say anything more specific about your gradations? You did a great job.
es, I picked three colors: Quina Magenta, Phthaolo Blue, Bright Aqua. So my contrasting primary would
be an orange.
I muted/desaturated with white, and white with a bit of raw umber. I didn’t desaturate with the
complementary colors. I had never used umber to change the saturation, so I want to do more of that.
The muted and less muted colors created more interest than I had expected. Usually I create contrast with
hues or values, less with saturation itself. It’s more subtle I think.
Colors :: Value, Saturation, Hue, Influences Lesson #4
Eva, lesson 4
Here are the first 4 experiments:
Cad orange, Quina Magenta, Phthalo and Aqua bright
Ocker and Cad Yel med and white
The bigger shapes are all collage, but not the dots
I liked trying to mix the appropriate color for the overlaps, then cutting out shapes, gluing them in. I never do
collages, so this was a new experience for me. I liked the solidity of the painted, mixed color that gives the illusion
of transparency. With the chinacridon magenta on cad orange that was very hard and didn’t really work – I think.
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Here the orange box overlaps nicely with the aqua, phthalo blue and even the magenta.
The white dotted line was just added to make the whole picture a bit more dynamic.
the overlap on the upper right side is painted , the four others are all collage.
I liked change the color of the dots on the big blue circle in the middle. I tried to do more of those.
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the collage parts make a very solid color, sometimes that could be a nice effect for example a landscape with
parts of a tree or branch collaged in instead of painted. Have to try that.
More are coming.
I’m starting to get into trying to mix color what the hue is the same but the saturation is really different. Just trying
to experiment more with this concept.
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I’m noticing that I’m missing a sample with the colors very close to each other on the color wheel. Will try a few of
Posted by
1:23 PM
Jane Davies
October 31, 2017 at 11:04 AM
You have to SAY something about your work, something about your experience beyond just labeling the
images. See Blog Rules.
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November 1, 2017 at 7:37 AM
Dear Jane, I just wanted to say something: I’m sorry I’ve been quite casual about doing the exercises, and
it’s been all been a bit haphazard. – Since I teach on Skype, my professional life is very regulated and I
use my intellect all the time, so painting for me is a way out of that, and I’ve not been precise and attentive
to the instructions. I come from process painting, where one tries to sidestep the mind completely. But I
want to get used to analyzing my work and use my head as well. And one more thing: I had a lot of work
lately, with a visiting student for an English intensive. – I know students like myself, usually I’m on the
receiving end, and it is a bit frustrating. But nevertheless, I will learn. I added some text to the post above,
and will add a few more pictures in a new post though.
I hope that explains the situation a bit, and thank you so much for everything so far.
Jane Davies
November 1, 2017 at 8:07 AM
Wow! THese are really great, regarding the exercise, and FUN! Thanks for the above. This IS a much
more academic or analytical class than my other ones, but they all have pretty precise instructions. If you
want to do the exercises in your own way and just post without comment, that is totally fine. But I don’t do
feedback unless you say something about the work; we’re not making “art” here, but doing explorations to
practice particular concepts. So, unless I know something about what you see (e.g. do these overlap
colors create the illusion of transparency for YOU?) or which apsects you found challenging, I can’t say
anything worthwhile. You can post and just say “no comment necessary”, or whatever you want. People
take online classes for all different reasons, and experience them in different ways. It is completely up to
you, no judgement on that.
November 1, 2017 at 7:28 PM
Thanks Jane. It’s actually a good practice to become more clear of my intentions. And to learn how to
evaluate my work, and make changes. Never learned that. So I’ll be adding text, and when I have some
stuff I just want to upload for fun, I won’t add any description.
Eva, lesson 4, part 2
When I looked at my work for lesson 4 I felt I wanted try some color that would be very close to another.
Here are three experiments.
The pink circular shapes are the new additional color.
#1 here I added 3 pink half circles. 2 are sitting on top of the magenta shape, and even the magenta/green shape.
Only the small circle on the right has its original color.
The two circles in the left are collage, only the right one is painted.
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#2 Here I added on half circle, sitting on bright red and magenta, those overlaps are collage. I’m still having
trouble with the transparence when working with red and orange.
#3 2 pink circles. The top one overlapping magenta and magenta/green.
The bottom one overlapping green and blue. Not much transparency, I think I lost steam at this point.
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Posted by
7:24 PM
Colors :: Value, Saturation, Hue, Influences Lesson #5
Eva, lesson 5
Colors in context
18 colors from around the color wheel, plus both siennas, both umber,s payne’s gray and mars black tints.
Project 1:
It took me a long time to see differences. With the first example it was quite easy, even though the photo doesn’t
show it well.
But with the more subtle difference I had difficulties seeing them, at least at first. Still not sure whether I see what
others might pick up.
Also I made a lot more of these than I’m putting up, I accidentally deleted some when transferring from phone to
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Cad orange
Background (L) Phthalo grn; (R) Primary red (R) both have the same saturation and same values
Small square LEFT is grayer, seems more saturated, but still stands out forward, maybe because it’s more
saturated then the green
Small square RIGHT is brighter, more tinted, melts more into the background
The photo doesn’t show very well, how very different the orange on green looks, compared to orange on pink
Yellow/green mix of cad yel/mars blk/wht
Background (L) Dixazine pur;p; (R) Cad red med (R) both have the same saturation and same values
(L + R) Small square pops more on red and is grayer on purple, difficult to see the muted dirty yellow against the
very saturated BGs
Yellow/green mix of cad yel/mars blk/wht
Background (L) Phthalo grn; (R) Cad red med (R) both have the same saturation and same values
(L) small square looks green, more like it actually is, on green, close hue enhances here
(R) square seems warmer on red, takes on the red a bit and looks more yellow
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Primary Blue lgt
Background (L) Cad red med ; (R) Phthalo grn (R) both have the same saturation and same values
(L) Small square looks more saturated on red and pops more
(R) square looks duller, more muted on green, closer hues seems to flatted the saturation
Primary Blue lgt
Background (L) Dixazine purp; (R) Cad red med (R) varied saturation and close values
(L + R)Small square Primary blue looks seems to look the same whether on red or purp BG
Cad orange
Background (L) Red Oxide; (R) Phthalo blue (R) both have the same saturation and same values, but more
saturated than for example from above
(L) Small square cad orange melts more into the background, and value seems to change with the darker values
of the BG
(R) Small square pops and looks more saturated, also there is a phantom frame around it that the camera picked
up – interesting.
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Cad orange
Background (L) Phthalo grn; (R) Red Oxide (R) both have the same saturation and same values, but less
saturation than above
It’s the same small square of cad orange as above, but here it looks brighter, lighter value
(L) small square pops on green
(R) looks slightly grayer, melts into the background
Cad red med
Background (L) Phthalo grn; (R) Phthalo blue (R) both have the same saturation and same values, but lighter less
than the testing square
(L) pops
(R) looks slightly grayer, and doesn’t pop as much
But in both examples the fully saturated square seems to not be very influence by the context colors
Cad Yel Med
Background (L) Cad Red deep; (R) China Magenta(R) both have the same saturation and same values,
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(L) square pops, looks warmer, and further back than on right
(R) also pops forward and looks cooler
Background (L) China Magenta; (R) Phthalo blue (R) both have the same saturation and same values, but lighter
than above
(L) pops and looks a little orange
(R) looks slightly brighter and cooler
Interesting how yellow takes on qualities from its surrounding colors
Neutral gray
Background (L) China Magenta; (R) Burnt Sienna (R)
(L + R) the gray seems to be taking on the hue of its surrounding color
Neutral gray
Background (L) Burnt Sienna; (R) Phthalo blue (R)
(L + R) same hereL gray the gray seems to be taking on the hue of its surrounding color
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Small square in complementary color pops more and seems to be brighter in value
Small square in close hue seems to be muting the hue, perhaps even lowering the value
How much yellow takes on qualities of its surrounding colors. Never know that. Nevertheless, if I would name one
color that resists influence the most I would say it’s yellow.
Also it seems that fully saturated squares are less influence by less saturated context colors.
Noting that I could use a neutral gray to expand a color in a very subtle way. Could be interesting.
Project 2:
The dark color is actually a very dark blue. I like this combo because of the difference in saturation and value.
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The small stripe is pink and it pops a lot more than on the photo. Again I wanted to use strong contrast with w/o
changing to warm colors.
Like this one, because the yellow square ‘bleeds’ into the aqua, and gray mellows out the drama.
The green and pink are quite intense, I was interested in the power of the pale yellow, power of value.
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I guess I do like pink! I did this as an abstract landscape with light coming from the back.
Very close values, but different hues and saturation.
Posted by
5:15 PM
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Jane Davies
November 7, 2017 at 8:34 AM
Terrific, Eva! Very thorough job, great exploration, and insightful comments. Well done!
Colors :: Value, Saturation, Hue, Influences Lesson #6
Eva, lesson 6, project 1
Lesson 6, project 1:
Fields of color
I watched the video a few times to get a feel for what to do here, and then I really got into it. And yes, it took a
long time. When I did the second versions of my schemes I was more daring and tested some other colors to
create more interesting colors with the top color. I will mention this in the examples.
All sizes are 9×9 except to tall one, they are 9×3.
#1: I used Cad yel med, Primary red and Dioxazine purp.
Scheme #1
Both have lots of layer, but #1 has more of them, the purple now just looks black though. So with the #2, I added
one layer dry brush with permanent blue light, then glaze, then purple again, and it shows a lot better. I did a
similar thing with the orange, yellow. I layered both colors so the orange would look more yellowish.
With the red in center on #2, I did at some point a very thin layer of quin magenta, dry brush and a glaze. then
added just very thin layer primary red again. Now it’s this thick vevety red.
first on the left, second on the right
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#2 Colors: Primary red, Cad orange, and Aqua grn
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Scheme #2
In #1 the variation in the red part is hardly visible, but still the bluish strip buzzes. On #2 I used aqua as an
undercoat for the whole thing, then added layers for cad yel med, then glazes and primary red and cad orange
and more layers of aqua for the horizon. #2 looks more interesting to me. Also it has this interesting line between
the red and the aqua. I made sure I don’t have a line between orange and aqua. I wanted to see the difference.
first left, second right
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#3 Payne’s grey, primary red and permanent blue light
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Scheme #3
Here the first version is on the right. I liked it right away, the trick here was using a layer of cad yel med on the top
part, then going over it with cad o. again. Also I did a layer of aqua grn in the middle to create more depth in the
With the second version #2 I did a first layer of orange in the whole piece, then worked my way towards
differentiation. At some point the orange looked to boring to me, so I dry brushed some perm. blue, then worked
with layers of glazes, yellow and orange until I reach the result below.
Also the blue in the orange area was too bright, so I used a thin layer for payne’s gray, then another layer of blue
and now it looks more like the same blue in the whole rectangle.
Again interesting stuff with lines happening, want to explore that more.
second on the left, first on the right
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At this point my favorite of these 6 paintings is from experiment #2 the second version.
This one: I like the subtlety in the variations.
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Two more pieces that happened in between:
Dioxazine, Sap grn, Aqua grn
I like the depth vs shallowness of the lower right vs upper left, and the variance in the aqua part.
This was interesting
Dioxazine, Cad Red med, Aqua+wht
covered everything with purple first, got very excited when layering cad red over purple. fascinating color.
the horizon line needed some white to be added to make the two dark colors pop.
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It was a great project. Looking forward to making the grid now.
Question for Dear Jane:
Well, what happened during the workshop was discovering abstract painting, which I have done only very little of
and don’t identify with. But now – surprise, surprise – I want to develop this further. I enjoy learning the freedom of
creating more from within, rather then outside stimulation, also enjoying the creating, responding, creating,
responding rhythm. So my question would be: how to best go further? What would be a good next step?
Any thoughts, own experiences, remarks would be appreciated
Posted by
11:03 AM
Jane Davies
November 15, 2017 at 12:46 PM
Great job, Eva! Really nice development of the color fields, and it sounds like your process was exactly
right: layering and layering to create depth.
How to go further in abstract painting? Well, that is a tough question. What is your work like? Do you have
a web site or somewhere I could see it? That would help me consider what to advise. Though, truthfully,
there is not One Way, and I would suggest that you go with what interests you. If there are other courses,
online or otherwise, that sound appealing, go for it. I do NOT advise learning abstract painting in any
systematic way. For example, I don’t feel you need to learn one thing BEFORE another in any particular
order. You learn “on the job”, as it were. I could suggest my downloadable courses: Extreme Composition
and Keys to Dynamic Composition. But if those do not grab you, find something that does. Or take a live
workshop. I get a lot of students in my live workshops that are new to abstract painting, though
experienced with the materials and with representational painting.
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November 15, 2017 at 3:50 PM
Dear Jane,
Thank you for your comment. And I quickly put some of my paintings up on my website, so you get maybe
a better idea.
This year:
Process painting 2014-5
Earlier work from 2010/11
Thank you again for taking the time!
Jane Davies
November 15, 2017 at 3:59 PM
Wow! Thanks for this. Interesting journey you’ve had, and awesome paintings. Your most recent ones are
more sophisticated than the process paintings, though those have their own charm. I think process
painting IS therapy, and it does not require you to SEE in the same way that regular painting, especially
abstract painting, does. Keep doing what you are doing. Take classes and workshops, paint as often as
you can, regularly.
November 16, 2017 at 5:24 AM
Dear Jane,
Thank you for your good/doable advice AND encouragement. I appreciate it. I’ll be working on project 2
this weekend and hope to be posting soon.
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