Category: Shop Talk

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Tom Hudson

I was taught nothing of practical use about painting when I was a student. Worse than the daily dose of esoteric BS was the relentless, sneering attack on the subjects of technique and history, which were held in utter contempt. Pollack, so I was lectured, allowed his brushes to dry in cans of house paint, which he drizzled from stiff bristles onto unprimmed canvas on the floor. If that was good enough for him, it’s good enough for you–so said they. I wrote elsewhere about one professor’s favorite piece of painting gear–fishing boots. My artistic education can be summed up this way: daily attempt by inept professors to destroy the same clumsily constructed straw man. No questioning the received dogma; that was the way it was–and worse

Rubbish–worse than rubbish. Not only not true, not even important to the discussion–mere fashion. Worst of of all, it was all served up without the least bit of humor.

[Rant End]

In praise of cerulean blue

Cerulean blues is an extremely important color. Besides being a core blue (it should be on every palette), it forms complementary tones with most orange-brown colors, such as burnt sienna (another very useful color). Its usefulness is unfortunate because it’s so blasted expensive–one of the most expensive paints on the market. My oil paint brand reference…

In the studio 3/23/2014

Here is my usual weekly post about what’s cookin’.  The top painting is ‘Deb.’ The lower painting isn’t very far advanced but I think you can get a sense of what’s afoot. It’s called ‘Antique Shop.’ To paint this large piece, I had to prop the easel’s cross-box on my knee to keep it from…

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Tom Hudson

Someone asked if I inadvertently omitted straight-from-the-tube black from my palette. The omission wasn’t inadvertent. I don’t use ivory black (or any other black) ‘as is.’ Ivory black is too cold to use as is, but not cold enough for a truly cold black, which is why I create the mixtures illustrated in the linked post. Ivory black + ultramarine blue for cool black, and ivory black + burnt umber for a neutral black. For warmth, I add more burnt umber or, more typically, use burnt umber + cobalt (or cerulean) blue.

Palettes

Here is my general. all-purpose palette. It has a good assortment of every color group and the core neutrals I always mix. You can do just fine with fewer colors–three or even fewer from each group is certainly workable. When I was younger, I had a very limited palette because I had a very limited…

In the studio 3/9/2014

Here is some recent work. Saturday was a light work day because of family functions. The top painting is titled “Explain,” and I think it’s far enough along now that you can get a sense of what it’s about. The lower painting–“Jane With Her Hand on Her Hip”–is of, well, Jane (It’s also about blue,…