MooPig Paint, Home Decorating Department :: "Walls"

Considering the 2013 Color of the Year is: PANTONE 17-5641 Emerald ...
Retrieved by Pat Darnell | Dec 21, 2013 | Bryan TX

Today, as the Winter Solstice 2013 rolls by, I begin the unbelievable task of painting the walls in our living room. Six months ago, we had to get rid of all our old couches because of a "bed bug" attack; a pulverizing, ignoble, soul crushing event. Yes, I have not posted much on the bed bug incident of 2013 because it is traumatic, and believe you me, you never want that in your lives. We dangerously almost lost all our minds.

But, undaunted, we recently purchased new couches and chair, and I will now attempt to find the perfect color to tie all our new furniture together. Do we want a bold statement, or a fashionable color blast, or subdued understated effect in our living space?

Ready to Paint a Room? 7 Mistakes You Don't Want to Make | Decorating Guide - Yahoo Shine: "There's power in paint. When done correctly, a fresh coat of paint will make a room feel clean, cozy, and bright. But a bad paint decision can make a room feel small, busy, or drab. Choosing the right paint color now becomes especially important when you eventually decide sell your home; as some paint colors can turn off potential home buyers, while others can add value. Read on for common mistakes people make when choosing interior paint colors and how to avoid making them yourself. Paint on!"

'via Blog this'

Since we don't want our rooms to look like book covers, we can think of the Pantone's as accessory colors, don't you think? The empirical claim by colorists is that different colors create sometimes opposing psychometric responses from people.

Because our floor plan is an open plan, we will need to use one color to tie all the rooms together. Too many themes will make the house gaudy.

And, I have to face it, there is something alluring to being fashionable right? If I look at art, paintings, and I do, I see palettes of colors, such as these in the sidebar, being used in landscapes. Pantone has done a good job in its "color of the year's" campaign. But, I don't want to take Pantone's word as law; I must embrace the psychology of the members of my family.

We have two children living at home. Number six child is crazy for gaming, so that is stoic backgrounds with highlights; his older sister is crazy for pink and black. I think these are stages they are going through, but I must adopt some of that demeanor, or they might feel uneasy while lounging.

My wife just wants something besides the beige that we inherited in the buying of our home. But she very much likes this painting, which has a very definite color palette, decided on by me, but I can't remember exactly what I did there.
[Picture LINK]

It is harmonious for a reason, but it was long ago, and while it hangs in the Dining Room, I should follow this color scheme. Right?

Woe is me.







CONCLUSION
If I think too much on this subject, walls will never get painted.


NEXT WEEK: Should I consider texture, or just make it satin-y?

____________________Reference
http://shine.yahoo.com/author-blog-posts/the-7-biggest-interior-paint-mistakes-to-avoid-193052820.html
http://www.pantone.com/pages/index.aspx?pg=21055
http://moopigpaint.blogspot.com/2009/05/back-forty-series-serenity.html
http://moopigwisdom.blogspot.com/2013/04/rerun-dont-be-alarmed-those-are-sounds.html
http://moopigwisdom.blogspot.com/2013/05/moopig-de-clutter-campaign-bed-bugs.html
http://moopigwisdom.blogspot.com/2013/01/moopig-infestation-department-bed-bugs.html
http://moopigwisdom.blogspot.com/2011/12/moopigs-dream-studio.html

Introducing MooPig Paint

January 2009 is the year I complete 100 paintings, or two a week. Ambitious? You betcha.

At MooPig Paint I will post a painting for view. Here is a study in Fibonacci numbers and the role they play in proportion.

These fossils are in a triangle and placed at coordinates of a golden mean rectangle within the edges of the canvas. If you look closely you can see the construct lines of the rectangles.

I use this and other studies to teach others, especially kids about painting, and hope they get a better understanding of the rudiments of oil on canvas.

One day I was cleaning my Brushes

by Pat Darnell
At the end of the day, I really hate wasting left-over paint on my palette. Occasionally, I use up the paint to make a little painting like this one.

After it dried, I scanned it, and put it in my iGoogle Picasa Photo cache. Then I noticed one day the different tools available in Picasa "View and Edit."

So I said if musicians can mix their compositions with digital manipulations, why not me mix my colors and techniques?

I began adding and smudging... this is as much fun as painting the thing in the first place. I can't get enough of this digital madness.....

Sharpen, change day to night, give it a Vaseline vignette. It almost starts to look like an illustration. To do this "back in the day" would have required a second mortgage on the house, to have paid for all the different photo operations.

Now I'm not a ninny, even though some of you may think so, but this is available for free, and is adequate for most of the stuff I need to experiment on.

Free, oh did I say no cost? There you have it.

pd

Purple Glaze: A Brief Discussion of Painting on Canvas

If you are a good draftsman, then always work toward your strengths. Lay it out, and work with perspective and proportion. Here is a Lighthouse scene. I usually put reference page and photo credit on any 8 x 10 studies. "Eagle Bluff Light, Ephraim, Wisconsin: marks the entrance into East Channel into Green Bay. It was built on Lake Michigan in 1868, standing 75 feet above the lake, with originally a third-order Fresnel lens. It is a brick tower still aiding in navigation today" (Crompton, S W. UB of L, 2005).
It doesn't hurt to under paint a scene with complementary color scheme. Using acrylics for this; remember if you are oil painting, you have to put water based colors under the final oil base paints; lean under fat as the saying goes, or fat over lean. This roof for instance is going to be Terra cotta, so I under painted with blue slate color.
The bush is in shadow, so I started with dark coloring moving toward lighter later. This is the best way to to produce details in shadows.
And the foreground wall will be yellow limestone, so I under painted with blue shades, Payne's gray, with more dark blue in the clouds. Again it all moves from dark to light, background to foreground. The subject lighthouse

will hopefully end up detailed and sculptural, framed in rich, subdued colors.
Add color. In this case I am doing a study of the various aspects of lighthouses, and not too concerned with palette. However, as I become familiar with lighthouses as a subject then I would choose a group of harmonic colors right now, and stick with them. Here I am using primary colors, mixing pastels from those, as I add features. It turns out the painting starts to fall apart, as complementary colors are set in juxtaposition. Soon the adding of shadow starts to mess up the perspective, and details begin
to get lost, straight lines become
bowed lines... either optical illusions, or just lazy brushing.
Here is an inverted color negative showing true color complements. This could help in coloring the problem areas of the piece.

How to keep the painting together is to make decisions as the rendering continues. Decisions are based on observable data. For instance, lighthouses are generally not a romantic get-away. Rather, they are situated on crags and wind-swept reefs that were once noted as demons
on nautical maps. So, I am experimenting with colors to try to capture forebodings; a bleak place where existence is difficult; structures that must stand up to sheer brutal punishment by natural weathering winds. Thus, buttressing walls, stone and brick construction, copper storm shutters and scuppers, and heavy roofing.

The most difficult part of doing a study is in trying to balance the mess. Some of the intermediate stages have features that look really good. But as another area of the canvas is worked it somehow cancels the parts that I just finished. Highlights fade, and shadows take over, or become ambiguous...
I see as I go that the underpainted version looks real good. I like the bold red lighthouse tower, and the blue mortar in the house. But alas the total structure is made from local yellow sandstone. So for believable finish everything stone becomes yellow's cousin.

I think before I call this quits and spray it with varnish, I might try to do some "glazes" in red-blue, purple, hues to make some shadow on the house and tone down the yellow. Most of the structure is trimmed in copper, so tarnished copper and green are good for other color trials. If this were a 144 inches by 96 inches, first trial, I would at this point be pulling my eyebrows out. No lie!

Fortunately, it is only 8 x 10 inches and manageable for trial and error. Also, I want to point out after all the groundwork has been laid out as it has been now, I as artist can anticipate some fun with the project in final stages. More on that aspect later...

A study like this is without parallel for learning a subject. If I decide to do another, and larger painting of this, it will take less time, and less mess to accomplish. Most of the time I skip this study stage, leaping rather right in with large brushes, and lots of oil. I end up making brown of my colors, and grey skies... so you decide how to go about your own dabbling in rendering.