Black and white all over | Carol L. Douglas

A class exercise on design, and a chemistry question I can’t answer.

Christ and the Woman Taken in Adultery, 1565, Pieter Bruegel the Elder, image courtesy of the Courtauld Institute of Art but the painting has been stolen.

Yesterday was the kind of day that drives poets mad. Just below freezing, it rained heavily, with gusts of wind. Our plein air painting class was forced into the studio.

A grisaille (pronounced griz-eye) is a painting done entirely in shades of grey or another neutral color. Historically, it was used as decorative painting in imitation of sculpture. Some are what we moderns call duotones. They have subtle colors added to extend the value range. But for our class, they would be strictly in black and white.

Abstract design by Christine Covert

Painting runs along two parallel tracks. The first is design. This is why painting teachers relentlessly push students to do thumbnails and other value sketches. Value is our most important tool. Get it right, and you can be wrong about a lot of other things.

(I came to this realization late, by the way. I studied with Cornelia Foss, who tinkers endlessly with the ‘rules’ of painting. From her I got the hairbrained idea of minimizing value as a structural concept. However, this was a misinterpretation on my part. That’s a good lesson in not asking the right questions at the opportune moment.)

Grisaille by Jennifer Johnson.

The second track is color. It’s so much more interesting in some ways that it can be a distraction to the beginning painter. Mixing paints is both difficult and exciting.

Of course, value is part of color. In color space, value is the range from black to white. All successful paintings have some kind of pre-meditated value range in them. A high-key painting is one in which the contrasts are extreme. A low-key painting is one in which the range is narrower. In either case, there must be midtones too. They are also part of the design process.

Grisaille by David Blanchard.

It’s a lot easier to experiment with value when you’re not fussing about color management at the same time. One way to familiarize yourself with this idea is to paint a ten-step scale ranging from black to white. That’s not a bad exercise, but it’s boring. Instead I asked my students to do the monochromatic still life that I assigned in Monday Morning Art School last month.

Grisaille by Chris Covert.

Before that, however, they did an abstraction in charcoal, based loosely on the drawing I included in yesterday’s blog. Charcoal is the most painterly of drawing tools, but this is something you can do in a sketchbook while watching TV. It is a bit intimidating for someone to ask you to do an abstract drawing, but if I call it “doodling,” you can relax and get on with it.

There are only two rules:

Have a full range of tones, not just a line drawing.
And no realistic objects belong in your drawing at all.

A question: One of my students has had a problem with red pigment from her toned boards bleeding into her final paintings. She prepared a sample board for me to test her M. Graham acrylics vs. a similar red from a very inexpensive craft paint. I tried the squares at 15 minute- and 30 minute-intervals. The M. Graham pigment bled into the white paint, but the craft paint did not. I then tried the same intervals using my own Golden-toned board. Again, there was no bleeding.

Acrylic is pigment suspended in acrylic polymer emulsion. It is supposed to be water-resistant when dried. That doesn’t mean it’s oil-resistant. I’m beyond my chemistry knowledge here, but if any readers can suggest what’s happening, I’d be very grateful.