54 Artists llustrators
COLOUR THEORY
read the scene in quite the same way as our eyes.
However, a certain amount of artistic licence is almost
inevitable, and a considered interpretation of the
landscape colours gives the work extra creative content.
Below are two of my strategies for colour.
IMAGINATIVE COLOUR
The language of colour is endlessly fascinating, and it is
possible to change an ordinary landscape into a real tour
de force by using an imaginative combination of colours
to describe the scene. Great creative fun can be had by
heightening the colours that are already perceived to be
in the landscape; greys can be interpreted as violets and
blues, browns as reds and russets, greens as yellows and
oranges, and so forth. An understanding of colour is
helpful, and combinations can be derived by looking at
a colour wheel. You may want quiet harmony or vivid,
startling combinations; it is for you to decide which palette
of colours to use according to your plan of the painting.
NON-REPRESENTATIONAL COLOUR
Being experimental with colour can give rise to one of
BELOW Wooden Bridge, acrylic and ink on canvas, 50x60cm
I chose a small group of harmonious colours for this autumnal scene: Lemon Yellow, Cadmium Yellow
Deep and Raw Umber. These three hues work together to create a peaceful mood, with a few additions
of Indigo to boost the darker shadowy areas and mixed with white to show the sky and lighter shadows.
Brown acrylic ink was applied to describe the bare tree branches and foreground grasses and stalks.
I dipped the edge of a palette knife into the ink and pressed it onto the support, then spattered a few
drops of water onto the ink to break up some of the harsh lines and create a slightly more natural look.the most exciting and creative journeys in painting.
Understanding colour and how to use it to its full potential
to extend your work beyond the purely representational
may be a lifelong but endlessly fascinating process.
A study of the colour wheel principles will help you
to get started.
The colour wheel is a guide to your choice of colours
to include in your palette. For example, using an orange
oil pastel under or over the top of a green/blue such as
Phthalo Blue uses some of the impact of complementary
colours, that is choosing two colours from opposite sides
of the colour wheel. The scumbling of the pastel on top of
the paint allows the other colour to show through, creating
an interesting area of texture and colour.
This is an edited extract from Chris Forsey’s new book,
Mixed Media Landscapes and Seascapes,
published by Batsford (RRP £19.99).
Artists & Illustrators readers can buy
a copy for only £16 including free
UK P&P, by calling (0141) 306 3100
and quoting the offer code CH2045.
http://www.batsford.comGreat creative fun can be had by
heightening the colours in a landscape