I have always done creative things, and done them fairly well. The list of media I have tried is longer than my arm. I did all kinds of styles and subject matter, won awards and sold art, but didn't find just one that felt like ME until 1995. If I only list the ones I kept up for years, they include: metal sculpture, handmade paper, ceramics, stained glass, and watercolor. Now I add oils to the list, but that is something I fell into, which is the subject of this post.

I got tough, got back on, and stuck with it. Eventually, I learned that controlling a 1,000 pound animal requires the rider to be calmly assertive. I am not sure whether it was the fall or the assertiveness training that caused a change in my approach to my art, but I suddenly took up oil painting. I was wearing a helmet, but I sometimes wonder if I rearranged a little wiring. Two weeks later, on an art trip with my mom, we stopped at the derelict ruins of a gas station with an old orchard behind it. Looked like good subject matter, and we shot photos. I looked d

Different people are tuned in to seeing different things. The guys in my family catch a glimpse of a passing foreign sportscar, and blurt out the make, model, engine, horsepower, and torque. To me it was "a red convertible". Sorry, guys--just not my thing. Now the RED part, that's where I start to look closer. Calling a car "red" is just naming its "local color". Most beginning artists fall into what I call the "local color trap". When deciding what color to paint an object, they mix up one color that resembles the average of its colors. This results in an average painting.
Red apple. Green grass. Brown tree trunk. These choices are the result of things we think we know because we saw them in kindergarten. Maybe the teacher put that crayon in our hand. It is actually a case of Seeing what we Believe. When teaching students to draw, I was amazed at how hard it is to overcome that, and begin to Believe what we See. We know buildings are made of right angles, but we have to overcome that knowledge in order to draw them properly. We know that car has only one color of paint. Red, right? Look again. If it has a good wax job, not only will you see highlights and shadows, you might even see the sky and clouds in the hood. The lower areas may reflect the pavement or landscape, with only hints of red. Even in a really old paint job, the variety of lights and darks (values) is what defines form, and gives an object shape. Flat colors make for flat objects. If I use only the crayon labeled "flesh", I will never create much of a portrait.
Here

With my most recent paintings, I feel like my exploration of color has taken another step forward. There is still so much to learn, and I never want to stop!
"New Day" 48x24" oil
If you have a lesson learned the hard way, or have a different way of seeing color, please comment!