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Note the energy 'captured' in the gestures, and the sensuality of the painting as an object.

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a still life object using the plasticity of paint 

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a still life object using the plasticity of paint 

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A head using fluid paint and a variety of gestural marks

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A head using fluid paint and a variety of gestural marks

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Karen

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Karen

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Victor

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another student example using a fuller range of warm and cool colours

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another student example using a fuller range of warm and cool colours

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another student example using cooler mixtures

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another student example using cooler mixtures

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quite a warm range of shadows and grey ground

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Victor

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A student example of the lemon using vertical marks

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A student example of the lemon using vertical marks

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With added white to lighten. The alizarin lends an earthy tone to the mixtures. The cadmium creates high key colour.

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The same purples placed randomly next to each other

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The same purples placed randomly next to each other

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Notice how random placing rather then hierarchical placing of these purples encourages the exaggeration of dark/light and warm/cool relationships. They look more varied this way.

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Again the blues are too dark to perceive a difference but the reds really show a massive difference in the purples. Cadmium red makes the play, earthy purples.

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A page of purples using cool and warm reds plus white

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A page of purples using cool and warm reds plus white

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Cool greens using lemon yellow and earthy greens using cadmium yellow. The blues are too dark to perceive any real difference.

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A rather random page or red mixtures just from cadmium red and alizarin crimson. Plus titanium white.

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An exploration of warm and cool reds plus white

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An exploration of warm and cool reds plus white

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This colour wheel was made to explore what happened if I put 50:50 mixes of the 6 primary I had- a cool and warm for each- to create secondaries and tertiaries

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Karen palette

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Victor

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Karen