Coneflowers

Coneflowers   12 x 4 x 1.5

was intended as small between-the-lines painting...nothing serious, small in size....just an exercise.  Flowers are the perfect vehicle for such a work.  Without the seriousness of a larger or more contemplative work, I feel free to explore and try out new techniques.

In this case, this very small canvas was toned with what I would call "navy blue", a neutralized dark blue that was probably mixed with French ultramarine and burnt sienna.  The background leaves and pods are closer in value to the toned ground so they fade to the background.  The pink leaves were intentionally scraped and pulled back to allow that blue toned ground to become a major player. 

I am pleased. 

Tale of Two Betties...

Betty Crawford   oil/canvas   20 x 16 x .5

Betty Wolfe   oil/canvas   20 x 16 x .5

I have had the privilege this month of painting two women named Betty.  Both Betties are fixtures in the Akron area arts community.  Betty C. is a painter and frequent volunteer at Cuyahoga Valley Art Center....she is often the smiling face behind the desk.  Betty W. is also a painter whose work is often seen at regional exhibits.  These small works were created in my summer "Painting the Human Figure" class.  The canvasses were pre-toned.  That allows for a more finished presentation, even if the work remains somewhat unresolved due to the time constraints of the class.  Both works consisted of 2-2 hour in classes live sessions and 1-1 hour session using a photo at home.  This last session helps me to purify somewhat the flesh tones that have become muddied; to repair glaring drawing errors; and to consider rhythms utilizing hard or soft edges.  I am happy with each one.  And I also love the Betties.....

To-tone-or-not-to-tone...

Quick Draw Painting - Hudson, Ohio dentist   8 x 8

is really a matter of individual preference.  But, despite the foresight and planning that is apparent, it is usually a good thing.  Toned canvasses provide a slicker surface, providing an ideal surface for the gliding of brushwork.  Untoned drags.  Think skating on ice versus trudging through snow.  For me, the surface dance is most important.

In addition, a particular color of toning can enliven a work from the get-go if pieces/parts of that preliminary color peek through.  Another fun thing to try is to tone with with the opposing color temperature of the anticipated temperature of the work.....i.e. cool underlying warm.  This is particularly effective in watercolor where the transparent layers are visible from beneath. (and, with watercolor, this preliminary toning can be done right on the spot when work is begun, rather than ahead of time)

Most often, however, my foresight is dim, and so I just use leftover paint from my palette all mixed together to tone random canvasses for future paintings.  One time I used the sludge from my turp jar to tone.....bad idea.....those canvasses took months to dry.

For plein-air work, toning is a real plus, as it provides color already there when speed is of the essence.  It is also terrific for vignetting.  Also for scratching through to a previous layer.

So, I guess, the answer for me is yes.  Think ahead.  Tone.  My small painting from the quick draw in Hudson of the dentist's office was toned well ahead of the event.