Aaron Coberly limited pallet paintings (Updated bottom of page 3, April 17th 2009)
It has been a long time since I have posted any paintings. I have been perusing the threads pretty regularly so I thought it was time to share some recent work. One thing I have noticed is that a lot of people ask about good pallets to start with or a good limited pallet. In no way am I going to say that this is the best or right pallet to use. I have been experimenting for the past 8 to 9 months with using different types of limited pallets after reading Harold Speeds book “Oil Painting techniques and materials”. I thought I would stop using the pallet I had been for the past 6 years and work with just a warm and a cool plus white. The colors that I chose were Ultramarine deep and Burnt Sienna. I was very surprised at the results. Here are a couple of paintings using those colors.
After using the Ultramarine deep and Burnt Sienna for a couple of months I felt I wanted to try a different pallet. Thinking a bit of Anders Zorn "legendary 3 color pallet" which has been debated. I wanted to try 3 colors and in Harold speeds book he mentions Ivory black and Venetian as a good warm cool starting posint gor portraits. In this pallet I am using Ivory black, Yellow ochre, Venetian red and Permalba white. Here are some examples of paintings using these colors
I have really likes this pallet and I think that I will keep it as my base for a while. I have also found that with this base I am comfortable adding colors where needed. Here is one from last week that I have added Ultramarine blue and Cadmium Yellow medium to.
So good to see you here. Your work is amazing! Gorgeous and fluid!
I have been experimenting with new palettes as well. Few earth tones, white, Micheal Hardings genuine Naples yellow (yum! a clear lucious lemony yellow), Studio Products Pyrollo Ruby (gorgeous substute for alizarin), Maimeri Puro 174 Crimson Lake ( somewhat darker permanent blue-red, M.H's Raw Umber, Ivory Black, Viridian, Genuine Vermilion and Ultramarine.
You must try www.studioproducts.com Optical White. It does not dull the colors, is really slurpy and the colors when mixed with this do not sink it.
cant go wrong..with few colors, you have a very powerful eye and your understanding of anatomy is superb..hope to reach your level some day.. I shouldnt tell you but I think you are at a level where you should start pushing yourself more..I guess your new discovery of master thinking, which is simplicity has shed new light and knowledge..now pursue it...study those paintings,push yourself for multifigure compositions..(i think you know perspective but still it takes a full mastery to be able to compose paintings like the old masters..the same goes with geometry and anatomy) think caravaggio, rembrandt,the sargaent frescoes, the multifigure raphael, rubens,LEbrun, Natorie, forshortening, imagination, vandycke, tintoretto,greco,velasquez, Ingres, David, etc I mean nowadays nobody can do this type of paintings, none, zero..not even the best in concept art or the best painter of today. I think is a lack of study in my opinion..lack of BIG BALLS, hehe, It is not only the figure, but the things that surrounds them, the history ,the epic and big proportions, the buildings the expressions, the animals, that to me is real art, a bigger message, because really the landscape,portrait, still life studies are getting sickening hehe (nothing personal, i still do those...). In the past those kind of tiny sketches were use for something bigger and better, Im tired of the excuse of i paint with sincerity, or paint what i see, come on..be more ambitious..you have the talent go for it
I discovered your work a few weeks ago and I fell in love with your gesture then your charcoal AND your painting you are a great painter I hope I'll reach your level with someday!
Anyway keep struggle with your art because you are an inspiration for a lot of artist...Keep it up
Stepping into the darkness and finding the next step isn't there
Cardiff, South Wales, UK
Thanked 16 Times in 13 Posts
Damn, those last few are excellent. I'm just starting out with oil painting. Deciding to go down the limited palette route. Same colours Yellow ochre, venetian red, ivory black and titanium white. This is inspirational stuff for the likes of me. It's really nice to see what can be achieved. Thanks for sharing. Cheers Phil.
The most unjustified 4 stars thus far! Great work, truely... you ever render any pieces out a little more??.
Seeing this has given me reason to attempt a limited pallet, to be honest I couldn't see the rational behind it(not that I know shit all about painting) but I think I'm starting to get it.
as for starting out with a limited palette. The most important aspects of painting to me are and in this order Composition, Drawing, Values and Color once you have those then you start to consider warms and cools, edges and fracturing space to focus the eye. So no problem just get those 7 ideas down and you got it. I will be spending the rest of my life working on them. One thing I like about the limited palette right now is I feel more free working on warms, cools, edges and fracturing space.
I wanted to know more about fracturing space,
The second one on June 16th, 2007,
is one of my favorites, it has interesting distribution of values:
-background value has most space percentage of the painting
-then the legs material and cloth on chair forming another big value
-and last a couple of small but really dark or saturated areas of interest
That painting is really well "commited",
is this part of the fracturing space term
you are talking about?
at the end it doesn't matter terms or analysis
cause the work is great
and the limited palette you are using works!!
It has been nice to see your work and progress
in these last years since we all know you paint regularly
and it shows,
thanks for showing us your work it is really cool
Very good work. As Elwell says, they are really good demonstrations of the use of a limited palette. I don't know if this helps answer Robogabo's question about fractured space but I like the way that the brushmarks feel like they are landing in a definite position in three dimensional space. It is an imaginative understanding of how paint can work that is pretty rare and is the key to understanding 'as you paint, you draw".