Over the last few days I tried experimenting different limited palettes on the same painting. I did it as part of the course on Mastering Color by Richard Robinson, and grabbed the following image (part of one of his workshops) as reference:
I first made a black and white study to try to define lights and darks, then moved to a few limited palettes (and I admit the transition is more painful than it seems!).
All studies are about 6.5 cm wide. I wanted to push the middle mountain back in the distance so I also made it lighter and bluer.
Yellow Ochre + Burnt Sienna + Ultramarine Blue + White
I felt too limited by the absence of a strong light color, so I switched my yellow to a Cadmium Yellow.
In the first one, I realized the middle distance mountain and tree line were way too gray, so I tuned up chroma. However, I tried getting it so green that I lowered value as well, making it look closer (#2) and odd. I then painted it all again and was quite pleased with the third one. Still, despite being the better of all tests (in my opinion), the middle distance mountain still has something wrong. Whilst the the light color is acceptable, the shade is too saturated and way too light (taking off color makes it vanish into the rest of the mountain. The scheme is nice as it’s an almost complementary orange/blue.
Being undecided on the warm/cool choices, I painted a study using only Alizarin Crimson and Ultramarine plus white:
Yes, it makes no sense. However, by taking away any possible green I noticed I got less scared on mixing decisions and placements. Not being distracted by trying to get the color I saw, I purely focused on value (kind of difficult in this case for me to get the hang of) and warm/cool hues.
I used the midpoint grayish pink between red and blue as my neutral, red/pink for the warm, blue for the cool. It really helped me getting the feeling of which zones I can paint cool, and which warm, in my final painting.
The first one is really fiddled, I even scraped some colors off with the palette knife and tried again. Apart from that, it seems fairly harmonious. I was unsure about the dark brown of the tree shadow.
The photo here washed out my colors a bit. In any case, I was unsatisfied of the muddy look of the top one, because the shadow is way too brown and lacks the green’s complementary, purple. Therefore, I went for an almost pure Alizarin in the last (bottom) one. I am happier with the result. I also tried making the tree darker and could use a duller green, closer to the reference, thanks to the dark purple.
All in all, I still prefer the Cadmium Yellow one to this. I also went too high in chroma for the green, as Lemon Yellow heads way towards the cold spectrum. I should really get a better Cadmium Yellow Light to use in this painting.
Next up: Gamut Masking!