Quick Tip 195 - The Zorn Palette

for nearly a hundred years now artists have been totally fascinated with the Zorin palette and here's the reason for that [Music] [Applause] [Music] so there's something called the Zorn myth and that is a lot of people think there's on used more colors than we know to be his palette name in this photograph of him of his self-portrait we can see three colors plus white on his palette and those colors are as well as we can tell those color colors are yellow ochre vermilion ivory black and I'm putting to tenean white here I'm not sure exactly which white he used a lot of people debate this red which red is that some say vermilion some say can't be red light so I'm say cadmium red medium well it doesn't really matter that much the what matters is that he could get so much to happen within these these three colors plus white so this is Anderson one he was a Swedish painter and he was he did most of his work in the 19th century and then on into the early 20th century so I want to show you here this is one of his paintings that we all know was done with his own talent what intersect something here too it's really a myth that he only used those colors ever because if when you look through his his entire body of painting that we have available today we see some greens in there that you really can't get with this palette and so we know also after his death that was there were several tubes of cobalt blue found in his collection of paint so we know that in some of his paintings he also added in the cobalt blue but we also know that he stuck with that limited palette so here it is on here that the colors are that what would think of there's a typical Zorn palette the yellow ochre vermilion in our red black now I'm going to just a little bit here to show you how you might play with the Zorn palette because it's you're getting familiar with it that's going to tell you whether or not is something that you'd like to experiment with or maybe even add into your arsenal so let's just look at some of these clothes first of all let's look at why did he choose ivory black instead of cobalt blue well ivory black is more or less a cool bucket I'm going to do a little something here for you I'm just going to put a little box of ivory black let's get that a little bit lighter so that dumb so then we get a better sense I'll get that up by metal value if I can ivory black and this place that right right here okay that's good right in there now you see when I put the ivory black on this white canvas I'm it you might call it gray it might have a cold feeling to it but um you might not call it blue but he used that color to feel like blue and here's the reason we know that the complement of blue is orange well he formed orange by using the yellow ochre and I'm picking up the yellow ochre right here and the red Vermillion it makes a lovely a lovely orange let's get that now I'm going to place this right here this orange let's get the more color in the brush okay let's just place this orange now you can watch as I'm placing that orange around that black you can watch it actually begin to turn blue or feel blue and this is the principle on which he worked if you'll notice well whenever a lot of his paintings were warm throughout and where the painting was warm throughout and he used just that ivory black you can see it feels cool and so he was able to do some really wonderful things with that I'm just totally surround it here and you can get the sense of what I'm talking about there so there is look at that a little bit more mm-hmm there we go so now you can see that feels more blue very black the next thing I'm going to do if when you look at this this portrait that I have here you might look at that and say how in the world that he'd get all those colors from just this palette well I think it's sort of obvious the Reds there are sort of obvious but let's look at well let's look at some of the darker colors for example if you take the ivory black let's take this ivory black right over here let's add just a little bit of the red into the ivory black enough so that we can there we go get that sense of of this feeling of redness that we see here and we can see that with ivory black added to this vermilion look at that beautiful dark red that you can get now we can see that we can see some of that right in here now just to show you how you might expand that or how he expended it's not necessarily visible here but just to show you I'm going to add some white into that now and show you the color that this actually is when you raise the value with white get that about a middle value here there we go so you see you get this really really mellow almost purple begins to feel more purple so that when so when we actually mix black with vermilion and then add some point to it we can feel that almost turning violet purple so you can see that I've kind of got that crooked on the canvas but didn't make any difference then the other side of that is how he achieved the feeling of green and that too is all very subtle because these are except for the vermilion these are more earthy colors and it's so it's all very subtle but you'll find that it's the way he just supposed those colors put them together that we actually read the colors as they are I'm going to get this more attached right here there we go but we see some colors right in hill here that feel sort of green well if we pull go into the ivory block again let's go right over here on the pallet and I'll just pour get that to a kind of a middle that is about this darker than the middle value I'll get that a little bit darker than the middle value here now let's go into Oh yellow ochre and we'll add some yellow ochre in here and you can see I'll get that feeling of that turning greener especially beside the red you see the the predominance of feeling of red in here helps influence by the principle simultaneous contrast helps influence how will you read this area is green so if I come let us place that right here let's get that a little bit more BL ochre in there you see then you begin to feel that as more green and then if I had a little bit more white into it with the yellow ochre can play around with that then you see here now we get that feeling of the green so we can also get these variations in here of these warm to cool colors on a woman took them to cool greys just continuing this right up here you see this is a very warm grey but then we can let's rinse that off the brush and put beside it a mixture of the ibrid black with the ivory black by itself and we can see that we get a very cool gray beside that very warm gray see them feeding see how they feel together right here side by side the cool grey with the warm grey so you can take this palette and you can explore you can you can explore it by mixing the colors together two colors together all three of the colors together mixing those of black and white and a lot of people have actually made charts color charts of the Zorn palette you can find those I think maybe they're a bunch of YouTube videos where people have done that sort of thing one more thing I want to show you we can almost see that right in here how he managed to get this feeling of of that hair by mixing the red with with the yellow ocher right in here and then a little bit of black into that monkey just reach out up here a little bit of the black into that a little bit more this and then let's put this right side by side right in here get that just a little bit less black one thing that one thing that you will notice when you're working with is aren't out here we go right in here one thing you'll notice when you're working with long palate is that some of the colors are are more dominant than others meaning that the yellow ocher your fun is weaker so it requires more yellow ochre in proportion if you when you're moving the colors more towards yellow and you find the black tends to want to take over you saw me doing that with some of the mixtures so this is just a little example of some things that you can do to explore one more thing on show before I wrap this up and that is the skin tones and he did a lot of portraits with with this palette and and we found find that you can get some beautiful skin tones we're pulling the white over here oh this is a Caucasian skin tones I'm talking about what you can get actually with this palette you could get a multiple range of of all all kinds of skin tones so you might experiment with that too but just just what we're seeing right here and just a little bit of this into white there we go oh this is a mess isn't it right there look at that look at this just a little bit of the mixture of yellow ochre with the Vermillion and white and we come up with this tone right here and just a little bit more of the the the Vermillion to it and we come up with this tone right here we can see this tone right in here if as it goes into shadow we can add a little bit of the the black to it as it goes into shadows it's going into shadow over here let's see what we get there there we go right here you can kind of see that color as it goes into shadow right in there right in this area right in here so it's a fun palette to play with and I think the best way to play with it one way to play with it would be to go to a Zorn painting like this and then work through those colors and see how many of the colors that how many of the colors you can find in the zone painting from the Zorn palette itself I think it's always better when you're exploring something like this it originated from an artist it's always it's better to go back to the artists work and then explore the artists work with the palette that originated with that artist and that way you'll find so many possibilities from working with those colors so I hope you found that helpful it's just a little introduction to kick your interest off and allow you a way to explore what this own palette will do and also I want to remind you that if you have for something you'd like for me to explore you leave a comment down here and we will put it on our schedule and also don't forget about going to dynamize dot-com and see what we have going on over there 174 video lessons opportunities to study live with me and bunch of free stuff too so there's your quick tip [Music] [Music] [Music]

Channel: In the Studio Art Instruction

Views: 100,774

Rating: 4.9635906 out of 5

Keywords: in, the, studio, art, instruction, in the studio, art instruction, with Dianne Mize, Dianne Mize, SauteeLIve, quick tip, 195, the zorn palette, anders zorn, artist, palette, painting, how to paint, how to draw, oil painting, color theory, canvas, easel, brush, fine art

Id: QBdBHdh-EFA

Length: 13min 14sec (794 seconds)

Published: Wed Dec 12 2018