We’ve all heard of pastel colors, jewel tones, and earth colors. But what are they ~ really? What makes them what they are? And why should you care?
If you don’t already know which of these 3 palettes is YOU, take a moment to scan the 3 images below.
Which one draws you in?
Which feels most comfortable to you?
Which one IS you?
Is there one you hate?
Jewel Tones Palette
How do the Jewel tones make you feel?
Jewel tones are pure pigment, or nearly pure pigment. Very saturated colors. Intense.
The colors in this painting; Ultramarine Blue, Cobalt Violet, Vermilion, Magenta, Veridian, Cadmium Yellow, Turquoise have been mixed with just enough white to bring the color identity to light.
The dark center of the flowers is Prussian Blue pure pigment. It appears black, but is not. If black were substituted for this color, it would appear lifeless and dead.
Charvin Jewel Colors
Ruby Red, Rubine Lake, French Red Light, Diamond Orange,
French Yellow Orange, French Yellow, Anise, Meadow Green, Peacock, Emerald, Intense Turquoise, Deep Turquoise, French Cobalt Blue, Deep Ultramarine Blue, Prussian Blue, Rembrandt Vermilion, Rembrandt Quinacridone Rose, Sennelier Rose
Now let’s look at the colors in this pastel palette. How do these colors feel to you?
Pastel tones are the same pure pigments, mixed with white. This dilutes the pigment. The dark in this example is actually Shadow Green. Mixed with Provence Blue, the color beside the full strength Shadow Green feels pastel.
Please note: this is an oil painting, not a pastel painting. My discussion here is about pastel tones, not the medium of pastels.
Charvin Pastel Colors
Naples Yellow, Incarnat, Celadon Green, Green Gray Light, Water Green, Tropical Green, St Remy Green, Deep Opaline Green, St Remy Blue, Caraibes, Royal Blue, Bright Linen, Leaded Gray
Earth Tones Palette
How do Earth Colors make you feel?
Earth colors are created from pigments found in the earth, Carmine, Red Earth, Yellow Ochre, Raw Umber, Siena, Charcoal, Zinc White. These elements are literally dug from the earth and ground up fine like sugar. This granular pigment is then used to create oil paint, acrylics, watercolors and pastels.
Charvin Earth Colors
Yellow Ochre, Raw Siena, Transparent Yellow Ochre, Pouzzoles Red, Aubere Pink, Raw Umber, Savana, Green Shell, Deep Celadon Green
Here is a section of my pastel palette with one of my color charts. Which palette would you say this is?
HINT There may be more than one right answer!
I see y’all are voting heavily for the Jewel Tone Palette! Me too! However, there’s something I’ve discovered about balancing colors that requires all three. In doing my artist residencies in France and Italy, I’ve discovered a Color Fusion Palette that creates harmony. Here’s an example.
Can you see the difference between Waking Dreams IV and Blooming? Waking Dreams incorporates all three palettes. Learn more about my Color Fusion Palette in my Awakening Hearts Series and how you can use it in your home to create wellness, serenity, and vitality.
When I decided to live in Tuscany for nine weeks, to absorb the Tuscan Lifestyle into my life and art ~ I’d hoped living the Tuscan lifestyle would cure the workaholic in me.
A new friend from Naples got it completely. “It’s unknowable,” she uttered, looking at my paintings scattered about the room. She was in my incubator and she knew it.
Immersed in the joyful way my new friends and neighbors went about daily life, I’d already realized how truly and dearly “I LOVE to paint! There is nothing I’d rather do. This isn’t work at all!”
My Tuscan friends had knocked on my door, bringing me ripe figs, plums, tomatoes, chestnuts, wine and more. They seemed to squeeze every drop of goodness from each and every grape. I looked for something to offer them in return. “Would you like to see the paintings?”
“Oh yes, we’d love to!” Week by week, they knocked at my door and each time I answered I experienced “the art bridge” in a new way.
In those very last moments of October, they knocked on my door once again. This time Danilo invited me to come to the family’s olive grove to see how olives are harvested. Down the steep slope of the mountain, zig-zagging dirt path to a vista overlooking the Arno Valley, Danilo roared the four-wheel drive like any Italian driver ~ fast.
Late afternoon sun shone through silver olive leaves. Tiny Tuscan olives once light green, were now black and full of oil. Danilo demonstrated climbing a ladder on each tree. Pruning, shaking until ripe fruit fell from the branch into a fine mesh on the ground.Tree by tree, each olive in the 12 acres is picked by hand and hauled in buckets to the olive press in the next village.
Danilo reached for a bottle of the family’s own wine from a shelf in the tool shed and poured three glasses. Sipping sweetness, I felt the glow. Did I know I was ripe for harvest too? No. Sweetness of sharing friendship, beauty and bounty I thought was all about Tuscany.
I flew home the following week and immersed myself in a show deadline, a bid proposal, an application for a gallery and a national show. The last thing I needed was a new idea. When it first surfaced last week, it seemed so far off base from my Tuscan series, I put it out of mind.
A dream this past week urged me to take another look at the idea. Did I know that it was the “unknowable” I was searching for in Tuscany? No.
“OK” I thought, “I won’t have to stop what I am doing to make a few thumbnail sketches in my journal. ”
In less than an hour, I’d filled three pages with value studies a series of landscape designs I didn’t have time to paint.
Intrigued, I decided I would “test” the designs quickly with pastels. I cut several sheets of pastel paper into 9″ x 12″ rectangles.
I hadn’t used my pastels in over ten years. I laid my trays out on the table and sorted values. (Yes, I AM aware of how my own values changed in Tuscany. No mistake that I would have to come home and sort them out in my palette. Life is always a metaphor for Creator’s gifts.)
By lunch I had all the pastels arranged by values. Instead of searching hue by hue, having to check each value against my paintings one by one, I would be free to paint quickly, easily seeing subtle shifts in hue and chroma.
You can see how all the lightest (# 9 & 10 values) are in the far left of both trays. Cooler in the foreground tray, warm ones in the next tray up. Darks (#1 & 2) are all along the far right of each tray in the same manner.
In the center four rows of each tray, the cool and warm tones are sorted by values; #3 & 4, then #5 & 6, then #7 & 8 ~ warms in one tray, cools in the other.
The realization that my abstract thumbnails were my “pond in the woods” series came to me in the shower. Ideas seem to flow in the shower as they do in dreams. Why did I think my Tuscan residency was about painting Tuscany? Well it is and so much more. It’s about assimilating the Tuscan lifestyle here in Virginia ~ on my pond in the woods.
Standing over the table with my view of the pond, I drew from 15 years of memory. By four o’clock I had a series of pastel studies. I chose one and took it to the easel. A 24″ x 30″ canvas I’d primed with gold under-painting for another project awaited me.
Mixing my colors to match the pastel, I painted until it was too dark to see. The oil painting on my easel looked like pastels I’d painted as a young artist. I laughed out loud as I recognized the vibrant strokes.
Another dream puzzled me the next morning. Writing it down created more questions than answers. My tried and true methods of deciphering dreams yieded a new direction.
Picking up the phone, I called a friend, a soul sister who leads a parallel life to mine. “How are you?” I listened intently as she explained how coughing was helping her clear out old scar tissue, making way for new tissue to grow, healing her lungs.
“Ummmmm,” I wrote some of her words in my journal. “Scar tissue” stuck out like a sore thumb. I knew immediately what mine was. Unfinished paintings I’d stacked up in guest room to get out of my way in the studio. I wanted only to work on new ideas from Tuscany.
I shared my sketches with her so she could derive inspiration of her own. After I hung up, I unrolled two unfinished paintings and sat down to look them over. I sketched a thumbnail of one. Then made a second thumbnail, abandoning the first completely.
Wanting to see my sketch in color, I used pastel to test it out. I liked the study, though troubled by the dark positioning of the cypress trees, went to the easel to block it in over top of the unfinished painting.
The same day I also blocked in several other oil paintings. One based on a pastel, two others based on thumbnails in my journal. Working back and forth from one to the other, I used ideas from each to help me see my way through the group as a whole. My “scar tissue” helping me paint the whole group.
Looking at the group of deadline paintings, now they look like scar tissue. The deadlines evaporated as checks arrived from the sales rep I’d hired in the spring.