Back to Basics with Black and White

James Gurney shares basic painting exercises and applies them to field demonstrations in black and white gouache

- James Gurney

Whether you're a newbie to painting or a seasoned pro, experimenting with basic principles can stimulate your thinking and focus your field approach. In this article, the first in a series, let's explore what we can accomplish with black and white. We'll discover how a patch of gray looks different when it's made of transparent black compared to an opaquely mixed gray. We'll see what insights we can glean from other simple studio exercises, and apply them to real-world situations.

REDUCE THE VARIABLES 

When you visit an art supply store, you are confronted with a bewildering array of colors to choose from. If you're just learning to paint, or if you're trying out an unfamiliar painting medium, it helps to reduce the variables. That way you can concentrate on just one of the three dimensions of color, namely value, and you can deal with hue and chroma later. Let's start with the smallest combination of pigments possible: ivory black and titanium white.

Pure black and white is a completely valid choice on its own terms for creative expression, especially when you want a stark, moody feeling. And it has practical benefits. If you're trying out a new kind of paint, such as gouache or casein, you don't have to invest in the full color set. When you go on location, you only need to bring two tubes of paint, and they're ideally suited to painting in limited light environments.

EXERCISE 1: COMPARE TRANSPARENT AND OPAQUE