By Al R. Young Under Whose Wings Thou Art Come to Trust was painted by the artist in the studios at Ben Haven.
dimensions (unframed width x height)
35 3/8 in. x 76 7/16 in.
Research begins — 2003 January
Composition begins — 2012 August
Brushwork begins — 2013 December
Painting completed — 2014 May
Creating a painting often involves creating or modifying tools or making improvements to the studio itself... Read more »
By Al R. Young When I embarked on oil painting, I spent a lot of time mixing the colors of the rudimentary palette with which a mentor suggested I begin. And because of ideas that correlate color with wheels, I arranged the colors and my experiments accordingly, as I methodically mixed colors in the abstract and also created tonal scales.
If I used a lot of a particular hue in a particular mixture my record of the formula consisted of a big dot for the part the hue played in the mixture. Addition of a little bit of a hue was represented by a little dot... Read more »
By Elspeth C. Young
For artists, like me, who lean to the Caravaggistic in lighting, the phenomenon of the perfect "black" for a mood-setter within a painting, can be a bit of a pigment puzzler. While many artists have a favorite black as part of their palette, I purposefully pass by the black section of the paint tube world—perhaps it's the loyal watercolorist in me—but I just don't accept the idea that black is simply #000000—zero color. In my book, black is as rich and full as any other color, and as deeply reflective as white can be... Read more »
By Elspeth C. Young
I can remember, as a small child, eagerly watching my father get out his palette, paint tubes, medium, and palette knives to carefully mix colors for a day of intense painting. In fact, one of my earliest memories is watching him mix thick oil paints for a wall mural he painted in my bedroom. I watched from the perch of a stool--with my elbows practically in the paints--while he mixed and matched and mixed again. I became so intrigued that my long pigtails dipped right into the colors... Read more »
By Al R. Young
One of the most important skills involved in looking is to see objects not in terms of the labels by which we talk about them, but in terms of the puzzle-pieces of color-shapes by which we see them.
The following image is a detail from an oil painting. The detail presents some of the foreground foliage in the painting. To paint foliage like this is to paint a multitude of shapes instead of painting "leaves." (There are, of course, numerous ways of rendering such a subject... Read more »
By Al R. Young
In 1981, a good friend of mine (and a fine artist) suggested a beginner's palette by which I might venture into oil painting. My notes from his suggestions list these colors:
Permalba whiteIvory blackRaw umberUltramarine blueYellow ochreBurnt siennaBurnt umberCadmium red light
My notes also indicate that later I was to have added cadmium orange, and to ivory black I might eventually have added blue or burnt umber for organic varieties. I completed the monochrome painting of a landscape, and because he suggested that I might use white, black, and raw umber in the process, I learned that black in oils is not the absence of color; that I was really painting with three colors, and that the only way to keep the painting monochrome was to mix equal portions of black and raw umber before using white to dilute the saturation in order to achieve a particular location on the tonal scale in which the painting was being rendered... Read more »
By Al R. Young When I was a boy, I spent hours gazing at desert sunsets that painted the deeping sky with vibrant and ever changing hues. I was spellbound by the symphony of feelings that welled up within me as I watched the way that turquoise gathers along the ribbon of infinity narrowly visible along the horizon. The soft colors there would darken into fantastical hues as the hem of the sun's bright robe disappeared beyond the lip of the world, taking with it the brilliant blue of day and the whiteness of its mountain clouds... Read more »