I don’t know how many times I’ve heard photographers bemoan grey days because grey is supposedly uninteresting. Grey days are beautiful in a different way, sometimes for the gentle gradations in tone, sometimes for narrowing the range of tones, and sometimes for strong contrasts between dark grey skies and sea.
When painting, grey doesn’t mean simply “black + white”. We’ve a bounty of “interesting greys” at our colour-mixing fingertips, which is one of the things we’ve investigated during this week’s workshop at Higham Hall.
We’ve also looked at using coloured grounds, such as orange beneath a seascape (which plays on the fact orange and blue are complementary colours):
And, of course, the joy of splattering paint around to add that final layer of energy to a painting:
