Confetti #18

Confetti abstract art 64

I am running out of words. I try to say something interesting, rather than just stating the obvious.

I am trying out different palettes, and mostly working on the overall shapes. More large waves and swirls. Most of the confetti / chopping is low volume, small displacement, with small areas of high mixing.

Confetti #16

Confetti abstract art 62

Organic Colors #2

Sometime the quiet colors just work. This one starts with an overall impression of gentle waves or hills. Then as you look closer you see the chopped color blocks. But now they are slightly different hues and shades. The individual pieces of confetti does not stand out as it does with a palette of bright primary colors.

Confetti #15

Confetti abstract art 61

Organic Colors #1

Ok, another subtitle, even after I said I would not do that.

At an art gallery, the paintings, especially the old masters are almost always muted unsaturated colors and limited palettes. There may be a boring explanation for this, the colors faded over time, or that was the only paint available to the artist. I like that it was the artist’s choice, and that it shows remarkable confidence and restraint.

I like palettes with high contrast black and white, and with saturated primary colors. Art school would say that I overdo it. However, compared to most modern art on the internet, I think show much constraint. Sometimes I like to get a little outside my comfort zone, and work with muted palettes. If nothing else, just for variety, but also as exercise to avoid letting the bright colors become a crutch.