Creating monochrome paintings Automatic translate

Monochrome painting has existed for several centuries, but it was only in the 20th century that it emerged as an independent artistic movement. Working with a single color or its shades requires exceptional artistry and a deep understanding of tonal relationships. The process of creating monochrome works offers unique opportunities to explore form, light, and composition, while simultaneously placing high demands on technique.

The Nature of Monochrome Painting

Monochrome painting uses a single base color and its variations through the addition of white, black, or water. The artist creates an image solely through tonal transitions, foregoing the richness of a color palette. Graphite drawings are considered the most common example of monochrome work, although such works can be created with any color.

The term "monochrome" comes from Greek words meaning "one color." In artistic practice, this doesn’t always mean absolute monochrome — various tonal gradations of a given color are permitted. Historically, monochrome techniques were used as a preparatory stage before applying layers of color, but over time, they acquired independent artistic value.

Difference from polychrome painting

Monochrome painting limits the palette to a single hue and its gradations, emphasizing simplicity and depth. Polychrome painting uses a multitude of colors to create vibrancy and complexity, focusing on diverse narratives and sensory impact. The limitations of monochrome technique challenge both artist and viewer, inviting them to seek meaning beyond the diversity of colors.

Monochrome works require higher contrast to highlight details. Without multiple colors, the artist relies solely on the interplay of light and shadow. The viewer perceives form and volume through tonal relationships, creating a different visual experience than with color works.

Historical roots and development

Until recently, art historians considered the Russian artist Kazimir Malevich to be the first creator of truly monochrome painting. His "Black Square," created in 1915, was a revolutionary work that launched the genre. Malevich described his approach as "suprematism," although many of his works are recognized as the first monochrome artworks.

Ad Reinhardt, a German-American artist, created the "Black Paintings" series from 1954 to 1967, inspired by the works of Malevich. Reinhardt viewed this series as the definitive embodiment of the modernist movement. His approach to abstract, minimalist painting had a significant influence on the development of monochrome art in America.

Yves Klein and the Blue Era

Yves Klein created his first monochrome works in 1949, but their first public display did not occur until November 1954, with the publication of the artist’s book, "Yves Peintures." The book parodied the traditional catalog, displaying a series of intense monochromes related to various cities where the artist had lived in previous years.

In 1955, Klein held the exhibition "Yves: Propositions Monochromes," presenting twenty monochrome paintings in shades of blue, red, yellow, and orange. The public received the exhibition disappointingly, viewing the works as a new form of interior abstraction rather than an endless journey into the immateriality of surfaces. Pierre Restany, the French critic, immediately recognized the sublime power of Klein’s monochrome.

Klein reported that at the age of nineteen, he looked up at the sky and became aware of the infinite, immaterial space surrounding the universe. To embody his vision, he chose a single color — a vibrant shade of ultramarine, which he later refined with the help of chemists. The artist published a "Manifesto of Monochrome," in which he declared monochrome "an open window to freedom, an opportunity to immerse oneself in the immeasurable existence of color."

Rauschenberg’s White Paintings

Robert Rauschenberg created the "White Paintings" series in 1951, using white Benjamin Moore paint applied with a roller. The series consisted of five variations: one-, two-, three-, four-, and seven-panel compositions. Rauschenberg was extremely excited by the work and wrote a poetic letter to New York dealer Betty Parsons, urging her to show the pieces in the fall of 1951.

The artist explained that it was completely unimportant that he created them — "today" is their creator. Rauschenberg was particularly interested in the flawless surfaces of his white and black matte works for the way they captured the shadows of everything in the room. If you stand in front of his white and black monochromes, you can observe this phenomenon.

Rauschenberg’s interest in white monochromes centered on their image-bearing properties, capturing passing shadows. The artist’s emphasis on shadows and time in his "White Paintings" led him to insist on their purity, the absence of dust, and the vibrant white paint.

Monochrome painting techniques

Artists use a variety of techniques to achieve depth and complexity in monochrome paintings. Gradation involves mixing tones of the same color to create depth. Textural layering is achieved through the application of paint or mixed media to accentuate surface details.

Brushwork and markmaking create rhythm and flow without relying on a variety of tones. Negative space is used strategically to highlight form and structure. These approaches allow the artist to compensate for the lack of color variety.

Grisaille as a classical technique

Grisaille is a monochrome painting executed in shades of gray. The technique was used as an intermediate stage in Flemish painting, applied after the drawing and before the color layer. There are various approaches to creating the underpainting: grisaille is done in black and white, verdaccio in shades of green, and brunaille in shades of brown.

The process of creating grisaille involves several stages. First, the canvas is tinted with a medium neutral tone to prevent it from remaining white. Then, the subject’s drawing is applied. After this, medium gray tones are added to create shadows. The artist may begin with light areas or block out dark areas — each artist has their own approach.

Grisaille is created using black and white paints, or by mixing burnt umber or burnt sienna with ultramarine blue to create black, then adding white for varying gray values. This technique allows for the display of all tonal relationships before applying color.

Working with light and shadow

Light and shadow play a central role in monochrome art. Without multiple colors, contrast becomes the primary means of defining objects, emotions, and perspective. Techniques such as chiaroscuro — the dramatic contrast between light and dark — were actively used during the Renaissance.

Ink wash artists in Asia masterfully used subtle tonal variations to convey landscapes and moods. Monochrome painting simplifies the process and sharpens the ability to see the structure of an object without the distraction of multiple colors. Once you master the use of a single color to create contrast and depth, applying this knowledge to multicolor paintings becomes significantly easier.

The benefits of a monochrome approach

Monochrome painting helps artists focus on the fundamental aspects of visual structure without the distraction of color. The work strengthens their understanding of tonal relationships, contrast, and light distribution. This approach improves control over tonal transitions and spatial depth.

Monochrome painting increases the accuracy of the rendering of form, volume, and perspective. By simplifying visual information, it allows for a clearer analysis of composition and balance. The method is effective for studying texture, edges, and brushwork.

Developing an understanding of tonal meanings

Working in monochrome develops an understanding of tonal values — light and dark. The artist improves their ability to create form and depth through layering. The focus shifts to composition and structure without the added complexity of multiple colors.

When a color is light, the hue will be light; when a color is dark, the hue will be dark. Among the primary colors, yellow is invariably light, red is darker, and blue is the darkest. Difficulty in assessing hue differences can arise with dark blues due to the depth of their hue.

To see colors as simple tones, you can perform a simple exercise using a smartphone, camera, or tablet. Take a color photo, then convert it to a grayscale version. Notice how dark the red becomes.

Base for color work

Monochrome painting serves as a solid foundation for subsequent color work, ensuring stability and consistency of the underlying tonal structure in more complex paintings. Artists use monochrome underpaintings to establish composition and tonal relationships before adding color.

Working in monochrome forces the artist to ignore color and focus on basic tonal values. Once the artist begins to do this, it becomes clear that good contrast is essential, otherwise the work will appear flat. The most common method for creating a monochrome underpainting is the classic grisaille layer.

The Difficulties of Monochrome Painting

Creating monochrome paintings places special demands on the artist. Without color variety, the artist must rely solely on tonal relationships to create interest and depth. Controlling the subtle gradations of a single color requires a high level of technical mastery.

The artist must create a higher contrast than usual to highlight certain details. Since only one color is used, it’s essential to ensure the contrast is strong enough to highlight forms. Attention is also paid to how the color changes depending on the degree of dilution, which enhances the understanding of the behavior of a particular color.

Problems with materials and pigments

Some pigments have tiny, fine particles and are ideal for certain working methods. The particles are absorbed into the weave of the textile and are captured and held by the tangle of cotton fibers. Other pigments have large, heavy particles that don’t penetrate and simply fall off the canvas overnight.

All Mars and Caput Mortuum pigments behave this way — they are all iron oxides — and can be collected with a magnet. Chromium Oxide, Cadmium Red Deep, and Lamp Black work well. Choosing the right pigments for monochrome work requires experimentation and experience.

Artist Li Yuan-jia was able to use polyvinyl acetate, commonly used as interior paint, due to its processing properties. Because the material has a low refractive index, it creates a matte surface, and its appearance changes little under different lighting conditions.

Controlling tonal transitions

When painting in monochrome, one must work from light to dark, using layers to create depth and darkness in areas that require it. The key is that, when using only one color, the artist must ensure that the contrast is higher than usual to allow certain details to stand out.

Difficulty can arise when creating smooth tonal transitions. Using more paint helps cover up white patchy areas. Mixing more paint, even if it seems like it won’t all be used, prevents problems with insufficient paint.

The underpainting technique, which involves first applying a flat color and then creating a sketch or painting on top of it, helps prevent the white ground from showing through. This approach reduces the number of white spots that can disrupt the integrity of a monochrome work.

The psychological challenges of minimalism

The value of monochrome paintings often lies more in the ideas they suggest than in the artist’s technical mastery. The lack of color variety can be perceived as limiting, especially in the early stages of mastering the technique.

Monochrome art invites us to see beyond the obvious. Without the distraction of color, the brain actively relies on contrast, texture, and form to interpret scenes. This heightened focus encourages deeper engagement, drawing viewers into the subtle interplay of light and shadow.

Materials for monochrome painting

The choice of materials for monochrome work depends on the technique and the desired effect. Oil paints allow for smooth tonal transitions and layered work. Using a small amount of oil or adding mastic or amber varnish to the paint helps stabilize it.

Watercolor requires control over the amount of water to create tonal gradations. The artist creates a gradient of color variations by mixing paint with water. The first section is left white, then the paint is applied horizontally, starting with the second section. Once dry, more pigment is added for the next layer.

Surface preparation

An inexpensive, practical tip for a surface: lightly coated drawing paper or MDF with two coats of acrylic primer. The resulting surface is absorbent, but no more so than cheap canvases, yet significantly cheaper.

A toned canvas creates a base for the work. This means painting the canvas with a medium neutral tone so that it no longer appears white. A prepared surface allows for a better assessment of tonal relationships as the work progresses.

Special paints and binders

Underpainting White is ideal for grisaille because it has a low oil content and dries quickly. Each palette contains five colors, limited to the darkest color and white. First, a perfect midtone is mixed; from this midtone, a darker color is added to create a dark gray, and a fifth mixture is created by adding white to the midtone to create a light gray.

Piero Manzoni used kaolin, also known as China clay, which he likely encountered during a visit to the ceramic workshops of Albissola. Initially, he used it in combination with plaster, but over time, he began applying the kaolin directly to the canvas, allowing it to dry and transform on its own.

The removal of gypsum from the process may be due to the kaolin surface, which absorbs a significant amount of light, giving it a more matte appearance. The minimal surface reflection reveals the physicality of the object.

The psychological impact of monochrome

The psychological effects of monochrome art are deeply rooted in the perception of color. Colors have long been known to evoke specific emotions and moods. Blue is often associated with calm and tranquility, while red can evoke feelings of passion or aggression.

In monochrome art, the use of different shades of a single color can create powerful emotional resonance. Subtle differences in tone and hue can evoke a range of feelings, from melancholy and introspection to serenity and purity.

Focused perception

Monochrome art encourages focused perception. With fewer colors competing for attention, viewers are more likely to notice details they might otherwise miss. This can lead to a deeper appreciation of the work’s structure, texture, and the artist’s technique.

A limited palette also challenges the artist to express their vision with precision and creativity, often resulting in innovative approaches and unique compositions. The absence of color heightens the cognitive senses, prompting the artist to fill in the gaps with imagination and emotion.

Emotional involvement

Monochrome images engage the brain’s emotional centers differently than color. Without the sensory impact of color, viewers often experience a more introspective and reflective mood. The mind can project feelings or narratives onto the image, filling the tonal void with personal interpretation.

This subjective engagement makes monochrome images not only visually striking but also psychologically rich and personal. The simplicity of monochrome allows for a more focused and intimate connection with the work.

Monochrome in art education

Monochrome painting is an excellent learning method for beginning artists. Working with a single color allows students to focus on fundamental skills without the distraction of color relationships. Students develop the ability to see and convey form through tonal values.

The practice of monochrome painting sharpens observation skills. The artist learns to squint to perceive the tonal structure of the painting. Squinting reduces the amount of light falling on the retina, thus "activating" the system responsible for perceiving meaning.

Exercises and practice

Beginning artists are advised to create tonal sketches with three or four values. The choice between a three-value or four-value sketch depends on the painting being studied. Some paintings will have a clearly visible "middle tone" contrasted with the darkest darks and the "whitest whites" — in these cases, a three-value sketch is appropriate.

Other paintings are more likely to be divided into a "dark area" and a "light area," with more subtle variations within each — in this case, it’s worth trying a four-figure sketch. Good exercises for beginners might include creating cubes, spheres, and simple still lifes.

Creating color gradients

Creating a color gradient serves as a reference when working on monochrome art. It helps determine whether more water or pigment is needed to achieve the desired hue or tone of the chosen color.

The first step in creating monochrome art is choosing the color to use for the painting process. Then, mixing with controlled water creates a gradient. An artist can create a gradient of color variations by mixing paint with water.

Monochrome in modern practice

Contemporary artists continue to explore the possibilities of monochrome painting. Lucio Fontana used metallic paints in his works, including the "Venice" series. Previous research into such materials has revealed the use of various synthetic binders and thick layers of paint beneath the metallic layer, each with a different color, to alter the visual perception of the metallic surface.

Fontana’s silver monochrome "Concetto Spaziale" was studied to deepen our understanding of this particular group of the artist’s paintings. Analytical data allowed us to determine the composition of the metallic paint layer and the underlying dark layer, both in terms of pigments and the binders used.

Experiments with materials

Contemporary artists are experimenting with unconventional materials to create monochrome works. The use of synthetic binders and new pigments expands technical possibilities. The use of various textures and surfaces creates diverse visual effects even within a single color.

Some artists use mixed media to create volume and relief on the surface of monochrome paintings. Combining traditional and modern techniques opens up new directions in monochrome painting.

Monochrome and conceptual art

Monochrome painting occupies a special place in conceptual art. Rauschenberg viewed his white paintings as conceptual works, reflecting shifts in light and the random effects of shadows in the surrounding space. He explained that it was completely unimportant that he created these works — today, he is their creator.

After creating his "White Paintings" series, Rauschenberg attempted to create monochrome drawings by erasing his own drawings. But he felt this process did not create legitimate art, so he asked Willem de Kooning, the abstract artist Rauschenberg most admired, to give him a drawing to erase.

Idea and materiality

Klein was determined to evoke emotion and sensation independent of line, depicted objects, or abstract symbols. He believed that a monochromatic surface liberates a painting from materiality through the totality of pure pigment.

Rauschenberg reinforced the concept of "monochrome without image" by identifying "monochrome with image" in works such as Ai Weiwei’s "Marble Chair," with its marbled and multicolored grain. Such works, though situated in completely different histories, share a space between pure abstraction and hidden image.

Practical recommendations

For beginning artists, creating a monochrome painting can be both challenging and rewarding. Color choices must be deliberate — different hues evoke different emotions. Experimenting with tonal ranges allows you to explore highlights, midtones, and darks to create depth.

Playing with texture through palette knives, brushes, or mixed media adds visual interest. Without a multitude of colors, balance and structure are more important. Using contrast as a narrative tool becomes a central element of the composition.

Selecting a reference

Using a simple image with sufficient contrast as a reference makes the process easier. You can start practicing with an image of the moon, mountain layers, or a landscape. To ensure the image has a good amount of contrast, you can digitally convert it to black and white.

Tracing the various tones in an image is done as shapes. Numbering each hue from 1 to 5 helps to understand the tone. For better understanding, you can label light as 1 and 5 as dark.

Working in layers

Painting from light to dark and working in layers creates depth and darkness in areas that need it. The main goal is to use only one color, ensuring the contrast is higher than usual so that certain details stand out.

Attention is paid to how color changes depending on the degree of dilution, which expands the understanding of the behavior of a particular color. Practice and experimentation develop technique and confidence in monochrome painting.