Q. How true to the real are the color charts in your book?
A. The color charts in the fourth and fifth printing of Alla Prima are about 99% perfect without using actual paint.

Q. Are Mars Violet and Indian Red the same?
A. Not exactly. Indian Red is usually pure iron oxide, Fe2 O3; Mars Violet is generally an artificial form of iron oxide. One tends to be cooler than the other.

Q. You said in your book that there is no such thing as a neutral color. Some teachers say to neutralize a color by adding its compliment. Could you explain what you meant?
A. "Neutralizing" a color usually means adding one color to another to make it less ?colorful.? In other words to make a red less red or a yellow less yellow and so on. In computer lingo you would simply be making a color less saturated.

Remember however that all colors have an identity--a family of primary or secondary colors to which they belong--no matter how pale or dark or bland (for want of a better word) they may seem. Also, all colors look the way they do because of the light they are seen by, and because of the colors they are surrounded by. Therefore, it is impossible for a ?neutral? color (a color with no identity) to exist. Even the grayest of grays is blue-gray or brown-gray or green-gray, and so on.

Q. What makes a blue a warm blue, and won't anything you add to it warm it?
A. No, in mixing, adding white will cool it more, because white is the coldest color on your palette. What really makes blue or any other color appear warm or cool in your painting (other than what you mix) are the surrounding colors. Read my chapter on color in my book Alla Prima. And thanks for the question; it's a good one.

Q. How can I insure that the darks in my painting dry to a uniform finish that are neither dull or glossy?
A. You can't! Paints dry to different degrees of dullness or shine. You can, however, varnish your painting after it has dried with a varnish suitable to you.

Q. I notice that in a north light studio the light changes dramatically from morning to afternoon.
A. I notice that too and I find such changes to be sometimes quite a challenge. It is characteristic of all natural light situations, and is caused by the changing position of the sun and cloud conditions during the day. Afternoon light usually has much more contrast; the shadows are clearly darker. Another problem with natural light is when it changes from an overcast or cloudy sky to a deep blue sky. Such a change produces a dramatic shift in color balance and brightness.

Q. Can the color of the walls in a studio affect an artist’s color judgment?
A. Yes. The color of studio walls (and ceiling) definitely does affect how a subject looks, especially the contrast. Dark walls will deepen shadows; light walls will lighten them. Very colorful walls will cause all sorts of effects.

Q. What is the ideal placement of a north window in a studio?
A. From my experience, a window should start at 10' or 11' above the floor and go up at least 8'. Ideally, there should also be “step-back” room beneath and behind the window.

Q. I am perplexed as to when and where outdoor light is warm.
A. Generally speaking (and only generally), sunlight is warm. Consequently, the more overcast the sky, the cooler your light will be. Mother Nature is very tricky though. She can throw you a curve when you least expect it. Trust your eye always. These are not hard and fast rules on how to paint.

Q. Do you accept individual pupils or teach a group?
A. Though I have occasionally been involved in some form of teaching for most of my career, I do not teach formally, at least not in the usual sense of accepting students and scheduling regular instruction sessions. I‘ve never felt qualified to take on the serious responsibility of a student's artistic development. Today I prefer to offer what I know about art (and also reach a wider audience) through my books and videos, and let individuals choose to apply what is appropriate for them.

Q. Are you doing any workshops?
A. See the Events section of this web site.

Q. How can I find copies of your earlier books? (Richard Schmid Paints the Figure 1973 ISBN 0-8230-4865-9, and Richard Schmid Paints Landscapes © 1975 ISBN 0-273-00900-1
A. Both books have been out of print for many years. They were published by Watson-Guptill and each went into four printings. Your best bet for finding them is through the Internet with site such as Amazon, EBay or other similar sites. Requests have been made that I reprint these earlier books. Unfortunately the technology of printing has changed over the years and the material I have is useless as a basis for reprinting. Therefore, I will be revising and enlarging my Alla Prima book to include and augment the information originally published in those books.

Q. Do you have any new books planned?
A. Yes! I am currently working on a still life and portrait book (both large formats)., plus a "secret" book

Q. Where can I find a film you did called “THE SECRET SQUINT?”
A. Right here! It is a bonus feature on the Sequential Sketches DVD.

Q. I noticed you photographed “John” in your video “The Captain’s Portrait.” Did you do that in order to paint him later in your studio away from the distraction of 300 onlookers?
A. No. I always try to take a photo of my subject just for the record and as a reference for minor corrections later or detail I may have wished to include. The painting of John was done exactly as you see it, from start to finish in two hours with everyone watching and all the cameras rolling.

Q. Do you agree that all works should be copyrighted?
A. If you are famous or think you will be, it’s probably a good idea. However, it is a lot of expense and paperwork. For a complete answer pick up a copy of A Legal Guide for the Visual Artist by Tad Crawford. Such books are invaluable for other legal matters important to artists, particularly those concerning relationships with galleries, agents, publishers, and the IRS.

Q. I have heard someone quote you as saying that you never add anything to a painting that is not in your subject, nor subtract anything. I find it difficult to believe you do not use individual expression in your work. Is that quote really true?
A. No. What I did say was this: When I am painting strictly to learn, I try to capture exactly what I see, neither adding nor subtracting things or changing colors, values, drawing, etc. But—and this is a big BUT--when I paint to create a work of art (self-expression), ANYTHING goes. I am the creator and I am in charge. I often manipulate my subject freely to produce the image I want.

I also said that Nature is perfect and does not need changing. There can be no doubt about that. However, nature itself is constantly being changed by its own natural forces, and since I am a part of nature I can choose to paint it the way I wish to. Nature couldn't care less, it will remain perfect.

The bottom line for me is that my result must look absolutely authentic. I want my viewer to accept my picture as real.