Here are some techniques in drawing and painting on location using oil, alkyd, mastic, watercolor and acrylic paints. Read how colors and mediums were historical made. Use an aerial perspective color palette that matches pigments from the foreground to the background. Use transparent Yellow, Magenta, and Cyan colors as a 3, 6, 12, 24 or 36 color color wheel... used with out black pigment to paint dark shadowed colors matching light, pigment and nature.
Crystals show how different hues become dark, this is
the basis for my real color wheel for artists. All tube colors match this color
wheel in a logical order that shows all the correct pigment color oppositions to
make dark, plus their correct split-complementary oppositions. Also in this
section, human proportions and lineal four point perspective
examples.
START
You can open a new window to the Maui On Location
Gallery 1 with painting tips
or Gallery 2,
or Gallery 3,
or Gallery 4.
or Gallery 5.
or open a new window and go to the Computer Coloring section and workshop examples.
or open a new window and go to the JPG Artist's Real Color Wheel palette and practice image,
or open a new window and go to my Resource Link page.
For a list of hard to spell "search and find" words and proper names referenced in the course and not found in most printed dictionaries, open this new window click here.
You are in "Painting on Location", DRAWING AND PAINTING ON LOCATION, EN PLEIN AIR, USING PIGMENTS, MAKING MEDIUMS, HUMAN PROPORTIONS, 4 POINT LINEAL AND AERIAL PERSPECTIVE, MODERN PAINTING TECHNIQUES, MATCHING PIGMENTS TO LIGHT AND PRINT.
Open a new window, Go to section 2, the Comparative Advances in Art History, European and Asian Cultures CLICK HERE
Section 3, Open a new window and go to ARTISTS, DATED HISTORY OF ARTISTS, PIGMENTS, COLOR THEORY, Past Painting TECHNIQUES click here
Section 4, Open a new window and go to the HISTORY OF PAINTING MEDIUMS ... Oil Paint, Acrylic Paint, Wax Paint, Casein Paint, Fresco Painting. click here
Section 5, Open a new window for Color Pigments, Color Elements, Color Ores, Ores Color Reactions to each other, Artist's Real Color Wheel matching crystal colors and light, Crystal Color Wheel Chart and their color properties, Prism Colors/Rainbows toward Color Theory click here
1881, PAINTS AND COLORS from the Household Cylopedia 1881 (305 Kb, A separate web page with a return. How they made PIGMENTS, artists paints, varnishes and inks in 1881)
Section 6, Open a new window to go to the COMPUTER COLORING WORKSHOP with the Artist's Real Color Wheel click here
An ACRYLIC PAINTING VIDEO painted and taped on location, $35, order.
This documented painting took 8 days with the
camera rolling. Edited to two hours. I explain why each acrylic color choice is
used on my palette and where to place each color for advantageous mixing with
white in the center. I made a palette to store acrylics wet for a month, it can
be held flipped opened and closed with one hand. Just a box with a lid. The
lineal perspective drawing technique for accurate object placing is explained.
The painting tips come as I'm using them. Don
CHAPTERS PAINTING ON LOCATION / EN PLEIN AIR Painting 196
---30/ CLEANLINESS IS NUMBER ONE 197
---PAINTING SURFACES 199
---BRUSHES 200
---32/ ACCURACY OF LINE IN DRAWING, HORIZON, TRIANGULATION, PERSPECTIVE, REFLECTIONS203
---PLACING THE IMAGE 205
---LINE OF SIGHT 206
---LINEAL TRIANGULATION 207
---DRAWING THE IMAGE 208
---PERSPECTIVE 209
---TERRESTRIAL AND ASTRAL VANISHING POINTS 211
---PERSPECTIVE TOOL 212
---REFLECTIONS 212
---33/ EDGES, CONTRAST 213
---SKY, EARTH AND SEA GRIDS 215
---34/ INDEX, CONCENTRIC RINGS AROUND YOURSELF, GRIDS, AERIAL PERSPECTIVE 216
---CONCENTRIC RINGS AROUND YOU 217
---AERIAL PERSPECTIVE 219
---35/ THE REAL COLOR WHEEL [RCW] In pigments 221
---TRANSPARENT AND OPAQUE PIGMENTS, PIGMENT TERMS 228
---COLOR IN ELEMENTS 231
PIGMENTS IN OIL 233
---MY PALETTE IN OILS with RGB HTML COLORS SHOWN233
---THE BUYING ORDER OF OIL COLORS 235
---MEDIUMS. 240
---MASTIC MEDIUM 240
---OIL MEDIUMS 240
---PRE-MADE OIL MEDIUM 241
---MAKEING YOUR MEDIUMS 241
ACRYLICS 243
WATER COLOR PIGMENTS 244
LIGHT AND SHADOWS 266
THE COLORS OF WATER 269
----WATER GRID 269
-----WATER DIAMONDS 269
---WAVES 269
39/ HUMAN BODY PROPORTIONS 272
---HEAD 272
---SIDE VIEW, HEAD 272
---FRONT VIEW 272
THE BODY 272
THE DRAWING ORDER OF A STICK FIGURE, TO CATCH THE ACTION 274
PAINTING CHAPTER #40 280
---40/ TECHNIQUE 280
---WATERCOLOR PAPERS 281
30/ CLEANLINESS IS N0. 1 196
The first topic is cleanliness, it's the very important first block to building a painting. It's important for health reasons also, metal pigments are heavy and can't be eliminated from the body, so it's an accumulative poison. The Romans liked the taste of lead, it sweetened the water and wine.
When painting water colors, keep the water clean. If you can afford it, add a bit of ox-gall to the cleaning and mixing water, it will reduce the surface tension and increase the color flow. Wash the size off the paper with this water also.
In oils, keep your colors clean by mixing them with a palette knife instead of your brush.
Cut paper towels is into 3 inch squares, these will be used for cleaning, and when folded into small triangles will apply paint in the early painting stages, especially when your working in oil where cleaning brushes takes time and materials. In water painting they will blot paper back to white, in the early stages.
Always put the cap back on any tube of paint right away. Keep the tube clean.
Keeping your colors clean also includes the consistency of the pigment. Dependable viscosity will insure a complete stroke every time. You need that guarantee to trust your brush. When painting in acrylics I use a jar white instead of the tube white. Since we use so much white, the jar white has the right consistency.
Use accurate measurements in your oil and fresco mediums.
I clean dried on acrylic brushes with isopropyl alcohol.
PAINTING SURFACES
My painting surface of choice is thin linen, acrylic gel glued to 1/8 to 1/4 inch beech or mahogany plywood, primed with acrylic gesso. I like one standard size for all mediums, the water color standard, 22x30 is my choice, it divides into five classic sizes.
Photos of making panels
to paint on
HEMP MAKES THE STRONGEST CANVAS SUPPORT
Stretching a Canvas
Hemp, Linen and cotton fabrics shrink while drying, for larger painting sizes do as Fredric's does, pin the fabric down and apply the gesso with a spatula. Two to four coats will do it. Then stretch the canvas. Applying the gesso on a stretched raw canvas will work on 24x36 and under, but will bow the bars on larger paintings.
4 acres of hemp is equal to 1 acre of forest to produce the same amount of paper. Hemp pulp paper can be recycled 20 times compared to 4 times for wood pulp paper and it requires 60-80% less chemicals to produce hemp paper than wood pulp paper. Hemp has a growth rate to maturity of approximately 2-3 months as compared to approximately 80 years for a coniferous plantation,
Choosing the best W/C paper for the job. Waterford 300#, hot pressed and cold presses are excellent.
Twin Rocker 300# is a great new American company everyone should be proud of.
Strathmore makes top flight water color papers, Gemini 300# rough and cold-pressed are my favorite.
Arches 300# belongs with this esteemed group.
To prepare a surface for acrylic and oil. I use pre-made Fredric's
Acrylic Gesso when I can get it, it has the best consistency. Three or
four sanded coats, thick, thinner and thinnest is the way to go. Use a
foam brush for the smoothest application. The thinnest layer should leave
no brush marks, it requires very little dry sanding with #220, wet-dry
sandpaper, always sand with a sanding block. The final ground is as smooth
as possible so it won't make unwanted textures, go for the gold.
BRUSHES
The first tool on your oil or acrylic painting is gray chalk on a white primed support or white chalk on a colored ground, it dusts off easily with a feather. Use a good grade of pastel so it won't scratch your painting surface. I paint in my outlines with thin Ultramarine Blue or Yellow, whichever is appropriate, then wash off the chalk before adding the local colors.
Here's another starting method for oil that is BASED ON THE WATER COLOR TECHNIQUE that goes like this. With the top and center reference marks in place and the left and right object reference points dotted in pencil. Wash and wipe down the 300# paper with a 3-5" elephant ear sponge. Before the sheen leaves, start adding color with the sponge, don't overwork it, just get a 100% coverage as accurate and as bold as you can and let it dry. Those colors will be set after drying.
In oil you use a small triangle of gauze or good lint free paper towels, the cheap one's won't shed. Wipe on the big colors with a medium of 1/3 Venetian Turpentine, 1/3 Sun Dried Linseed Oil and 1/3 Dammar Varnish with 2% drier. When done in this method every stroke can be used in the final picture if its needed, treat the original strokes like precious paint, let them show in the finished picture.
BRUSHES AND THEIR TYPES, LET ME SUGGEST A FEW BRUSH STYLES I USE TO GET THE JOB DONE.
Oil brush #6, Signet, Robert Simmons, Series 43, Extra long, is a beautifully cupped filbert hog bristle that holds it's shape. The brush goes from small to large under control. Use this brush to do the shadows and finish the first day's work. If you used 2% drier it will be dry in 18 hours, ready for the next day's work.
The nylon brushes give deep texture at fluid viscosity. Great for wet in wet painting.
In oils, most artists like the hog bristle hair brushes as their main workhorse. You may also, if you paint thickly and show texture in the paint. I prefer the texture of the subject represented in smooth paint. Here is my workhorse brush.
Take your first used, #8 or 10 series #7 Winsor Newton water color brush and hammer the end of the ferule as flat as you can. Trim any wayward hairs and you've got the best acrylic filbert I've ever found. This is one of my main brushes, used in every picture.
The next series of brushes is the bright and long flats, the longs make a longer stroke and the bright's blend and mix more. On W/C's I paint with a 3/4" or 1" long flat sable after the sponge. In oil I start with a 1/2" #14 Winsor and Newton series 807, long flat for a 22x30 or a 3/8" #12 flat for a 15 X 22. Also on hand is a #10, #8, and #6, these are very useful brushes. Raphael and Grumbacher also make a very good lines of flat brushes.
The last stage of a painting is the calligraphy, it's done with two types of very long hair sable brushes. First is the pointed long script liner, the best is by Isabey, Series 6318, #12, #10 and #8. You can paint a whole picture with one of these beauties. The sooner you pick it up the better. A shorter hair brush of the same style for tight work is the W/N 3A, #3 Designer's brush, it's like a paint pencil. The last style is the round ferule, long, fine red sable, flat end, lettering brush. You will need #2,4,6,8, and #10 for long square ended lines, That's it, I use the same style brushes for W/C, Acrylics and Oils. The flat square end is prefect for details.
Small, clean, well used hog hair bristle brushes, make great paint erasers for W/C's and 1/2" squirrel filberts make the best toning wash and glaze brushes for all mediums.
Photos and discriptions of 200 favorite brushes.
End of Modern Supports and Brushes
32/ ACCURACY IN TIME, HORIZON LINE AND LINE DRAWING WITH TRIANGLED MARKER POINTS, PERSPECTIVE AND AERIAL PERSPECTIVE.
1, Direct Incident Light is parallel and from the Sun. 2. Indirect or Clear Light is shadowless. 3. Shadows change in their interiors. Warm shadows cool interior, cool shadows warm interior. 4. Highlights reflect the sun or sky. 5. Reflected Light, is an angle of incidence of the sun reflecting back to you. 6. 'Local Color' is the main basic color of an object. 7. Chiaroscuro is the contrast from a single light source, real or perceived. It can be powerful.
8. Aerial Perspective, the color of air is an equal mix of Cyan and
Magenta, making Ultramarine Blue. Yellow is the first color to be absorbed
by air. The opposition colors for the distance shadows are Purple and green, a
split
analogous opposition. The far distance is Ultramarine blue in hue.
How does a split analogous opposition work?
#10 Scarlet Rembrandt Rose and #15 Purple are the opposite split
complementary colors of the color #31 Green. Scarlet and purple are each two
color sections away from the true opposition #13 Magenta, on a 36 color wheel.
Mix the split opposition purple color with green to make the cool blue
color between them. This is the blue I combine with the foreground local color
of an object to make that color in the background. The degree of tinting this
combination adds aerial perspective to distance. In the far distance this
combination of colors changes to Ultramarine Blue.
By using the other split analogous choice, scarlet and green, you will get a
warmer dark opposition then when mixing magenta and green's neutral dark. I find
this color combination more needed as a transparent dark used in mass-tone.
PAINT YOUR PICTURE WITH THE LIGHT FROM ONE HOUR OF THE DAY, NO MATTER HOW LONG IT TAKES.
Cross-calibrate the position of the sun by finding the elevation off the horizon line in degrees and it's position left to right off the center-line with a clock face radiating grid. i.e. 40 degrees, 11:00.
The sun's light is parallel, our perception of it can change. Standing behind a row of trees the shadows will seem to expand outward. Standing in front of the trees and looking back will seem to make the shadows converge.
In the morning the main color oppositions are Cadmium Yellow light, Burnt Umber and Ultramarine Blue, afternoon colors tend more to Magenta and Thalo Green, evening colors are Thalo Blue and Cadmium Red. All of these oppositions mix to a neutral gray and darker shades.
Diffraction enhances a painting rule of Tenebrism, "It's darkest
next to the light and lightest next to the dark".
THE COLORS OF WATER
On water, the area behind is lighter than the wave because of the reflection of the sky.
Here are the different colors of light I look for on water;
1. Sun's reflections, which happen on incident angles.
2. Sky and Cloud Reflections.
3. Transparent or Opaque water color.
4. Transparent Bottom color.
5. Shadows from the water, on the water.
Water grids start from the horizon's center-line of your picture and radiate toward the foreground. These lines can bend to show the direction, elevation and movement of the flow, crossing these grid lines with wave lines that stop the action.
A water diamond is a sparkle that is peaked at the top and rounded on the bottom. They form with their ends on the concentric rings around you. You are seeing directly into the water, at a 90 degree angle of incidence. If the sun were directly overhead these diamonds would sparkle with the sun's reflection instead of being dark. Paint them with a flat brush.
WAVES
Stop the action of waves at these five distinct points and time the rhythm to position the succeeding wave patterns, they have to be logical.
1, Flat.
2, Face.
3, Fall.
4, Explosion, higher than the face was.
5, After Tumbles.
6, Beach Wash incoming is lead by foam.
7, Beach wash receding leaves dark sand and shiny rocks.
PLACING THE IMAGE
Position your painting support directly below the scene, so the top of the painting is touching the bottom of the scene. The sides of the canvas support mark the sides of the image you are painting. Draw in a chalk center line and the horizon line first.
Mark the support sides with reference points from the image.
Measure with only one eye, your right eye, and keep your head at the same relative position to the painting throughout.
Don't paint a picture of more than 90 degrees without two center
lines because you will have to move your head from side to side to see
the whole scene. Most paintings should be in the 60 degree area, you have
that much undistorted overlapping vision. Compose the picture from what
you see, if it's not perfect, move.
LINE OF SIGHT
The horizon viewed at sea level with both eyes will appear almost flat because your focus with both eyes is on one point, shared by the view of both eyes and you have compensated it flat. You can't do that at higher elevations.
At sea level the horizon line is 2 1/2 miles away, at 10,000 foot it's 200 miles away.
Both eyes can see a total of 180 degrees, your eyes are angled in your head, not both facing forward. Each eye is angled off the frontal plane by 30 degrees, the overlapping view is 90 degrees, the least amount of distortion is in the center 60 degrees. Each eye can see 135 degrees, each eye can see 45 degrees that the other eye can't. The overlap of both eyes is 90 degrees, 90+45+45=180, your total view including your peripheral view is 180 degrees.
The horizon line is curved, the higher your elevation the more the
curve is noticeable. Astronauts see a sphere.
LINEAL TRIANGULATION
A MARKING POINT in the picture is an easily recognized still object or a crossing of objects, or a tangent meeting point of objects, they are easy to find at a glance. Find a marking point on the center line close to the horizon line as your center marker. This center mark can be on any distance away from you, on any concentric ring around you.
Find left and right side scene marker points also close to the horizon line. The top marking point will complete the format of the final painting because the bottom is marked by the top of your picture.
Distant objects are relative to nearby objects from your viewpoint
through "linear triangulation". Start by making at least two triangles
using obvious marker points joining and starting from one common marker
point. Two more triangle marking points anywhere in the picture will connect
to one of the existing points forming another lineal triangle, if you're
using different lineal distanced marker points. If you used objects on
a similar "concentric ring", you would have "plane triangulation", they
work equally well. These triangles will insure the accuracy of the objects
position.
DRAWING THE IMAGE
Draw with a piece of inexpensive school chalk, because it contains no wax or oil. Soft finer pastels are even better. On colored grounds use white chalk and on white grounds use a pale gray.
Draw simple outlines on obvious concentric rings with chalk, the biggest patterns first, start on the reference points. Inside these big patterns show the texture with short directional lines. Simplify this texture with sparse, 1 to 10 representative lines of size, shape or direction.
Before painting in the final outlines with a liner brush, dust off the loose and caked on chalk with a feather or soft brush. Paint the outlines in Ultramarine Blue or Yellow, whichever color is appropriate. When the medium is oil, thin the color with turpentine so it will dry fast. If you're painting in acrylic, thin the pigment with a little water and medium mixed together to give the film strength.
The outline you draw belongs to the objects behind it, in the background, unless you're going with a darker foreground for contrast. Never let the outline show as a line, it's unnatural, use the contrast of the shape's color or intensity against it's background.
Wash off the chalk before blocking in the local colors. Cover the
first 100% with as little overlap as possible. Keep the wash graduations
smooth so you can use any part in the final picture.
PERSPECTIVE
The vanishing points of a square are 90 degrees apart on your horizon line. It's impossible to show two 90 degree vanishing points in a 60 degree picture. A 60 degree equilateral triangle held with a point under one eye will accurately mark a 60 degree picture on your horizon line. A book or sheet of paper will be 90 degrees, lay your painting support on the ground, place a corner between your feet and follow the sides leading to the horizon line, that's 90 degrees. Notice, the odds are good that you can't see both horizon line vanishing points in a 90 degree picture, and most undistorted pictures are 60 degrees. Compose the picture from what you see, if it's not perfect, move.
Lineal Perspective is relating the size of the object to the distance it is away from you. The curve of the earth cuts off your ground level line of sight vision at 2.5 miles, a raft would disappear over the horizon at that distance if you were 60 inches tall. At 10,000 foot, you can see 200 miles.
First draw the center line.
The horizon line is always at your eye level.
A square building viewed from the top has four sides and four 90 degree angles in view. From the flat front side, none of these 90 degree angles are visible. The top edge can look like a straight line, except there are no straight lines in nature, it's actually curving down to touch the horizon line out of the picture 180 degrees to the sides. The perpendicular sides of this building are in the 3rd and 4th point perspective, they curve up and down to the aerial and terrestrial vanishing points. The front perpendicular sides of the building reach up to the azimuth directly above, a vanishing point up and out of the picture.
If we can see two sides of the building, the top 90 degree angle
uses up 90 of the 180 degrees. The building sides are heading to two vanishing
points 90 degrees apart on the horizon line, not 180 degrees.
Aerial perspective on Concentric Rings Ring 1 is about 10 yards out, you
should
4 Point Lineal Perspective
|
First draw the center line. A circle's center line always goes to the Center Vanishing Point, C.V.P.
The horizon line is always at your eye level.
Your view of this subject circle has tangents that mark the horizontal center line on the circle's perspective plane. The tangent points on the subject circle from the center line Vanishing Point is the horizontal center of the circle.
Doing that makes for four 90 degree sections, divide each section in half to find the 90 degrees centered on your horizon line.
These are your centered Right and Left Vanishing Points 90 degrees apart. The remaining 90 degrees, 45 on each side should be positioned on the curved Horizon Line. They are lower than the Center Vanishing Point.
If two sides with one 90 degree angle is in view, the building's top visible sides are angled toward vanishing points ninety actual degrees apart on your horizon. No matter how tall the building is, or how far away it is, the sides are angled to these points. These points can be shared by other buildings if they're aligned to the first buildings side. As the buildings recede, the top angles will seem to increase and flatten out, but the angles on and touching the horizon line are decreasing. The total of the three angles will still equal 180 degrees. The three angles are the two vanishing points on the horizon line to the top of the building. The farther away the building is the closer it's top angle is to flat, but they still lead to the vanishing points 90 degrees apart on the horizon line and the combined angle total is still 180 degrees.
Have you ever heard there are no straight lines in nature? It's true,
If you are standing in the center of a set of railroad tracts, the lines
at your sides are parallel, they curve and join at some point out there
in front of you, toward the horizon. The same with a telephone pole, it
has straight lines at eye level and curves to a point up there, heading
to the astral vanishing point. There is another vanishing point down below,
the terrestrial vanishing point. The center of the curve is at your eye
level.
TERRESTRIAL AND ASTRAL VANISHING POINTS
The "astral" and "terrestrial" vanishing points are above and below the building, 180 degrees apart. Since we're working with two sides and no angles, they stay 180 degrees apart. Can you imagine how tall a building would be to meet up with the astral vanishing point? See what I mean about no straight lines in nature, The building starts off at eye level as two parallel lines, than they curve gradually upward toward the astral vanishing point directly above you.
The terrestrial vanishing point could be used like this. Your looking obliquely down at a table top with a lighter on it. With your angle of vision it's 45 degrees below the horizon line or, 45 degrees below your eye level. The sides of the lighter are heading down to the terrestrial vanishing point, they are not going plum-line or straight down, they have angles to meet at the terrestrial vanishing point.
To find the optical center of any side of a building, in any rotation, join the four corners of a side with an "X". Straight up from the center of the "X" is the top of the gable.
The ground your standing on, if it's level, connects visually to the distant horizon line. Let's say you and your friend are both six feet tall. A hundred yards away, on level ground, his eyes and your eyes would still be on the same height, level to the horizon line. The line connecting your feet is the variable, it's angled up to the horizon line making him seem smaller.
To use this principle on an object, let's say a canoe is setting
sideways in front of you. You want to draw it one hundred yards out there.
You need to get the right length to distance ratio to make it appear the
same size. This is easy, connect the two end points of the canoe to a vanishing
point on the horizon line in the direction you want the canoe to be in,
either on or off the center line of your picture. The canoe is correct
anywhere between these two lines. The same principle applies to the mast
if it were a sailboat.
PERSPECTIVE TOOL
A piece of equipment I made is used to plot two vanishing points of any building 90 degrees apart. It can be ten foot long or longer for larger paintings. A bar attaches to the back of the painting, level with and behind the picture's horizon line. It has two straight edge bars on pivots that clip onto the main bar and lock down on the perceived vanishing points of the top of the building. Sometimes times both vanishing points are off the page in a 60 degree wide picture. This tool will adjust for the earth's curvature.
Match up the buildings most extreme top angles with the straight
edge arms and hinge clip them onto the horizon bar, matching and lining
up the angles of the straight edge bar to the buildings image. I look at
the building and point to the extended vanishing points on the horizon
line to the left and right in my pictures view and clip the arms on at
those points. That position works now for any building in my picture with
those compass aligned angles, as in a row of buildings down a street. Swinging
the bar down will give you the correct angles of the windows, doors, bricks,
etc.
REFLECTIONS
Your reflections are only there for
you to see, they angle straight toward you, not straight up and down in
relation to the sides of your picture.
New window link to Reflections.
33/ EDGES, CONTRAST 33-2, LIGHT AND CONTRAST EFFECTED-BY-EDGES
VALUE CONTRASTS, IT'S LIGHTEST NEXT TO THE DARK AND THE LIGHT.
Light interpretation as it relates to object edges. With the sun overhead and both the foreground and background in sunlight, the object behind is darker than the closer objects top edge.
Look at the sky as the background, notice any object is darkest next to the light while the sky is lightest next to the dark object.
It's coolest next to the warm, as when a sun lit edge meets the shadow.
The "Culminating Point" is a reflective term, the closest part of an object is the brightest if there is no direct incident light to interfere.
The sky's contrasts combine both the earthbound object's contrast
rules and the water contrast rules, it can either be lighter or darker
behind the closer cloud.
Have you ever noticed that barometric pressure keeps the cloud bottoms flat? If you made ten lines, a radiating grid from your center line's vanishing point on the horizon to the top corners and across your picture, and spaced the horizontal lines one hundred feet apart starting at the zenith to the horizon line, the variable would be the space between the horizontal lines. This grid would be the barometric bottom of the clouds.
On earth grids, concentric lines around you are the horizontal grid lines. On sea grids, use only the center vanishing point lines and any wave's horizontal lines.
Earth and Sea Grids will keep objects attached to the ground plane
or sea waves in perspective.
<"a href="#34/">34/ INDEX, CONCENTRIC RINGS AROUND YOURSELF, GRIDS, AERIAL PERSPECTIVE
34-2, CONCENTRIC RINGS AROUND YOURSELF.
34-3, GRIDS
CONCENTRIC RINGS AROUND YOU
EVERY OBJECT YOU SEE HAS IT'S EDGES ON A CONCENTRIC RING AROUND YOU.
All concentric ring lines stay an even distance around you, you are the bull's eye of a target. Any distance line that is obvious in your scene will form on a concentric ring. Color values, distance, can be recognized from ring to ring. There's a difference between colors in the ring 10 yards in front of you and the ring 50 yards in front of you, try it, soon you will see the difference in every ten yards. Don't use one distance's palette colors in another's ring.
Colors within the first 10 yards are at they're highest chroma, the lights are brightest and the shadows are the deepest. Here are my basic ring distances away from me, 10 yards, 50 yards, 100 yards, 500 yards, 1/4 mile, 1/2 mile, 1 mile, 10 miles, 50 miles, 100 miles. Each ring's colors would not be repeated inside other rings. The foreground rings use the opposition of green and magenta for a medium neutral dark [CCYY+MMMM], the background uses green and purple [CCYY+CMMM], adding the extra cyan gives a more ultramarine blue to the mix.
Click HERE for this web image map of concentric ring colors and values.
AERIAL PERSPECTIVE
The color and brightness of objects are effected by the addition of air and moisture in the air, air is a filter of Yellow and adds Reflected White Light, plus Cyan and Magenta.
What this means in paint is a slight difference in color opposition's, instead of the main opposition being Magenta and Green, it's Green and Purple, the split opposition or split analogous opposition. This filters out the Yellow. The mix of Green and Purple make the cool Blue of the distance.
When Yellow is used in the distance, it's mixed with white. Yellow light and blue light would make white light. Because we have no transparent Yellows or Ultramarine Blues, these pigment colors mix to Green instead of a neutral dark.
Shadows in the foreground are made by adding the opposite color to the local color, in the background the cooler split complementary color is added to the local color instead of the medium opposite color. Split complementary colors are two colors next to each other called "analogous". That is two colors opposite one color, across the wheel. Here's an example, Green is opposite Magenta, the split complementary colors of Green are on each side of Magenta, Scarlet and Purple. Add a split complementary color, Purple pigment to Green pigment for the cool distant color.
End of drawing Chapter, return to START.
PAGE LIST, CHAPTER #35
THE "ARTISTS REAL COLOR WHEEL" in pigment.
COLOR WHEELS
THREE, SIX AND TWELVE COLOR WHEELS
TWENTY-FOUR COLOR WHEEL, SIXTY COLOR WHEEL
TRANSPARENT-OPAQUE COLORS,
COLOR IN ELEMENTS, CRYSTAL
PIGMENTS, OIL.
PIGMENTS, 18 IMPORTANT COLORS.
PIGMENTS, THE BUYING ORDER.
PIGMENTS, FULL OIL COLOR WHEEL.
35-17,19 OIL MEDIUMS.
35-20, ACRYLICS.
35-21,23 WATER COLOR PIGMENTS.
Start
??RIDDLE?? What six, divided in two, is one? A. The basic six color wheel making the primary 3 color wheel in light or pigment.
There are two different basic three color systems in one six color wheel, one for pigments, one for light. They each use the same colors differently.
In each case, the three primary colors divide to the other systems secondary three colors. One six color wheel includes both systems, six basic colors make the two systems and one color wheel.
TRANSPARENT AND OPAQUE, PIGMENT TERMS
An opaque pigment is a dense solid, like a rock. A transparent pigment you can see through, like glass, water, dye or stain. A "Tyndall" beam of light will pass through a transparent solution unseen.
A translucent is a colloidal solid, particles of solid so small they are continually suspended but not dissolved. Milk is a colloidal liquid, solid fat dispersed in clear water, add more water and it becomes more translucent. It can always be more translucent but never transparent, the beam of light will always show.
Wax, oil and mastic are transparent turpentine vehicles to hold pigments, oil will yellow.
Barite is a translucent Mineral White extender.
Aluminum hydroxide is a mix of potash and alum precipitated together in solutions, it sponificates clear in oil.
Clay is hydrated aluminum silicate, and ranges from translucent to opaque. It is decomposed feldspar.
Pigments that contain clay are Ultramarine Blue, Ochers and Burnt Ochers, Umbers, Raw and Burnt Sienna, Green Umbers, Venetian Red, not Naples Yellow.
Opaque Chalk, calcium carbonate, converts to Plaster of Paris when heated. It's best in pastels.
Barite is heavy spar, mineral white, barium sulphate, it's translucent in oil and used to extend the Cadmium Red substratum dye pigment. Barite is a translucent Mineral White in oil paint.
Gypsum is a hydrated calcium sulphate called light spar, it ranges from transparent to a calcined White that sponificates clear in oils and is used in cements when calcined. It contains some sulfur that will effect some pigments. Gypsum is best in W/C's and pastels.
Ultramarine Blue is colloidal sulfur in a substratum form deposited on a base. A translucent pigment on a translucent base of Barium Sulfate or Aluminum Hydroxide.
Cadmium Yellow is a substratum color precipitated on a filler or base such as clay or barium. Cadmium Lemon is an opaque pigment precipitated on Titanium White as a base, it's an opaque color.
The reason Cadmium Yellow and Ultramarine Blue mix into a green opaque color is they are both opaque substratum colors instead of transparent colors. Food coloring is transparent. If you mix yellow and Ultramarine Blue, [a mix of Magenta and Cyan], together as dyes, they would make a neutral dark. An element like Iron decomposes from Yellow to Brown to Black.
Green Ocher, Yellow Ocher, Sienna, Red Ocher and Brown ocher are the colloidal iron particles precipitated on clay, they can never be transparent, only degrees of translucent and opaque.
If three primary transparent pigment colors were combined, they would form a neutral dark. You could use either a warm Quinacronone Magenta or a Cool Cobalt Violet [duel-toned from Violet to Magenta], either Magenta would work. Added to a Cyan Ferric-ferrocyanide or a Cyan Phthalocyanine, they would make Ultramarine Blue. The third primary to mix in would be Cobalt Yellow or Indian Yellow, they would make a neutral dark. Cobalt Yellow is translucent so it's far from perfect and we have not had Indian Yellow since 1890.
Staining coats an opaque solid with a transparent dye, both colors are seen in combination on the solid opaque, The more dispersed the solid the more translucent the liquid. Bleeding colors happen when the dye separates from the solid or the colloidal color moves within the drying medium.
Yellow will mix either analogously around the rim of the color wheel,
making Yellow-Green or Green with Cyan, or Orange and Red with Magenta.
Or it can move to the center of the color wheel and be a warm tan or brown
as it does in the crystals.
COLOR IN ELEMENTS
Crystals will show that Brown, Yellow and Red are different hues of the same coloring element. They will also prove elements stay within there color boundaries. The painting properties of a pigment depend on the elements making that pigment. The copper element could never be yellow, each element has it's own limited range. Copper is an example, with it's limited range only going straight across the color wheel. The Cuprite crystal [Cu2O], is a transparent Red-YYMM, #3 on the Standard Color Index. The ore of copper [Cu] is an opaque Red-Brown, off of the full chroma rim, a centering brown color. It's opposite color on the other side of center is Cyan, Copper's dissolved color.
Turquoise is a transparent phosphate crystal of copper,
CuAl6[P04]4[OH]8.4-5H20, #9,[CCCC], Cyan, on the Standard Color Index.
Red-Scarlet,[3Y4M], plus it's complement, Cyan-Turquoise or Cyan Yellow/side, [4C4Y+3C3M], looks like this, as an opposition formula. [3Y4M]+[4C4Y+3C3M] = [7Y7M7C] or [7YMC] or [White], they all equal Neutral White light. Of course the same formula will make the neutral dark on the pigment color wheel. The transparent Mercury sulfide crystal, [HgS], is the Standard Color for Scarlet, #4, [YMMM]. Cinnabar also forms as an opaque mass, and makes the perfect opaque Red #3, Vermilion, it also makes colors ranging toward the center, through the color brown. Mercury won't cross over the center, as most elements won't.
The transparent Yellow-Green crystal, Sphalerite, [Zn,Fe]S, is #11. Sphalerite is the ore of zinc. It has an analogous color range from Green to Red, when it becomes allochromatic with the addition of the foreign element iron to the compound. Some elements like carbon, iron, fluorine, and zirconium can produce the entire color circle.
Transparent yellow moves to brown in the elements Iron, [Fe], and Titanium,[Ti], as in the allochromatic Citron crystal, Quartz,[SiO2], and the idiochromatic Sphene, [CaTiSiO5], which has Titanium already in the compound.
Transparent yellow can also turn red with the element iron, as in
the Sphalerite crystal, and Titanium dioxide turns red or brown in the
Anatase crystal,[TiO2].
CLICK HERE FOR ALL CRYSTAL
COLORS AND LINKS.
PIGMENTS IN OIL AND ACRYLIC PAINT
Pigments are transparent, translucent or opaque, some need added bulk and are precipitated on transparent, translucent or opaque bases.
BARYTA WHITE- Opaque. This is a heavy spar with very little coloring power, usually it's a pigment additive. Barite is crystal of barium sulfate, called heavy spar. Barite is a non-metallic mineral crystal mined in England, filling the cavities in limestone. As barium it's an extender in lead based and cadmium paints.
HYDRATE OF ALUMINA, alumina, the oxide of aluminum present in clay, transparent to translucent
ACRYLIC POLYMER EMULSION, Transparent
WAX, Transparent
Here are some permanent chemical pigments used in oil and acrylic paints today.
TRANSPARENT YELLOWS
PY3 stable di-arylide = Yellow Lemon on barium sulfate, Gamboge,
Indian Yellow
PY83 stable di-arylide = Yellow Deep, Madder Lake, Alizarin Crimson,
Italian Brown Pink Lake.
PY83 stable di-arylide HR = Indian yellow
PY153 dioxine nickel complex = Indian Yellow Golden & Brown,
Gamboge, Indian Redgold, Sap Green, Indian Yellow Green
PO69 isiondolin = Yellow, Orange
PR260 isoindolin = Indian Yellow Golden, Vermilion to Red Scarlet
dual-toned
PY129 methin copper complex = Golden Green, Indian Yellow Green
with PY153
PR101 synthetic iron oxide = Translucent to Opaque Yellow to Brown
YELLOW PIGMENT COMPOUNDS THAT WORK WITH TRANSPARENT TRIADS FOR FULL COLOR NEUTRAL DARK OPPOSITION PAINTING
Transparent colors are precipitated on alumina, the oxide of aluminum present in clay. Another base for these colors could be wax, cyclohexanone or an acrylic polymer emulsion.
PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow
Golden.
PY153 dioxine nickel complex + PY42 synthetic iron oxide = Indian
Yellow Brown.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge.
PY83 stable di-arylide + PR101 synthetic iron oxide = Italian Brown Pink
Lake.
I would love to try PY153 dioxine nickel complex + PY83 stable
di-arylide.
But the first acrylic color should be PY153 dioxine nickel complex
+ PY3 stable di-arylide on alumina, = Gamboge Synthetic.
TODAY'S PERMANENT TRANSPARENT PIGMENTS
PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow
Golden.
PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge
PR 170:F5rk naphthol carbamide = Scarlet Pink
PV19 quinacridone = Rose
PR122 quinacridone = Magenta
PV23:1r carbazole dioxazine = Purple
PV23 dioxine nickel complex = Permanent Violet Blueish transparent
secondary blue, tints to Ult. Blue.
PB60 anthraquinone = Blue Deep to Turquoise
PB15 copper phthalocyanine = Cyan (Thalo Blue) to Green Y/S
PB7 Chlorinated copper phthalocyanine = Turquoise to Green
PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine >
= Sap Green Y/S
PY83 stable di-arylide HR + PO7 chlorinated copper phthalocyanine
+ PO43 perinone orange = Sap Green O/S
PY129 methin copper complex = Green Gold
PY ? azomethine = Genuine Green Gold
TODAY'S PERMANENT TRANSLUCENT TO OPAQUE CHEMICAL PALETTE PIGMENTS,
needed for their opaqueness and brilliance.
PY35 cadmium Zink sulfide = Cadmium Yellow Lemon
PT37 cadmium sulfide = Cadmium Yellow Light, Medium
PO20 cadmium sulfo-selenide = Cadmium Orange
PR108 cadmium seleno sulfide = Cadmium Red Light, Medium
PR101 synthetic red iron oxide = Red Oxide
PY42 synthetic yellow iron oxide = Yellow Oxide
PBr7 natural iron oxide, raw and calcined = Siena and Umber
PB29 silica, aluminium, sulphur complex = Ultramarine Blue
PB28 oxides of cobalt and aluminum = Cobalt Blue
PG17 anhydrous chromium senquioxide = Chromium oxide Green
My Oil Pigment palette, the acrylic palette has no transparent
yellows.
IN THIS MY OIL PALETTE ORDER, COMPLEMENTARY COLORS ARE NEAR OPPOSITE
EACH OTHER
White is in the middle of the palette. The left top of the palette is Liquitex Dioxazine Purple, Mussini Ult. Blue Deep or Light, Rembrandt Cobalt Blue Deep, Grumbacher Thalo Blue, Mussini Opaque Green Light and Mussini Thalo Green or Grumbacher Thalo Green Y/S.
The left side goes from the top Liquitex Dioxazine Purple, Mussini Bt. Umber, Mussini Bt. Sienna, Blockx Venetian Red, Mussini Yellow Raw Ocher, Mussini Naples Yellow Light or Deep to Daniel Smith Quinacridone Magenta at the bottom.
The bottom row of colors is Daniel Smith Quinacridone Magenta, Rembrandt Rose, W/N Cadmium Red Light, Rembrandt Chinese Vermilion Extra, Mussini Cadmium Orange, Old Holland Indian Yellow-Brown Lake Extra, Old Holland Indian Yellow-Orange Lake extra, Old Holland Gamboge Lake Extra, Old Holland Cadmium Yellow Medium, Grumbacher Cadmium-Barium Yellow Pale, Bellini Lead Yellow Lemon is in the bottom right corner of the palette.
The right side is from Mussini Thalo Green on the top, then Mussini
Permanent Green Light, Mussini Genuine Golden Green, Old Holland Yellow
Green and Bellini Lead Yellow Lemon at the bottom.
Notes from the color industry, Alternatives to Cadmium Pigments.
It is apparent that we should not count on cadmium pigments being available forever. Golden Artist Colors has undertaken research in an effort to identify and market suitable alternative pigments. Important characteristics include hue or color position, chroma or color saturation, opacity, indoor light fastness, and tinting strength. Alternatives should also present distinct advantages over cadmium pigments in the areas of potential toxicity, environmental impact and exterior light fastness. This is quite a list of objectives, and presents a difficult task, particularly in the yellow range.
Today, there is no company to my knowledge concentrating on making transparent yellows or reds with dark mass tones. Old Holland oils has the only close Indian Yellow range. Instead, translucent and opaque yellow and red is the direction pigment manufactures are taking.
With the introduction of the Pyrrole family of pigments in 1988, there appear to be good offsets for cadmiums in terms of these identified criteria, for the orange to medium red range. Additional products utilizing this chemistry, currently under development by the industry, will extend this range into the darker reds. The pyrrole family of pigments is currently represented by three colors, Pyrrole Orange, Pyrrole Red Light, and Pyrrole Red. These are strong tinting, high chroma colors with excellent light fastness but without a deep mass tone.
Identifying suitable alternatives for the cadmium yellows has been
a somewhat more difficult task. The Bismuth Vanadate family offers many
of the attributes being sought, but concerns over the toxicity of the
constituent
heavy metals (bismuth and vanadium), seem to indicate they may offer little
benefit over cadmium pigments. A member of the arylide family of pigments
seems to offer the best choice for the artist eschewing cadmium pigment.
This pigment, PY 74, is the colorant in Hansa Yellow Opaque. It
is of a hue between Cadmium Yellow Light and Cadmium Yellow Medium. Its
relatively high opacity and excellent interior light fastness are
characteristics
not normally encountered in this class of pigment. Outside, its light fastness
is far superior to cadmium yellow and should also exceed the performance
of Hansa Yellow Medium (PY 73) and Hansa Yellow Light (PY 3), the other
members of this pigment family. There are currently no environmental or
toxicity issues associated with PY 74. The tinting strength of Hansa Yellow
Opaque is also significantly higher than what might be expected from an
arylide and is closer to that characteristic of a cadmium pigment. The
arylide yellows are entirely organic in composition, containing no metals.
While one pigment doesn't provide a range of choice equal to that available
in the current range of cadmium yellows, it is a starting point. Using
it as the primary component of a mixing color will extend its attributes
to other hue positions.
Although the properties of these new organic pigments are in many ways similar to cadmium colors, they are not identical in every respect. The biggest variation is how the colors mix to create new colors. Organics typically produce cleaner, less muddy mixtures. Other colors, such as the iron oxides, can be added if muddier colors are needed.
Once established, a pigment is rarely deemed entirely superfluous. Cadmium pigments will always have devotees, regardless of any disadvantages, for as long as it is manufactured. An example of this persistence is the continued demand for true Alizarin Crimson, a pigment that fades badly, long after the introduction of the highly stable quinacridone family, from which a nearly identical match may be made. Another example is the continued demand for lead white, despite its toxicity, concerns about environmental impact and suitability of Titanium and Zinc White blends.
These notes come from a chemist, not a practicing artist. ~:^)
We as artists have lost lead yellows, including antimony yellow and the magnesium euxanthate yellow that was called Indian Yellow because we had no champion. That painting art is lost.
Long term availability of cadmium pigments may be determined by regulatory pressure or by reduced demand resulting from the increased use of new pigments.
End of Paint Industry comments.
As you can see, we as artists are going to have to contend with another set of pigment color properties. They don't relate to the color properties we had at the turn of the century. More great news, 2003, Liquitex has a new great medium for acrylics. It's called, Blending and Painting Medium. It extends drying time a little and makes blending edges a lot easier.
BROWN IS A TINT OF YELLOW IN PIGMENT. Yellow is the warmest color and the fastest to turn cool with the pigment Black turning it green, never brown. So by using black pigment, Yellow is disabled except for the muddier green spectrum colors. Don't use the pigment Black in landscapes, period. Any dark neutral is easy to mix with any of seven different sets of opposition colors.
Here is a full color wheel of pre-made commercial pigments I like. The color wheel is like a clock face, Yellow on top and "Read Red Right", 12:00=Yellow, 4:00=Magenta, and 8:00=Cyan, are the primary pigment colors.
MY PALETTE IN OILS, 1 to 18 with mixing tips.
01. Lemon Yellow, 02. Indian Yellow Orange Lake Extra, 03. Cadmium Orange, 04. Cadmium Red Medium Light, 05. Naples Yellow Light, 06. Yellow Brown Lake Extra, 07. Yellow Ocher, 08. Venetian Red, 09. Burnt Sienna, 17. Burnt Umber, 11. Dioxine Purple, 12. Ultramarine Blue, 13. Cobalt Blue 12. Thalo Blue, 13. Magenta Quinacridone, 14. Cobalt Violet Phosphate, 15. Thalo Green, 18. Gamboge
These 18 colors are a very complete palette, not every one is used every time. Some of these colors can be replaced internally. For instance, Gamboge, Thalo Blue and Quinacridone Magenta will make a neutral Dark, so you can paint a complete painting with only three oil based paints.
Warm Magenta plus Thalo Green make the perfect Neutral Dark for the foreground. It's an afternoon opposition.
Ultramarine Blue plus Burnt Umber makes another perfect neutral, it has a big range of warm and colors on each side of neutral. This is a morning opposition, Yellow is actually a tint of Brown in the RBG system.
The coolest complementary on the palette mixes Thalo Blue with Cadmium Red Medium, a perfect dark to light, neutral gray. This mixture has a very short range of neutral however because of the opaque red. This is an evening opposition.
Purple and Orange will make an opaque Burnt Sienna.
Cadmium Orange, Cadmium Red Medium and Bt. Sienna will make a good opaque Venetian Red.
Cadmium Lemon Yellow and Bt. Sienna will make Yellow Ocher.
Ultramarine Blue and Bt. Sienna will make Bt. Umber.
Cobalt Violet Light Phosphate, [Cool Magenta], and Thalo Blue will make Violet, Purple, Ultramarine Blue, or Azure.
THIS WOULD BE THE BUYING ORDER IN OIL PAINTS, 1 to 21. YOU COULD STOP AT #3, #5, #7, OR #15, AND PAINT ANYTHING IN FRONT OF YOU.
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The three colors uses to make this color circle
were,
Here is the same color chart made by my friend Scott Methvin |
01. Old Holland, Gamboge Lake Extra, Transparent Yellow.
02. Grumbacher Thalo Blue.
03. Danial Smith Quinacridone Magenta.
04. Blocks French Ultramarine Blue Light, the dark has more Magenta in it so it's a different color.
05. Grumbacher Bt. Sienna
06. Grumbacher Thalo Green.
07. Rembrandt Chinese Vermilion Extra, a translucent Red Medium. Extra means synthetic.
08. Grumbacher Cadmium Barium Yellow Pale.
09. Grumbacher Burnt Umber,
10. Grumbacher Carbozle Dioxazine Purple
11. Mussini Cadmium Orange
12. Bocour Cobalt Violet Phosphate, a duel-color from an almost warm Magenta to a cool pink magenta that matches the lithographic printer's magenta.
13. Mussini Yellow Raw Ocher.
14. Blockx Venetian Red.
15. Mussini Naples Yellow Light. The Antimony Lead version is not in wide production.
16, Rembrandt Asphaltum Extra. A weak, oily, warm Yellow-Brown transparent glazing color.
17. Mussini Transparent Yellow Oxide, a translucent dark tan to yellow duel-tone color.
18. Mussini Raw umber, a warm translucent Brown to Yellow-Brown that cools with the addition of White.
19. Mussini Green-Gold Transparent duel-tone warming up to a transparent light Yellow-Green from a mass-tone green-oxide color.
20. Grumbacher Green Earth, a translucent pigment that mixes with Rembrandt's Chinese Vermilion Extra translucent. They mix warm or cool in the flesh range, use Naples Yellow Light for the Yellow. This is an "old masters technique"
21. Rembrandt Chromium Green Oxide opaque.
CLICK HERE FOR LIGHT TO CRYSTAL CONVERSION INTER-ACTIVE CHART, go to the Color Section in a new window.
New Window comparing color wheels.
Here is the 36 color RCW palette with an extra
warm yellow to match pigments, plus a tinted mode.
The first Number is their spectrum color wheel order, the colors are listed in my painting palette order which is different. White is in the middle of the palette. Here is the list of pigments in their spectrum order.
Here is the dual-toned Under-tone color of Old Holland Indian
Yellow-Orange Lake Extra. #"FFF000", R=255, G=240, B=000
1d.
Old Holland Indian Yellow-Brown Lake Extra. It makes a good dark triad
neutral, but not a strong Yellow, more like a Cadmium Yellow Middle Under-tone.
(Old Holland Indian Yellow Brown Lake, has a Warm Tan Ocher top-tone with
a Middle Cadmium Yellow undertone. It makes a poor Orange but will turn
Ultramarine Blue to a nice Neutral Dark if that is all you had on a three
color palette.) We artists REALLY need this color in acrylics and water
colors, not just in oils by only one manufacture. NEW, Liqutex Quinacridone
Acra Gold in acrylics. A Yellow/side Burnt Sienna if you will. #"986011",
R=152 G=096 B=017. Below is the Under-tone color of Old Holland Indian
Yellow Brown Lake Extra and Liqutex Acra Gold Quinacridone PO:49 + PO:45.
A transparent Under-tone of Rembrandt or Mussini Asphaltum and the new Benzimidazolone PBr:25 is clickable below
03a. Mussini Naples Yellow Deep, (True Naples is either Green-side, Yellow-side or Red-side, higher firing temperatures make warmer, lighter colors. #"D9A878", R=217 G=169 B=120, CMYK= 60Y 40M
05a. Grumbacher Cadmium Yellow Medium. #"FFE709" R=255 G=231 B=009
A top-tone of Mussini Translucent Yellow Oxide is clickable below
To See an Under-tone (the color with clear medium) of Mussini Burnt Sienna, click below.
Below is a high Top-tone tint of Mussini Burnt Sienna.
An Under-tone of this tube color is here below.
Here below is a light Top-tone of Rembrandt Rose, the perfect Pink, notice it is getting cooler. #"FF4186", RGB, R=255, G=065, B=134
Cool Top-tone below Cooler Top-tone with more White below, Warm transparent Under-tone below
A tint Top-tone color of this pigment is this radio button below.
A Top-tone tint of this color is:
A Top-tone tint of this color is:
A Top-tone tint of this color is:
A Top-tone tint of this color is:
A middle Top-tone tint of this color:
A very high Top-tone tint of this color is, RGB, Cyan:
A lighter tint of this color is:
A tint of this color is: RGB, 000, 225, 233,
A Top-tone tint of this color is: RGB, R=000,G=255, B=176
33a.
Mussini Permanent Green Light, warm opaque. #"00590A", R=000, G=089, B=010,
CYMK= 80Y 80C
A tinted Top-tone by adding white of this color is: RGB, R=000,G=255, B=147
A tint with added white of this color is: RGB, R=152, G=197, B=000
A Top-tone tint by adding white to this dual-toned color is: RGB, R=246, G=255, B=000
These colors make painting very easy indeed.
Return to WhiteOr,
a cool neutral tint. #"CCCCCC" R=180, G=180, B=180, CMYK= 20Y 40C 20M,
RCW= Any triad or complementary set of colors, plus white.
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Top-tone is adding White to the color.
All dots are links
to pigment colors. The center links to the photo color chip
chart.
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End of Pigments, Return to START.
THE MOST PAINTERLY MEDIUM OF ALL is this, 75% Dammar and 25% Beeswax paste. Dissolve the beeswax 1:1, in warm turpentine to make the paste and store it. This medium will not yellow. Add 2% drier and it will be dry in twelve hours. If you want a gloss, use a dammar varnish finishing coat. The Romans mixed this medium and pigments to make their "wax cakes" which were like our tube paints, except they could be redissolved with turpentine. This medium is a big loose paint, you can change your work in progress, great for murals. Dammar gives wax the smooth slippery stroke and allows a build up of paint.
Too much wax will cause the lifting of under-strokes, Wax will dry-brush without drag, turpentine will keep the "soup" flowing. In the B/C old day's of painting, Sandraca was used as an intermediate isolating and final finish glaze, because it was alcohol based, today, since sandarac (sandracca)is no longer available except at http://www.kremer-pigmente.de/ Shellac can be used as an intermediate glaze but not a final. Dammar will do that job.
OIL MEDIUMS
#1, MY PAINTING MEDIUM, USED TO MAKE THE PAINT FLUID
4 parts Stand Oil, 2 parts Raw Cold Pressed Linseed Oil, 2 parts Venetian Turpentine, 1 part Turpentine, 1/2 part Wax, 2% Drier.
#2, PAINTING MEDIUM, USED BY MANY ARTIST'S
4 parts Stand Oil, 3 parts Sun Dried Linseed Oil, 1 part Raw Cold Pressed Linseed Oil, 1 part Dammar, 2% Drier.
#3, PAINTING MEDIUM, THE HARD WORKING GLAZE
3 parts Venetian Turpentine, 2 parts Sun Thickened Linseed Oil, 1/2 part Turpentine, it should just drip off the palette knife. 2% COBALT DRIER, 5 DROPS DRIER PER 2 1/2 OZ. OF MEDIUM dries in 12 to 15 hours.
PRE-MADE OIL MEDIUM
Windburg Medium, pre-made, IT'S REALLY A GREAT MEDIUM, [get it before they stop making it] mixes 1:1 with turpentine.
Windberg Art Products, 8601 Cross Park Dr., Suite 200, Austin,Tx., 78754
TABLE OF MIXED OIL AND BALSAM MEDIUMS
For the artist.
| % Stand Oil | Sun Thickened Linseed Oil | Cold Pressed Linseed Oil | Balsam | Resin | Turpentine. | Dorland's or Beeswax | Drying | Mark, Comments |
| 1 part Stand Oil | . | . | . | . | . | . | . | Wrinkles and skins, add: turp, raw cold pressed, balsam, or mastic. |
| 1 part Stand Oil | . | 1/4 part
Cold Pressed Linseed Oil |
. | . | needs no turpentine. | . | No drier. Three days dry. | A |
| 1 part Stand Oil | 1 part Sun Thickened Linseed Oil | . | . | . | . | 1/4 part, Dorland's Wax | dry in 24 hours | A+ |
| 1 part Stand Oil | 3/4 part Sun Thickened Linseed Oil | 1/4 part, Raw Cold Pressed Linseed Oil | . | . | 1/8 part Turpentine | 1/8 part Wax | 2% drier, | No tack, smooth blend, nice. My current medium until I use it up. A+ |
| Stand Oil 1 part, | Sun Dried Linseed Oil 1/2 part, | 1/2 part Raw Cold Linseed oil | . | . | . | 1/8 part Wax | Add 2% Cobalt Drier to dry in 18 hours or Fifth day light tack. | A+ I used this formula for all my 1995 paintings. Sun dried linseed oil settles strokes. |
| 1 part Stand Oil, | . | 1/2 part Raw Cold Pressed Linseed Oil, | 1/2 part
Venetian Balsam, |
. | 1/4 part Turpentine, | 1/8 part Wax, | 2% Drier. | A+ Maybe the best medium. |
| 1 part Stand Oil | 1/4 part Sun Dried Linseed Oil | 1/4 part Cold Pressed Linseed Oil | 1/2 part Venetian | . | . | . | . | A beautiful balanced paint and glaze. A+ |
| 1 part Stand Oil | . | . | 1 part Venetian Balsam | . | The turpentine evaporates quickly and needs constant replenishing, | . | No drier, tacky 8 days. Cobalt Drier 2% dry in 12 hours. | This mix has an edge bleeding problem. A- |
| 1 part
Stand Oil |
. | . | 1/2 part Venetian | . | . | . | . | A little edge bleeding, some pick up. B |
| 1 part Stand Oil | . | . | 1/4 part Venetian | . | . | . | . | More pick up, wet 16 hours. C |
| 1 part Stand Oil | . | . | . | 1/5 part Dammar | . | 1/4 part Wax | . | Stayed thick, doubled paint. A+ |
| . | . | Cold Pressed Linseed Oil | Adding Venetian Balsam makes a great blending glaze. | . | Turpentine isn't needed to thin it out. - Nice glaze with turpentine. | . | Three days dry. The drier is always optional. | An all round good medium used by itself. Adds slippery to Stand Oil.
It has no flow-out .
A |
| . | Sun Dried Linseed Oil 1 part, | Cold Pressed Oil 1 part, | Venetian 1/2 part, | . | Turpentine 1/4 part, | . | 2% Cobalt Drier optional. | A+ |
| . | . | . | . | 3/4 Dammar | . | 1/4 Wax | . | Smooth and shows brush strokes, very painterly. Best for murals. A+ |
| alkyd Oil Paint,
It's made of long oil, modified alkyd resin. |
. | . | . | . | The newer alkyd is fast drying, has no solvent action on dried layers but is sticky | . | . | Dried paint can chip off dried successive layers of paint unless a sticky medium like Alkyd, Liquin, or a oil modified alkyd resin is used. Stand oil, balsams and resins are sticky. A |
Turpentine in paint gives the most control but it removes body.
Linseed Oil wrinkles and skins by itself, it has no solvent action
and no adhesion qualities.
Linseed Oil yellows, layers must be dry between coats or they will
chip off.
Half Oil = Stand Oil 50%, Turpentine 50%. A+ medium.
Boiled Oil = 200 degrees C for several hours, no siccatives (an
old masters technique.
Sun Thickened Linseed Oil = Three sunny days in a shallow lead pan
1/8 deep or less.
alkyd Oil Paint,
The newer alkyd is fast drying, has no solvent action on dried layers
so dried paint can chip off dried successive layers of paint. It's made
of long oil, modified alkyd resin.
Resin Mastic Paint,
Oil-less paint. Dissolves and redissolves itself so it's joined
layers are a compleat film. Mix it with up to 50% bees wax. Dammar mixed
with wax will not yellow, (the Egyptian Fayum grave paintings prove that).
Dammar as a final varnish over an oil and mastic painting will not yellow.
You can polish a wax and mastic painting with a soft cloth but never get
it glossie. Always have a little wax in your mastic. A+
When making a big blend of sky and water;
Stand Oil 1 part, Cold Pressed Linseed Oil 2/5 part, Wax 1/5 part,
Dammar 1/10 part, = Stays very wet- very good blending, smooth and workable,
no drier 2 1/2 days wet. Turpentine adds longer workability, work and pickup
with Turpentine, glazes well.
Cobalt Drier 2% solution = dipping the palette knife 1/8 inch into the drier and mixing it with 1/4 inch of paint. Or when making a 2 1/2 oz. bottle of medium, add 5 drops drier, dries in 12 to 15 hours. Four drops dries in 20 hours.
Dammar resin and Venetian balsam are both self flowing.
Dammar by itself takes 2 days to dry.
Dammar dries differently than Oil, the whole paint film dries and
dissolves as one, this is called solvent action.
Dammar and wax = A+, non-yellowing.
Dammar and Wax and turpentine make a juicy soupier medium. Very
painterly - smooth easy blend.
Big loose technique to change and change again - fast setting to
over paint - Matt finish. Adds control to solvent action. Fast juicy strokes
cover 100%, Dammar gives Wax the smooth slippery soupier stroke and allows
the buildup. Wax increases solvency, too much Wax dissolves and lifts
under-strokes
quickly. Wax will dry-brush without drag. Turpentine keeps the soup flowing
- dry in two days. Add Cobalt Drier to dry in 12-15 hours. Dammar dries
faster without Wax. More Dammar gives more gloss. A+
Turpentine and Chios resin together are as old as Sandraca "B.C."
Wax was added in the early A/D. It's smooth and shows brush strokes in
a painterly way. Roman Wax Cakes were made like this. It's easy to pickup
when you want to lift an under coat. Best for mural work, permanent and
non yellowing.
Wax and paint, 50/50, strokes just slide along, no grab or bite,
dry two days, non yellowing. B
Wax and turpentine, no drier, dry 4 days.
Wax, turpentine and Cobalt drier, dry in 12 hours.
Wax and dammar, no drier, dry in 30 hours without drier. A+
Wax and Venetian turpentine, no drier, too slippery, wet 8 days.
Cold Pressed Linseed oil -dry in 3 days -good alone.
Cold Pressed Linseed Oil and Cobalt Drier, dry in 12 hours.
Cold Pressed Linseed Oil - down to earth good painting medium -
slippery - adds slippery to Stand Oil - no flow out - no turpentine needed
- nice glaze with turpentine. Three days dry. A
Cold Pressed Linseed Oil 1 part, Dammar 1 part, adds bite to the
oil - adds self flow to oil - needs wax - Three days dry. B+
Sun Dried Linseed Oil and Turpentine, very smooth for a long time,
strokes and marks fall out. It breaks down quickly with turpentine and
will run.
Sun Dried Linseed Oil and Stand Oil paints slippery.
Sun Dried Linseed Oil 1 part, Cold Pressed Oil 1 part, Venetian
1/2 part, Turpentine 1/4 part, 2% Cobalt Drier. A+
Stand Oil is yellowing.
Stand Oil and Turpentine, no drier, dry in 5 days.
Stand Oil and Cobalt Drier, dry 24 hours, wrinkled skin.
Stand oil by itself = wrinkled skin - must add mastic or balsam.
Stand oil crawls with cobalt drier, very slow drying.
Stand Oil - too thick to work with, greasy and self flowing - lifts
under stroke - four day dry.
Stand Oil and turpentine, dissolve the stand Oil to a consistency
thicker than Raw Linseed but thinner than Sun dried. Sets very rapidly,
dissolves layers quickly, lifts under layer, difficult to maintain painting
consistency.
Stand Oil and turpentine, smooth - blendable - strokes flow out by
themselves in an uncontrolled manner - Bleed over - needs Linseed Oil - two day
dry.
Stand Oil 1 part, Cold Pressed Linseed Oil 1/4 part, needs no
turpentine.
No drier. Three days dry. A
Stand Oil 1 part, Cold Pressed Linseed Oil 3/8 part, Wax 1/4 part,
Dammar 1/10 part = Stayed thick, doubled paint. A+
Stand Oil 1 part, Venetian 1/2 part, Sun Dried Linseed Oil 1/4 part,
Cold Pressed Linseed Oil 1/4 part, A beautiful balanced paint and glaze.
A+
Stand Oil 1 part, Sun Dried Linseed Oil 3/4, Cold Pressed Linseed
Oil 1/4 part = No tack, smooth blend, nice. A+
Stand Oil 1 part, Sun Dried Linseed Oil 1/2 part, Raw Cold Linseed
oil 1/2 part, Wax 1/8 part, Fifth day light tack, add 2% Cobalt Drier to
dry in 18 hours. - I used this formula for all my 1995 paintings. - Sun
Dried Linseed Oil settles strokes - A+
Stand Oil 1 part, Sun Dried Thickened Linseed Oil 1/2 part, Cold
Pressed Linseed Oil 1/2 part, Venetian Balsam Turpentine 1/4 part, Turpentine
1/4 part, Wax 1/8 part, drier 2%. Maybe the best medium. A+
Stand Oil 1 part, Sun Thickened Linseed Oil 1 part, Dorland's Wax
1/4 part, dry in 24 hours. A+
Stand Oil 1 part, Sun Thickened Linseed Oil 3/4 part, Raw Cold Pressed
Linseed Oil 1/4 part, Wax 1/8, Turpentine 1/8, and 2% drier, my current medium
until I use it up. A+
Stand Oil 1 part, Venetian Balsam 1 part, plus Turpentine. The
turpentine
evaporates quickly and needs constant replenishing, this mix has an edge
bleeding problem. No drier, tacky 8 days. Cobalt Drier 2% dry in 12 hours.
A Stand Oil 1 part, Venetian 1/2 part, a little edge bleeding, some pick
up. B
Stand Oil 1 part, Venetian 1/4 part, more pick up, wet 16 hours.
C
Boiled Linseed Oil paints very smoothly, it's fast drying, but runs and puddles when you add turpentine. It paints better than Cold Pressed by itself and smoother than Grumbacher III, yellows a lot more then cold pressed.
Maroger's, Linseed oil cooked with white lead or red lead, a great and proven painting medium, very smooth. More a little farther down. A+
Poppy Oil, nice, like a soft wax, day to day work wet in wet, soaks into ground. Apply a coat of thin shellac or egg white to the ground to prevent this. Three days dry.
Venetian Turpentine flows like Sun-thickened Linseed and Stand Oil,
sticky, flows out long after the stroke. Heavy tacky drag, smooth with
turpentine.
Venetian Balsam Turpentine, smooth with enough turpentine, fast setting,
hard to maintain consistency, lifts under layer, dry in 50 hours.
Venetian Balsam Turpentine and Cobalt Drier, heavy flow, separates and
puddles. Dry in 12 hours.
Venetian Balsam Resin Turpentine 1 part, Raw Cold Pressed Linseed Oil
4/5 part, 2% Cobalt Drier, dries hard and glossie, best blending medium.
Controllable light wash. = best glaze. A+
Grumbacher Gel - nice wax and oil feeling - no flow out like Venetian
- after four days it was still 5% wet, thin with turpentine, dry in 3 days with
2% drier.
Grumbacher Gel stays thick like Zec.
Grumbacher III - Thinner than Cold Pressed Linseed - gives paint a nice
bite and feel to the strokes, like Poppy Oil w/o the Wax feel. Good to use as
the thinner instead of turpentine. Two days dry. A
Grumbacher Gel and Grumbacher III have thick and thin covered.
Archival Lean, fast drying. B
Archival Fat, Liquin properties. B
Liquin reduces the length of your strokes and separates them. Fast drier. Oil modified Alkyd resin yellows less than unmodified oil. B
Windburg Painting Medium - needs 50% turpentine to flow - slight bite - great control. The best pre-made medium. Two days dry. A+
Windsor Newton WinGel dries Very fast, One hour. Alkyd and drier medium.
Zec is waxie smooth, a very fast setter, holds all strokes, extends
paint 100%, dry in 30 hours.
Zec and Mastic sets too fast, non yellowing, dry in 12 hours.
Zec and Cold Pressed Linseed Oil slows drying to 24 hours. Too much
drag. C
Copal sets up fast, dries glossie, redissolves easily.
THE MAROGER MEDIUMS
Copal with drier drags, it dries in one day by itself. Flows paint
too much for my location painting, good glazing for portraits, lifts lower
layer. Ron Garrett makes a better copal then common store bought copal,
I did enjoy using Ron's better than any other brand. Ron
Garrett
MAROGER listed how to make mediums of his past.
Here is a good recipe for Maroger Black Oil.
In this case example, raw is referred to as raw cold pressed,
purified linseed oil.
"BLACK OIL is made of purified raw linseed oil cooked with
red lead and adding mastic. "
Cold pressed raw Linseed Oil - 96.5g Mastic - 30g Pbo - 4g
This comes out to visually about 1/2 cup oil, a handful of crystals, and
about a 1/4 tsp of PbO. If you can make pancakes, you have the skill to
make this medium. At this point, you might want to tell your family that
you are NOT making food, just so they don't run over and ingest any of this
stuff. Now, mix the oil and the PbO together. It will look exactly like
orange juice (hence the warning). Now, using a Corning ware or some other
such porcelain container and slowly heat the mixture.
If it gets too hot,
just remove it, whatever you do, do not let it boil.
As it heats up the transformation will start taking place, turning the
mixture from orange to the color of black coffee. Stir occasionally with a
wooden spoon or porcelain - NOT A METAL ONE. This is crucial. After the coffee
color is reached, let it cook for one hour to make sure the change is complete.
The PbO does not go into the air, there are no poisonous fumes, so don't
worry about that. At this point I like to let the temperature down a bit, before
I slowly add the mastic, stirring it in. Now it looks like cappuccino for a
while.
There is a variation that skips the mastic and goes for 10g of
beeswax, but I have never bothered to try it as I want the brilliance the mastic
gives - besides you can always make a paste of wax and resin and add it later
(I recommend adding some carnauba wax, it is harder than ordinary beeswax).
Okay. Now that everything is cooked, you have Black Oil.
I shot these
photos as I was making the maroger media. I forgot to shoot it in the "orange
juice" stage. This is the cooked black oil media and the porcelain spoon. And
the empty tubes in a jar on top of the Chios crystals.
Just forget about this for now, you are not there yet, I don't know
why anyone would want to paint with this as it is. Now fill your Jelly jar
SLIGHTLY LESS THAN HALF FULL with the turpentine. This is very crucial - if it
is exactly half, the transformation will not take place. Then fill the empty
tubes that are standing up in a jar with your mixture, seal it tightly, and put
it in the refrigerator overnight.
Tell yourself what an alchemical magician you are (I'm only half kidding) as
it will transform into the Jelly. And here you are.
When using this, just a little maybe about a third added to your
tube paint should do the trick - if it is slick, you are adding too much. Not
only will your paint look incredible, you will be able to blend like you've
never done before, add beautiful thin layers, put in detail that will stay, not
drip or run, and any layer you make will dry within 24 hours!
I also recommend using Titanium and Zinc as the white paint.
Maroger uses the term litharge for oxide of lead.
The painters lead yellow pigment is also called litharge. That would be white lead roasted to yellow. In this form it is of the orthorhombic crystal system. Yellow PbO is an orthorhombic crystal. The natural mineral litharge is red lead PbO, a tetragonal system crystal. Produced red lead is tetroxide Pb3 O4 the same as the natural mineral minium, only better.
Red lead is the heated litharge transformation ingredient made from the heating process of white lead. The yellow and red lead are lower in tinting strength the white lead without litharge. Sponifacation turns the white lead transparent in oil and even more so the yellow-orange called red. Black oil adds no color of it's own to pigments but all oil yellows.
Adding heat to lead white forms yellow litharge pigment early on the heat process. Lead Litharge has a early temperature of yellow. Maroger's medium uses the the lead color orange, called red lead. There is a lead heat transformation heating red lead rapidly at a high temperature. This decomposes the red lead and turns it into litharge. Cooking this litharge and oil mix makes it a transparent brown gel called black oil.
Lead heated in a fire will cause white lead oxide to form. Acid gas does a better job making more white oxides. Roast the white to make the colors from yellow to orange, red and brown. Lead white carbonate heats to yellow, orange, red (lead tetroxide, Pbsub3 Osub4, called minium and/or orange lead. It has low tinting strength and good body). Orange lead, called red lead, is higher in litharge oxide which is more transparent.
Artists Pigments, Feller, pg 118. When heated strongly red lead decomposes to form litharge. When heated gently it turns to reddish brown then purple. That would be cuput mortum.
My color wheel uses the same line of darkening as this lead oxide
crystal. The colors yellow to orange and red use the same brown as their
color's hue darker hue, Burnt Umber.
Jacques Maroger (1884-1962). (pronounced Mar-o-zhay).
In 1907 Maroger began studies with Louls Anquetin (1861-1942). Called the French 'Michelangelo' by his Impressionist compatriots, Anquetin sought the painting power of the old masters through a remarkable mastery of drawing, but his skills were stymied by the then current oil painting materials.
BLACK OIL is a gell made of purified raw linseed oil cooked with lead. It may be used as a medium, a diluent in the palette cup, to grind colors from dry pigments, and it is the basis of other mediums. It will yellow about the same as using a 2% siccative.
MASTIC VARNISH is made of pure gum spirits of turpentine and mastic (dammar) resin tears. It can be added to Black Oil for an instant Flemish type medium. Diluted slightly with turpentine, it may be used as a final picture varnish, after the oil painting has completely dried. It will not yellow as much as the heated oil.
ITALIAN FORMULA MEDIUM combines black oil with beeswax for a transparent paste which dries to a soft semigloss luster and gives an opulent, rich body to impastos.
FLEMISH FORMULA MEDIUM combines black oil with mastic tears, pure gum spirits of turpentine, and beeswax for a transparent gel medium. Colors have more intensely and a rich gloss finish.
All of the formulas have similarly agreeable handling qualities and may be Intermixed wet, but alternate layering is not recommended.
HOW TO USE THE MAROGER MEDIUMS
1. The GROUND, or surface to be painted, whether the traditional white lead in linseed oil, acrylic gesso, or some other, should be permanent, stainable but not absorbent, and have sufficient "tooth", i.e. not slippery. A glaze of Maroger Medium and color over a white ground makes a toned surface that is very compatible for painting when dry or wet.
2. OIL COLORS are ideally made of dry pigments freshly ground in Black Oil If TUBE OIL COLORS are used, it is recommended that one part medium be added to each four parts of color. The exception is LEAD (FLAKE) WHITE which may be ground in raw linseed oil.
3. GLAZES are mostly medium tinted with a small amount of transparent color. Some medium should be available on the palette, or in the cup, to add to colors for the feel and relative transparency the artist desires.
4. A meager COAT OF MEDIUM, not too slippery, should be wiped on the area to be painted, unless a dry scumble is desired.
MAKE YOUR OWN OIL MEDIUMS
Dammar Mastic dries differently than oil, the film dries as a whole, without a skin, and can be redissolved with a solvent. Because of this fact, layers can be applied over any stage of drying paint. Oil only, may chip off an under layer if it's not completely dry, as oil is not a good binder by itself but stand oil is.
Venetian Balsam Turpentine, can be redissolved, it imparts a high glaze and is a non-yellowing good binder. It flows like sun-thickened linseed oil and stand oil. By itself it has a sticky, heavy tacky drag that lifts the undercoat as you paint, turpentine will make it slick and smooth. Venetian and Stand Oil together melt the paint too much, they need Linseed Oil to make a medium worth painting with.
Stand Oil is greasy and self-flowing and lifts the under-strokes. Stand Oil by itself is the slowest drying oil of all, with turpentine to keep it fluid it paints well. Stand oil does not react well with any drier by itself, it does not yellow. Stand oil and Venetian Turpentine, 1:1:1 with turpentine makes the best of both world's combining tacky with slick, it still has an edge bleeding problem though. Venetian Turpentine or Dammar will inhibit Stand Oil's tendency to wrinkle, and oil mixed in will correct the edge bleeding caused by the balsam.
Both Linseed oil and Stand Oil wrinkle by themselves, add dammar or balsam.
Cold Pressed Linseed Oil is an all round good medium used by itself. It has no flow-out and turpentine isn't needed to thin it out. Adding Venetian turpentine and drier make it a great blending glaze. Oil by itself is not a good binder, under coats must be dry.
Poppy Oil paints like soft wax, very nice, it yellows the least of the oils and is very slow drying so it can be painted into for days, great for portraits. Most pigments are ground in poppy oil with a small addition of wax to retard drying in the tube.
alkyd Oil Paint is made of long oil, it's fast drying and has no solvent action on dried paint, so successive layers can chip off the shrinking drying under paint. Unless the under coat is completely dry.
ACRYLICS
Acrylic's final finish should be a Polyurethane Acrylic, high or
satin gloss, of 30% Acrylic emulsion and 70% Polyurethane emulsion. Get
it an any commercial paint store, after sixteen years of my testing, it's
still perfectly clear.
NEW..May 24,99. Here is an art supplier I have found that has this
outstanding product, for 20 years now I have had to buy this finish from
furniture finishing paint suppliers. This is what he wrote me
yesterday,"Regarding
the ClearFlex; the resin system we use in this product has such a high
resistance to water that it was tested by a roofing tile manufacture in
Mexico; they now buy a thousand gallons a month (without the UV
inhibitors)."
For a long time now, paintings (oil) have needed a protective coating,
this layer has always turned brown or powdered and had to be removed at some
point.
Now, with this acrylic-polyurethane emulsion we do not have to ever change
or remove it. Thanks Gary!
Triangle Coating, 1930 Fairway Dr., San Leandro, California
94577-5631
Here's your Email connection to Triangle Coating.
Here is a complete palette, most of them are Liquitex because I liked the soft plastic tube, Winsor and Newton's colors are stronger more pigmented colors.
01, Cadmium Yellow Lemon Light
02. Cadmium Yellow Medium
03. Cadmium Red Light
04. Cadmium Red Medium
05. Naphthol Crimson,
06. Acra Violet, warm Magenta
07. Yellow Oxide
08. Red Oxide
09. Burnt Sienna, Winsor Newton
10. Burnt Umber
11. Dioxazine Purple
12. Ultramarine Blue, Winsor Newton
13. Thalo Blue
14. Turquoise Deep
15. Thalo Green
16. Brilliant Yellow Green
17. Light Emerald Green
18. Permanent Green Light
19. Vivid Lime Green
There are 42 Liquitex colors in all, these 19 are essential.
Liquitex has a new great medium for acrylics, 2003. It's called, Blending
and Painting Medium. It extends drying time a little and makes blending edges a
lot easier.
An acrylic photo
pigment chip chart of opposite colors to make neutral dark.
ACRYLICS HAVE NO TRANSPARENT YELLOWS OR BROWNS.
NEW ... 3 new Liquitex permenant transparent colors. Yellow to brown,
orange to brown and red to brown.
Acra Gold, Acra Burnt Orange and Van Dyke Red Hue. Acra Gold will not make
a red like Indian Yellow Orange Side Original would but it can be used as the
Indian Yellow Brown Side.
The other two expand the translucent Burnt Sienna's range.
WATER COLOR PIGMENTS
I hope water colors will be your first medium to work in like it was for me. At least get the primary colors making the whole range of colors, including the darkest dark's. For this you need the right pigmented colors. Here is my palette after painting "what was in front of me", for twenty years without black pigment.
The palette is two rows of fourteen wells, Yellow to Warm Magenta on the top, Cool Magenta to Yellow-Green on the bottom. Some wells have two colors in them to aid in the mixing. I like to keep the colors clean, cleanliness is number one. Starting in the top left #1 well. I squeezed in enough Talens Ultramarine Deep to fill the top half, under it in the same well I added Liquitex Burnt Sienna, this will make a Burnt Umber color. Brand names are important, they're rarely the same color.
#O1-WELL, Talens Ultramarine Blue Deep and Liquitex Burnt Sienna, these make a warm or cool Burnt Umber.
#02, Talens Ultramarine Blue Deep and Bocour Venetian Red, a very opaque neutral dark, warm or cool.
#03, Grumbacher Thalo Purple on top and Grumbacher Thalo Green below, a cool neutral for the background distances.
#4, Grumbacher Thalo Crimson for the Warm Magenta on top and Grumbacher Thalo Green below. This is the warm, or cool neutral opposition dark for strong foreground dark's.
#05, MMMM, Grumbacher Thalo Crimson, warm Magenta.
#06, MMYY, Grumbacher Finest Red.
#07, Liquitex Burnt Sienna.
#08, Grumbacher Vermilion Light.
#09, YYYM, Grumbacher Cadmium Orange.
#10, Grumbacher Cadmium Yellow Deep,
#11, Winsor and Newton Cadmium Yellow.
#12, Grumbacher Cadmium Yellow Middle.
#13, YYYY, Winsor and Newton Yellow, warm,
#14, Liquitex Lemon Yellow, cool.
The second row also goes from dark to light, since the paper's white, paint from light to dark. Out line your whites in pencil before you start. Don't paint over the pencil lines or they will become black pigment and permanent. Paint up to the line, let it dry, erase the line, don't damage the paper, then paint in the adjacent color.
#15, MMMM, Liquitex Acra Violet, the Cool Magenta to mix with blues.
#16, MMMC, Grumbacher Finest Thalo Purple.
#17, CCCC, Grumbacher Thalo Blue.
#18, Talens Ultramarine Light on top, and Liquitex Ultramarine Blue on the bottom.
#19, MMCC, Winsor and Newton French Ultramarine Blue,
#20, Grumbacher Cobalt Blue on top, Liquitex Cobalt Blue on the bottom.
#21, CCCY, Talens Turquoise Blue.
#22, CCYY, Grumbacher Finest Thalo Green.
#23, Grumbacher Finest Emerald Green.
#24, Liquitex Permanent Green Light on top, and Bocour Emerald Green on the bottom, opaque warm and cool.
#25, Bocour Olive Green.
#26, YYMM, Grumbacher Cadmium Orange.
#27, Bocour Cadmium Yellow Medium.
#28, Grumbacher Academy Yellow-Green.
Water Colors are really not that transparent, there are no 100%
transparent
Yellows, reds, browns, ultramarine blues or cobalt blues.
Return to START.
HUMAN PROPORTIONS
Here are the marking points on a normal twenty year old.
The skull is the basic division of the human body. It is eight heads
high. The parting between the legs as one quarter head below the middle
of the body.
HEAD
START WITH A [3 x 4] OVAL.
Divide the head into six parts from top to bottom. This will give you the:
0. The top of the skull,
1. The hairline,
2. The center of the forehead,
2.5 The brow,
3. The pupils,
4. The center of the nose bulb circle,
5. The bottom of the top teeth,
SIDE-VIEW-HEAD
The head sideways is one head high and one head wide. The top of the ear is on line with the eye brows.
The ear hole is in line with bottom of the nose, and just above the backbone and skull pivot point.
The bottom of the ear varies with the individual.
FRONT-VIEW
The face triangle is from the center of each pupil, through the nostrils
of the nose to the point between the front teeth. To me this is an important
trait, every bodies triangle is a little different.
The smiling mouth lines up under the pupils, the two iris usually
equal the maximum smiling width of the mouth.
The charcoal drawing is on a white background.
It was then painted with only two neutral dark making colors, Red
Oxide and Ultramarine Blue.
A Burnt Sienna glaze is then used for warmth where it is wanted.
Five eye widths span the center of the skull, everybody is a little
different. The space between the pupils is an average of two and a half
inches. The width of one eye is usually equal to the space between the
eyes.
THE BODY
The neck is 1/4 of a head high.
The shoulders are two head lengths (not widths)wide.
The chin to shoulder line is 1/4 of one heads length.
The chin to nipples line equals one head length.
The nipples to the belly button equals one head length.
From the belly button to the space between the legs is one and 1/4 head.
The width of the waste at the belly button is one head length wide (not head width wide).
From the hip [trunk] top triangle line to the space between the legs, is one head high and two head widths wide. Not more.
The center of the body is the bend line, it is 1/4 head above the space between the legs and two head widths wide. Not more. Here, I lower the 3 torso heads 1/4 of a head to the point between the legs and keep the bend line where it was.
The torso triangle is from the ends of the shoulder line to the center and the top line of the bend line triangle. That bend line triangle is the quarter head high triangle within the trunk triangle.
The rib cage can be represented by an oval two heads high, starting at the shoulder line.
The upper arm, from the shoulder triangles outside edge, is one and 1/2 heads long.
The lower arm is one and 1/4 heads long.
The hand is 3/4 of a head long, equal to the average face.
The chest side view is one head width wide at the nipples.
The upper arm is one and 1/2 head lengths, connecting through the shoulder ball, a quarter head circle reaching the end of the shoulder line.
Just below the leg space, the legs and the body are the widest.
Two egg shaped heads, side by side, upside down, will fit in the trunk area.
From the outside point of the bend line triangle down to the center of the nee cap is two head lengths. The bend line is always the center of the body.
The nee cap is a 1/4 head length circle.
The calf muscle is higher on the outside.
From the center of the nee cap to the ground is two head lengths.
The ankle is 1/4 head high off the ground.
The foot is one head length long.
The ankle bone is higher on the inside.
THE DRAWING ORDER OF A STICK FIGURE, TO CATCH THE ACTION
1. Start with the center balance line from top to bottom.
2. Divide it in half, this is the top of the bend line triangle.
3. Add the head, legs, shoulder line and arm lines.
4. Finish the torso triangle and the bend line triangle.
5. Now add the hands and feet.
That's it, these simple steps include the lines that can catch any action, fast!
Now, to finish the form, put the trunk triangle in, the shoulder balls, nee caps and rib cage.
From the pointed bottom of the bend line triangle, the space between the legs, connect a line to the bottom of the nee cap for the outside of the leg.
Add the calf lines and the stick figure is finished. It's accurate,
balanced, and ready to add the muscles.
TECHNIQUES
I start at the top left and work my way to my signature three times. When I have the first 100% coverage I concider myself 1/2 way done. In this first 100% coverage the lighting of that one hour of the day is captured, more then anytyhing else, capture the light. Note the time the light is perfect.
See what is in front of you as brush-strokes, what brush will fill in the patterns the fastest, are there sharp corners?, long lines?, big blends?, heavy textures or many changes of color to contend with? Maybe there's a repeated pattern like water diamonds, eucalyptus leaves or grass. Maybe your going to change colors with a glaze. Each of the recommended brushes has a special pattern or job it's best suited for.
The strokes of a "fan brush" here.
Here's some ways to paint a sky.
ACRYLICS. Pre-paint the sky with the cloud color in acrylics and let it dry. Since it's Ultramarine Blue overhead and Cyan at the horizon line and Ultramarine is granular in W/C's and hard to blend in oil and acrylics. I use a Thalo Blue Cyan and Dioxine Purple to blend the whole blue sky then wipe out the clouds with a paper towel square and add the clouds darker colors by mixing a neutral combination like Burnt Umber and Ultramarine Blue.
OIL. Wipe out the clouds from the sky's colors and add the right cloud colors. A very thin pre-oiling of the surface will make paint flow smoother and wipe out cleaner.
Here is a five year test, 1955 to 2000, no extra linseed oil was added to the tube color. This bleeding stain show the extent oil will impregnate good rag paper. Front and back view. This causes the paper to oxidize with the oil and it become brittle. The paper must be glued to a rigid support. A water based gesso should also be applied first in my opinion. To be sure, no white spaces should be left on any unprimed paper.. or it will turn from white to yellow.
WATER COLOR. Draw with a pencil harder than a normal 2B, outline the whites and high lights. Wash the #300 paper with a 5" elephant ear sponge, while there's still a slight sheen add colors, paint until the paper is dry. There is no need to tape down #300 paper, hold the corners down with close pins. When it's completely dry, re-spray it with water and start again, the dried colors won't move and can be painted over. Paint all the way to the edges, load the brush accurately, two strokes from one load plus enough left in the puddle for one more stroke. A dry brush will pick up or exchange wet colors. Don't paint with the wrong color, don't leave accidental white spots, outline white areas before hand, soften at least one edge of each stroke, start at the top left and pull, don't push the brush.
WATER COLOR PAPERS [A AND A+ ONLY, 100% RAG, FOUR DECKLES]
Waterford 300#, Rough and Hot Pressed. A truly great paper.
Twinrocker 300#, Rough, large deckle, light tub size, pre-wash needed, moderate rough texture. Cold Pressed.
Strathmore Gemini 300#, Rough and Cold Pressed.
Strathmore Excalibur 80#, 25% cotton, 75% fiberglass. You must erase pencil lines before painting, hard to brush erase. Fun to paint on.
Fabriano Esport, Rough and Cold Pressed.
Fabriano Classico, 140# only, excellent, hard.
Arches, 300# and 400#, Pre wash, won't stain on first wash, great texture, erases anything.
Acrylics are easier than oils or water colors. One reason is because
two coats of white can fix anything and the high lighting can be adjusted.
Highlights are not added last or worked up to slowly, they're more part
of the whole picture.
PERSPECTIVE BAR TOOL
A new piece of equipment I made is used to plot two vanishing points of any building 90 degrees apart, it can be ten foot long for larger paintings. A bar attaches to the back of the painting, level with and behind the picture's horizon line. It has two straight edge bars on pivots that clip onto the bar and lock down on the perceived vanishing points of the top of the building. Sometimes times both vanishing points are off the page in a 60 degree wide picture. This tool will adjust for the earth's curvature.
Match up the buildings most extreme top angles with the straight edge arms and hinge clip them onto the horizon bar, matching and lining up the angles of the straight edge bar to the buildings image. I look at the building and point to the extended vanishing points on the horizon line to the left and right in my pictures view and clip the arms on. That position works now for any building in my picture with those compass aligned angles, as in a row of buildings down a street. Swinging the arms will give you the correct angles of the windows, doors, bricks, etc.
Acrylics, are thinner in basic use ability, the perfect consistency
of paint for stroking is thinner with acrylics than in oils. Acrylics,
as egg tempera, wax-water emulsion, and casein have no dragging properties,
smoother then smooth you might say.
Gauze, stretched on a frame and drawn on, shows fore shortening and accurate layouts.
Retical, a string grid on a movable frame held in one spot to relate size proportions. Van Gogh painted his retical in a painting with boats in it.
Mirror, to see in reverse, placed to see the model and picture simultaneously.
Black mirror, to check faults in tonality.
The so called Claude Glass, was named to honor the landscape artist,
Claude Lorraine. He did not invent it though. Gainsborough also was associated
with this device.
It was a compact-looking fold up mirror, that was slightly convex.
Either hand tinted or with a black backing. The overall effect for the
artist's purpose was to allow the subtlety of the middle greys to emerge,
while suppressing the overwhelming highlights. The darks were still preserved
with detail. The convexity of the glass compacted the overall scene and
aided in the area of perspective. The Science of Art, Martin Kemp, Yale
University Press.
Reducing glass, sees the whole picture without standing back.
Colored glass, cyan will show the strength of warm colors, yellow will expose contrasts.
Plummet, a weighted string to check against vertical.
Pantograph, enlarges images mechanically.
Measuring stick, size relationships measured from an arm's length.
Real color wheel, to show opposition's when mixing neutral dark's in pigment, instead of using black pigment. New.
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