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RonG new member paintings (Read 547 times)
Reply #11 - May 7th, 2005 at 7:11pm

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Color is Everything!
Makawao,  Maui, USA, HI

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Hi Ron,
I was re-reading this thread. I had never mentioned painting a small 3" color wheel from the water color pigments I sent. An a small fruit next to it. I wanted you to see the clean greens and reds you get with transparent yellow in the mix. That's the example I would like to see and show the world.

Good News!! Old Holland is selling their w/c Indian yellow series, Gr/s, Br/s and Org/s. This is a first and without a doubt the best transparent yellows. I bought them from Art Supply Warehouse, 1-800-995-6778.
I think they were $12.50 each. I can't wait until they arrive.

It's 2013 now, I've upgraded to a new forum and re-reading posts again.
The reason I'm posting again is that I've now got the best water based transparent yellow. It is exactly like the Indian yellow of old and just as permanent. I get the pigment from Spectra Colors in NJ. It's called, Tartrazine PY100.
I use it in my plotter as ink-jet ink, http://www.realcolorwheel.com/rcwplotter.htm
As a water color, http://www.realcolorwheel.com/orderpage.htm
And as a tubed acrylic paint, http://www.realcolorwheel.com/indianyellowtobrownPY153.htm
It is the most transparent yellow I have ever seen. On that last link I show a white-paper with colors and a black paper with colors. This is the only test for transparency.
 
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Reply #10 - May 5th, 2005 at 5:47pm

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One of the things about mixing paints, is that almost always I find that I have to use all three primaries, even if there's just a trace of the opposite of the dominant colour.  Yet the only real rule is that there are no rules, and the what is truest is what you discover yourself (even it others have discovered it before) and you really intuitively understand it so that it is truly yours.
The beauty of the primary pallette is that you never really get the muddy colours that you would get if you  mixed with earth colours or black, since you can never neutralise them once there in the mix. 
With the primary pallette, you're always modifying the mix, and pulling your mix in one or another direction of the colour wheel.  Since every colour is an integral part of it all, it all works together.
As time goes by, you get to understand colours better, what goes into them to get what you want.
I find myself holding up my pallette knife with the mix on it to compare the hue produced with what is out there in front of me.  It's like cooking without being bound by a recipe... you're always tasting as you add ingredients!

Hardly ever does any paint get wasted.  Whatever's left at the end of the session gets scraped off the pallette and deposited in little air-tight "surprise egg" plastic containers that contain the little toy that comes with the Kinder chocolate surprise eggs.  I recently found that adding a few drops of terps in the egg keeps the paint from drying/hardening, and it is still fresh and pliable for the next session.

Cheers!

Ron
 
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Reply #9 - May 5th, 2005 at 3:55pm

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I was looking at the pictures & messages. I am impressed with the paintings. They are wonderful! Something I am trying my hardest to learn. I suppose the picture that impressed me the most was the one of the tubes of paint & the palette board.
I can see where part of my problem is now, thanks to you Ron.
I have always tried to be so 'neat' in mixing my paints. Didn't realize that the palette of colors should be "colorful" while blending and mixing the paints. A lesson learned!
Thanks again Ron, I'm sure this will help. And your paintings are
really good.
Ruth
 
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Reply #8 - May 3rd, 2005 at 7:23pm

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Hi...
The pallette in the photo is actually thin plywood with a white formica top, altho it's been in use for about 20 years, it's my favourite... the edges have become sullied.  Just recently I found a pice of similar formica topped plywood like this and cut myself out a duplicate pallette so the whole top is shiny white and I can see better what I'm mixing.
All the best!
Ron
PS - used the password this time Smiley
cheers
 
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Reply #7 - May 3rd, 2005 at 7:30am

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Well once you get the pigments oil I chose as best you will find transparent yellow to be the most powerful color and cyan and magenta rumming neck and neck.
That's O.H. Indian yellow lake extra brown side, and a W/N or Daniel Smith quinacridone magenta.

I like your steel palette, does it hurt your thumb when you hold it?
Mine has a knob under it to hold and spin.

Your a member you know, you can log in. Let me know if you forgot your password.
 
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Reply #6 - May 2nd, 2005 at 7:42pm
Ron Gang   Guest

 
Hi Don, Bob and other friends...

Don...
I'm going to have to reaquaint myself with water colour painting before I "waste" your lovely pigments... yet I will get to it.

Bob...
I've never been to Australia, yet visitors from there tell me that this area (the nothern Negev) is indeed like the Outback.
Saw a bit of an Australian movie on TV the other night, and it sure looked like here... dry, Eucalyptus trees.

With regards to the three primaries...
one gets the hang of it with practice.  The Cyan has very strong tinting power compared to the other two I use, so one has to add it in in miniscule quantities.
The attached photo was snapped while painting...
note the smaller tube... it is Van Gogh (Talens) phtalocyanine...  that one little tube outlasts the bigger ones beside it many times over!

<I lost that image but here are the 3 colors on a paper palette. Don>

cheers

Ron

...
 

PrimaryPallette.jpg (Attachment deleted)
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Reply #5 - May 2nd, 2005 at 9:00am

Bob_Abrahams   Offline
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I LOVE TO PAINT OUTDOORS
Perth, Australia, australia, 307, 303

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Ron
I have visited your website and find the paintings most enjoyable. not unlike the rugged outback of Australia.
I too have begun travelling the path of three colours and white. It really is a break through for me, although I have a very long way to go.

See my bloggs at   http://www.blogger.com/home

Cheers
Bob
 

Warm regards &&Bob &&Australia
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Reply #4 - May 2nd, 2005 at 6:26am

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Makawao,  Maui, USA, HI

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Hi Ron,
I think you will like the more powerful PR122 magenta.

I thought Athans was my 180º.
We had an outing of the Plain Air Painters oF Hawaii, 4 days, today was day 2. There was a noted artist from the mainland that painted with an orange underpainting. I like white canvas.

I'm looking forward to seeing what you paint with just those primaries.

Don
 
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Reply #3 - May 2nd, 2005 at 6:16am

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Makawao,  Maui, USA, HI

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Hi Don...

Thanks very much for your laminated colour wheel and the sample primaries.  Really appreciated!

It's warming up here a lot, and I think soon I'll have to retreat to the shade, even tho' I'm covered up as a bedouin, the heat is starting to make it uncomfortable during the hours when the sun is high.  Yet, will continue as long as I can, as the subject matter is good.
Here's a shot of my latest (not completely finished yet... a friend stopped by and took a picture of the work), there's some glare of it, yet here it is, and all with my oil primary palette as related to you in a previous mail.  The underpainting is a key, and as time goes on, I get more attuned to as to what colours to lay down as an underpainting before putting down the more dominant colours of nature.  Green has been a challenge, as in this semi-desert it's a rarer colour, yet as this year we had good rains, so we had a few nice green months.  My discovery was that there was a lot of orange in the greens, and an orange underpainting really gets those greens singing and zinging!

...

Hope your painting is going well.  I believe you're just about on the other side of the world from me, by the way.

Good health and happiness,

yours

Ron  
 
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Reply #2 - Apr 5th, 2005 at 1:16am

Bob_Abrahams   Offline
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Perth, Australia, australia, 307, 303

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Welcome Ron

Your are paintings and palette selection are very interesting. 
I am probably heading in a similar direction as you and Don, but finding my own way there.

Bob
 

Warm regards &&Bob &&Australia
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Reply #1 - Apr 5th, 2005 at 12:51am

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Makawao,  Maui, USA, HI

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Welcome Ron,
I'm happy to have you in the forum.

The best and cleanest cyan I found is Grumbacher Thalo Blue, PB15.3 I'm not sure of the Pigment Index Number of Talens, it should be written on the tube.
Daniel Smith makes a good magenta, W/N is PR122 also I believe.
Old holland makes the only transparent yellow. Indian Yellow Lake Extra, Brown side, a nickle complex PY153. They also make an Orange side which makes the best reds.

I'm uploading a photo of you so we all know who we are talking to.
I'm also looking forward to seeing your next location painting.

...
 
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Apr 5th, 2005 at 12:39am

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Hi Don.....

Good hearing from you....

very interesting, the page you sent...
I use the three primaries  (oil), indeed transparent hues...  the cyan, quinacridone (exact same pigments as you do), and the yellow is arylide (lemon) yellow. The only cyan that plays right for me is Talens Van Gogh, the quinacridone is OK from Talens, Windsor-Newton or Rowneys, and the yellow from the latter two manufacturers.  Talens always add white to their yellows....  WHY ??    I round out the set with zinc white, and those 4 pigments do everything for me.  This happened slowly over the years as I found I could keep eliminating tubes (when you work a lot of plein air as I do, you want to back-pack it lightly) until it boiled down to what you have today.

 I haven't bought a tube of black paint since I finished art school in 1987 and not long after that I stopped buying earth colours as well.  The beauty of the tri-colour pallette is the control one devolops over the colour, and that you never get "mud".  This is probably the best thing since sliced bread!  I tried to pass on this gospel, yet everyone has their own ways of working, and I guess I really shouldn't be too dogmatic.

http://www.iarc.org/~4x1mk/Land_V.html
http://www.iarc.org/~4x1mk/

...
 
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