| Author | Message | ||
  Linda |
In landscapes, inserted somewhere in it usually is quinacridone gold as my signature color, and found nearly always is the use of raw sienna. | ||
Robert |
When you say you paint more abstractly, is this a conscious thing as you paint --to make it abstract--or has your style just developed so that that is what happens automatically. Can you post something--a before and after? This interests me greatly. | ||
maidensmith |
I love looking at my paint swatches - it often is all I need to get going on another painting -but I paint more abstractly than I used to. | ||
jdaneman |
Does anyone do this? I have a quarter sheet of cp I have carried around forever. It is divided into slots of 1cm by 3cm. I paint, in spectral order followed by earth and then opaque tones, all the paints I own of one brand. Then as I add brands or use up and move on to a new maker's paint, I paint a new series of swatches. Then I label them with the name (abbreviated) and the pigment ie PY3, or PG7:PY62 for example. Then I have a comparison of paints I've used and can match or compare colors. The swatch is painted full strength out of the tube at the top, then diluted to make a gradient as it approaches the end of the 3 cm. I try to make the bottom as dilute as possible, to get an idea of tinting for glazes. If you do this, it's well to leave a buffer zone between series of swatches, in case you add colors to your palette from a certain manufacturer. I like looking at it for fun. | ||
Sid |
Eugene: I have a tape by Tony Van Hasselt where he says to put Pthalo green on your palette but you don't really use it. It's too strong! You just look at it from time to time! Then he goes on to show you how you can mix a huge variety of very natural greens by using Pthalo very sparingly, mixed with the colors I suggested earlier. He puts a puddle of the base color, e.g., Burnt Sienna, on the palette, then just touches the Pthalo Green with the brush. He places the Pthalo in a separate spot on the palette. Then carefully adds the Pthalo to the base color. It works great. All kinds of greens matching real trees and shrubs. Also, Pthalo Blue mixes great greens too. I use it with Raw Umber. Do some experimenting. Also--nice to be able to put a name on you! Sid | ||
Eugene |
I have taken all greens off my palette except sap. I couldn't handle the others because they are too strong and are not the greens found in nature. Sap isn't either unless it is toned down with a compliment. I am a landscape painter and mix most of my greens rather than relying on premixed colors. But thanks, Sid. I'll do a little experimenting with thalo. I know it's a cold and transparent and mixes well with yellows | ||
Sid |
Try mixing a tiny bit of Pthalo Green with your yellows (Azo, Lemon, etc. and New Gamboge), Cad. Orange, Cad Red, Perm. Rose, Burnt Umber, and Burnt Sienna. You'll be surprised at how many nice natural greens you can get. Just go very easy on the Phalo. Sap Green is actually Phalo Green with something else added. You can do it yourself. Sid | ||
jdaneman |
Sap green with raw umber is often how I do foliage. I have a LOVE-HATE relationship with pre-mixed greens, yet the ones you mix from blue and yellow are often horrible (leaving out Hansa yellow mixed with GS Pthalo Blue...touched with a bit of cad red.) Sap Green is amenable to being toned down. Somehow, viridian, emerald green and pthalo green give me the heebie-jeebies, though I have all of them in the paint box! | ||
Anonymous |
Green-- I mean sap green, modified with raw umber, raw sienna, burnt sienna, or brown madder | ||
jdaneman |
You are a tease--and you ought not worry; information shared only creates new art, only a forger creates a copy. | ||
Anonymous |
I won't say......too much a secret ingredient that can make flesh tones in shadow too real for words, no single watercolor pigment can do that, just the right mix of some special ingredients..alchemy..yikes..pure gold from a lump of lead. I just can't bring myself to say. | ||
Joanna Daneman |
Raw sienna. I don't know why. | ||
Robert |
PS... is Indian yellow fugitive. Probably because I love it! Jane Indian Yellow is universally one of a variety of lightfast new mixtures meant to imitate the hue of the original non-lightfast indian yellow derived from the urine of Indian cows fed mango leaves. I investigated a lot of indian yellows recently. A lot of the brands of indian yellows are dual toned in that as a mass they appear dull orange but get greener and yellower in dilution (similar to Winsor Newton New Gamboge--many brands of indian yellow are idential to new gamboge, btw). I prefer the Maimeriblu Indian Yellow (my single most used pigment) because it remains dullish oragne even in dilution and carries no green so it makes great natural greens when mixed with pthalo blue and browns when mixed with ultramarine blue or a violet. In fact I no longer use earth colors (save for Venetian Red which makes great darks with pthalo blue and cloud grays with cerulean) because I can mix so many things with Maimeriblu (only) brand Indian yellow to produce similar hues. | ||
jandrle |
I would say all yellows... but I try to reign them in because yellow is a color that people either hate or love. When I do a painting that doesn't have yellow in it, it appears flat. If I throw some yellow into a green, or by a pink or red it comes to life. Lately I have been using yellow more I have noticed. Don't know if people would identify it as a signature color though, it is an emotional thing and very real for me... Jane PS... is Indian yellow fugitive. Probably because I love it! | ||
SutureSelf |
Oops, my bad. Next time I'll listen with both ears. | ||
Kukana |
Hey Suturself, I misworded my question. I didn't mean what color is your signature in,I meant what color is most associated with your work...as in "Opera pink is a signature of Suzy Toronto Wonderful Wacky Women" | ||
GailJR |
Ultramarine but that is hard to really say, depending on the painting. I love my greens and that darn UB just jumps in there. I have written the others ideas and will check them out too. | ||
SutureSelf |
My signature color changes from painting to painting. It is always one related to the chromatic theme of the piece and it is usually lighter in value than the area where it appears. I try to keep my signature unobtrusive but not invisible. | ||
Anonymous |
Day in and day out, ultramarine. An unusual find that I have not heard anyone else mention, Daniel Smith's naphthamide maroon. It mixes really rich darks. | ||
Robert |
Today--it is white. (Usually Rembrandt Permanent Red Violet) | ||
rainbow |
This should be fun! Again, I'm a newbie but I find myself reaching for something that contains dioxazine purple (straight up in acrylics or with pretty watercolor names--Maimeriblu permanent violet bluish or Daniel Smith Carbazole violet). I use it for mixing up some shadows or sometimes straight up. I can paint without it but it is a near painful test of willpower. It just hops up on my palette. But a little dab will do ya! It can be some powerful stuff. | ||
Kukana |
Whats your signature colour? Do you have one? Obviously my WWW and Tingleheart commercial lines are recognized by ...Holbeins Opera or if Im feeling cheap..AJ Wild Fushia... My fine art lines always seem to not be complete unless I get some Quinacridone gold in them somewhere.. What yours? |
