| Author | Message | ||
  A.N. Unregistered guest |
I thnik we should acknowledge what is behind Rekha's proscription against tube Black. Tube black *more often than not* muddies mixtures, dulls excessively upon drying, and is the amateurish way to create mixed dark shades. It is much more subtle to mix darks from non blacks and much more visually appealing usually. That being said some artists who know what they are doing are able to incorportate black though even they know the dangers of its overuse. I am reminded of my Jr. High English teacher who told us never to begin a sentence with because. She did this because unschooled kids can create fragments. Because they don't attach the because phrase to a main clause. (sic) However, one can certainly begin a sentence with because if one knows how to. Because black is generally considered unacceptable does not mean that it should always be avoided by everyone.  | ||
Eugene New member Username: Eugene Post Number: 5 Registered: 8-2006 |
I understand your reasoning Reka,but I think of it this way-- your example of a raven-- the feathers in the sunlight have a lot of color in the black, but in the dark shadow side they are the blackest black you can find. and you can't get this by mixing burnt sienna and ultramarine or any other colors. It is black from a tube. I know a lot of good artists and teachers don't use black. Fortunately, we're all different and that's what makes our art different. | ||
Anonymous Unregistered guest |
I don't personally use black, but a lot of people do use it and don't know they do. The following paints all contain carbon black as one of the pigments in the mixture: paynes gray, indigo, sepia, van dyke brown, Davy's gray. | ||
A.N. Unregistered guest |
Actually carbon is black--coal, soot from chimneys, outer space, and fabric--all found out there. The fact is that black as a color, not as a generic dark can be effective if used by a master. | ||
Rekha Unregistered guest |
I wasn't suggesting for a moment that you change your palette, just making the point that nature doesn't seem to have pure black colour | ||
Eugene New member Username: Eugene Post Number: 4 Registered: 8-2006 |
Sorry Rekha, I disagree. Black is useful if you know how to use it. It works for me. If it doesn't work for you, don't use it. But many wonderful artists throughout the ages have used black successfully. Sargent was one and I've never heard anyone call his work lifeless. | ||
Rekha Unregistered guest |
But this is precisely it! Black colour as black does not exist in nature. Raven's feathers steely blue; human black hair reddish black; dyes on clothes purply black | ||
Eugene New member Username: Eugene Post Number: 3 Registered: 8-2006 |
I paint a lot of Amish (who wear a lot of black) and Holstien cows, and for me perhaps Ivory Black is a convenience color. I DO usually add a deep red or burnt sienna to warm it up a bit. Used as a color, with discretion, I don't find it at all lifeless. I think the biggest danger is using it as a crutch to darken other colors. The deceased artist, Paul Strisik, once told me that black is black, if you mix it or get it out of a tube. I agree! | ||
Eric Unregistered guest |
I would never use ivory black alone (too lifeless) but it's pretty useful to mix with another color to gray down the intensity or get it really dark. | ||
Lisa Unregistered guest |
Sepia could also be a solution for a warm dark. | ||
Eugene New member Username: Eugene Post Number: 2 Registered: 8-2006 |
I use Ivory black when I want a REAL black. It's also useful for making greens (mixed with yellow) Just one of my little quirks. | ||
Marie New member Username: Marie Post Number: 1 Registered: 8-2006 |
Rekha, although burnt sienna and ultramarine blue are a wonderfully versatile combination, it can be difficult to get the combination really dark and warm at the same time. The tendency is to add more blue as you go darker. With black, you can go dark without going cool. | ||
Rekha Unregistered guest |
Eugene, why would you use lamp black when you could make something similar with perhaps burnt sienna and ultramarine deep? | ||
A.N. Unregistered guest |
Good question-- I use and have only used Winsor Newton paints and brushes so I would go with that. I would take Winsor Blue Red Shade, Cad. Yellow Pale, & Permanent Rose. For a brush I would take a w/n white nylon 1" flat. Paper -- Waterford CP. | ||
Eugene New member Username: Eugene Post Number: 1 Registered: 8-2006 |
My basic watercolor palette would aii be Maimeriblu colors. With these 7, I could paint allmost anything fairly well Burnt Sienna Raw Sienna PrimaryYellow Primart Red-Magenta Primary Blue-Cyan Ultramarine Deep Ivory Black I would choose a #10 Royal Landnickle round if I were on a tight budget or a # 10 Windsor Newton round series 7 if money was not a consideration. | ||
Anonymous Unregistered guest |
What would be the ideal minimal desert island palette? What single brush, if stranded on a desert island, would be the best to have? | ||
Terry Henry (Terry) New member Username: Terry Post Number: 3 Registered: 8-2006 |
Seems to have worked. | ||
A.N. Unregistered guest |
I'm just testing this new board. I took an old post, added this post, and let's see if the post climbs to the top of the board. If it does, this is a great improvement because fresh comments on old posts will be read by current users and not be lost far below! | ||
Dake |
Rather than being over concerned with arranging pigments based on transparency would it not be more value to your painting to arrange in a warm vc cool scheme. Transparency is of minimal importance in the heat and passion of the moment. I believe way too much emphasis is placed on the relative transparency of pigments. Hue is of far greater importance when selecting a pigment without having to consider if it's transparent or not. It's mythical and been over promoted by authors and watercolour tutors as a means of subject material in an otherwise saturated market. I know what you're saying because I experienced it when i was searching in the early years. But I find now i have a stable palette that regardless of it's transparency quality I plunge my brush into it based upon colour, tone and intensity. All watercolour is transparent really. Just visualize and paint. There aint a great diffence in cad scarlet and scarlet lake in practical application. There is not a subject that will make for a distinction and requires you to use one above another. I paint the most delicate of skin tones in young children and know that they are real clean glowers. My palette includes indian red,(very opaque) Cobalt blue(more opaque than ultra), Cad red, a little cad yellow pale among some other less opaque pigments. But i never use burnt sienna for childs skin and it's transparent. It's about hue and temperature. I make no distinction about transparency and have tremendous success with the most subtle of subjects. So if anyone can tell me where the big deal about transparency counts in the scheme of things..... well....you'd be wrong. | ||
Robert |
I recommend arranging them as a color wheel and just remembering what's what in terms of transparency. | ||
dirtybird |
From really bad experiences and a color theory class I have found that arranging watercolors first by transparent/nontransparent and then by primary color group( reds, blues, yellows) works for me. Then there is the problem of assigning the secondary colors to a related primary group and assigning the so called semi transparent colors to a group. I reccomend buying a sturdy palette larger than you think you need so you will have some empty spaces for expansion. Mark each slot with indelible ink for each color you buy and try not to change your arrangement because you will learn the properties of the colors from their position on the palette. I don't know exactly what type of paintings you are interested in doing but from the color selection you have I would guess that you will end up with at least twice that many colors. | ||
victoria |
I am new to watercolor and so this observation may not prove true, but it seems that somehow separating the transparent colors from the more opaque would be useful. Victoria | ||
Patrice |
>I've read a lot about color theory and organizing a palette. Has your reading given you any ideas? There are many ways. In some ways it may depend on the size and shape of your palette. Is it rectangular, round, in columns? If using a round palette, I would probably set them up in this order: Cad. Yellow (Hue) Cad. Orange (Hue), Cadmium Red (Hue) Alizarin Crimsom, Phthalo Blue, Cobalt Blue (Hue) UltraMarine Hooker’s Green Yellow Ochre, Raw Umber, Burnt Umber, Burnt Sienna, If using a palette that had two columns, I might put all the yellows, oranges, reds, earth colors on one side and all the cool blues, greens, and purples on the other. It's really a matter of personal choice. IMO, the most important thing is to set out an arrangement that seems 'right' to you, perhaps based on which colors you believe you will use most often. Once you have determined the layout you wish to use, stick with it instead of mixing things up all the time. That way you will be able to instinctively reach to the right place for the color you want instead of having to hunt for it every time. Yes, I agree that you should begin to learn your colors by painting patches of each of them from full strength to a very light shade. Then mix each color with one other and label your results. After that, add a third color and label the 3 colors you have used. You will find some neat things. Perhaps some you might not expect, such as yellow + black = green. You will find that with watercolors, some colors are composed of pigments that more or less sit on top of the surface of the paper, while other colors stain the paper. Some colors are translucent, while others are more opaque. The resulting color will often depend on which color is on top of the other if you are painting in layers. Learn your colors and what happens when you mix them and you will be on your way. IMO, it's like learning the scales on a piano, or how to read. One cannot play an instrument without knowing the notes. One cannot write without knowing how to read first. | ||
ellijacket |
I am new to watercolor (have been woodcarving a long time). I'm not brillant artist but have been able to be satisfied with my work in different areas after a lot of work and learning. I've read a lot about color theory and organizing a palette. I purchased a Renzetti starter set from Cheap Joe's and it has 12 colors: Alizarin Crimsom, Burnt Sienna, Burnt Umber, Yellow Ochre, Cobalt Blue (Hue), Cadmium Red (Hue), Cad. Yellow (Hue), Cad. Orange (Hue), UltraMarine, Phthalo Blue, Raw Umber, and Hookers Green. How should I arrange these colors? I thought about making some sheets with the individual colors and some mixes but I wasn't sure how to go about it to get what I need. Also, not sure how these colors could be mixed to get other nice colors. I want to do mostly landscapes and some fish (since I like to carve fish). Also, recommendations on aids like color wheels, etc.? Other recommendations? You can see my carvings at www.johncall.com. I also do collectible Santas but don't have any up. |
