| Author | Message | ||
  Linda |
If you (like me) enjoy PG50 turquoise, you'll love manganese blue (same luminosity, just more sky blue). Cerulean blue is more green (and more dull) than manganese blue. The problem is, it is hard on the planet to manufacture manganese blue, and so I haven't purchased it. G50 with cobalt will exactly duplicate the color, I say. I keep a palette slot open for PG50 too! | ||
midnight_baseball |
as i mentioned in another post, i recently rounded out a few hue gaps in my palette for one: adding turquoise between my blue and green sections. i found WN cobalt turquoise to work very nicely for both water and sky - especially when faded/merged with cerulean. i feel it makes a nice subtle hue transition at a relatively similar value. one surprise happened that refreshed the way i look at/use pigments: i was working on a full sheet of rough paper and the granulation i got really made that section of the painting interesting beyond the hue. i have since also used AJ andrews turquoise in this hue position and have also mixed it with cerulean, and/or cobalt blue with a few dashes of phthalo green. besides water and sky, i have used this hue successfully with background areas and cool passages in figure paintings (thanks to don andrews again). even though it can be mixed, i now keep a palette slot for it (and a few other non-single pigment colors) as a visual reminder when i am selecting the limited number of hues i will compose the painting with. this might be slightly off topic now - but since my recent cobalt turquoise granulation experience - i was wondering if manganese blue might suit me sometimes in the cerulean position. - anybody have thoughts on that? | ||
Ben |
I bought two cheap tubes from the box with discontinued WN paints one is PG50 cobalt titanate green (the same pigment as 'cobalt teal') I tried it today and it is a beautiful 'cobalt green yellow shade' the other is 'blue black' Bk6 it is neutral, what can I say? I will try it in painting I bought van Gogh 'madder lake deep' because it has PR264 on the tube (not on their website) must be a new formulation for the new 'Winsor red deep' W&N use(s) the same pigment | ||
Robert |
This is useful info and raises an interesting point. Most palettes have a gap at the turquoise position which means that there is no exact neutralizing component for the complements of turquoise in most palettes. I am going to try and fit this and a transparent pthalo turquoise into my palette to see how useful these are in the long haul. | ||
Ben |
the cobalt titanium oxide (PG50) dulls warm and violet pigments it neutralizes with many red-orange to deep red pigments (many more than cerulean does) when neutralized, the result is a light grey, even at full strength ("light" as opposite to "dark"; at full strength it is "heavy" / opaque though) when thinned to an even lighter grey, or mixed with transparent pigments, it is still 'material'('milky'?) with Quinacridone rose (PV19) for example, the result is all lavender greys (tints like the flowers, leaves and stems of lavender) | ||
Robert |
One other use--In yellowed grasses I often wisk in viridian near the bases-the cobalt turquoise light (D/s teal) works very well, also. | ||
Robert |
I did a painting with a low horizon and used Cobalt turquoise light for the distant, greenish, low to horizon sky. It lookled great in a thin wash--just the right hue --and granulated slighly. I want to start using it for bounced light in cool shadow areas, but also feel it announces itself too prominantly if not careful. | ||
marie |
I sometimes use the DS cobalt teal blue in place of cerulean blue. Even though the cobalt is lighter, greener, and brighter than the cerulean, the two pigments handle similarly. The teal/turquoise is a surprisingly good mixer, and I usually get pleasant results with it. It's not an everyday pigment for me, and I'm not entirely sure why. Perhaps the pigment is too obvious. As soon as I use it, even in small quantities, the painting says "I used cobalt turquoise light." | ||
Suzy |
I actually use Cobalt Teal by DS on my fine art pallette. I really like it as it seems to have what I call "Weight" It is easy for it to over power a painting if not careful. I use it mixed in my fine art more than straight out the tube. Its also beautiful charged into Quin Gold!!! I have never used it in my commercial lines, and Im not sure why????? I've never used the WN counterpart. | ||
jandrle@speakeasy.net |
As far as I know she uses cobalt tourquoise. I have never heard of or seen the light. She might have it, carries a million tubes it seems in a plastic bag, though her palette is very limited. She has even removed some of the partitions. She never paints straight from the pans though, always adds fresh paint as she works, adds it often in fact. Wonder sometimes how she get the lid on the palette. I have changed many of my habits in painting after working with her. Funny how that happend because I had been painting for many years. Ready for it I guess. | ||
Robert |
Just kidding about the journey--obviously used metaphorically on your part, J. Does she, Carol carter, --or you, J, --use cobalt tuyrquoise light or cobalt turquoise? 2 different pigments--the PG 50 cobalt turquoise light (cobalt teal in daniel smith, cobalt turquoise light in winsor newton--the only 2 who make it) is really bright and beautiful. I've begun using it to charge cool shadows. Nice effect but your eye goes right to that spot in the finished painting. | ||
Robert |
"She has painted swimming pools a lot in her journey..." I've seen her swimming pool paitings. Striking use of color--love them. Where has she journeyed? | ||
jandrle@speakeasy.net |
After taking her workshop I added cobalt tourquoise and use it a lot. Mixed with burnt sienna it makes a wonderful greygreen color that is great for backgrounds. She told us in the workshop that, because she grew up in Florida, to her it is swimming pool blue. She has painted swimming pools a lot in her journey, that and her swimmers are a repeat theme for her. It is a heavy color though, and needs to be used lightly. Jane | ||
Robert |
Interestingly, I just discovered on handprint.com that Carol Carter includes cobalt turquoise in her palette. | ||
Robert |
I thinking of a relative of cerulean that is bright teal--not an earth. | ||
Raliegh |
These would be the earth pigments I read on DS, Lapis Lazuli, Azurite, Umber Sienna, Terre Verte Bohemian Green Earth. | ||
Raliegh |
It may be that alkyd is used to thin this earth color. A while back I read an article by Butch Krieger "Dust of the Earth" on Daniel Smith's site. I was intrigued with the earth pigments but have never used them and I don't know alkyd. | ||
Robert |
Correction: Actually I was thinking of Cobalt turquoise "light" by W/n or Cobalt Teal by daniel smith. [PG 50-a different pigment from cobalt turquoise (which is a greenish cerulean)--sorry]. I am wondering who uses this and what use you make of it. It is a gorgeous pigment. | ||
Robert |
Other than rendering water, what uses have any of you found for cobalt turquoise? It is a beautiful paint but I'd like to know how it might be of use. |
