| Author |
Message |
 
suzy
| | Posted on Friday, September 30, 2005 - 1:41 pm: |  |
I also love WS indanthrtone (Spelling??) ver cool blue...
It is very transparent with no granulation. |
Eshkenazi
| | Posted on Friday, September 30, 2005 - 8:48 am: | |
Suzy - typos are the bane of my existence. ^_^
My favorite blue (currently) is ultramarine. I use cobalt some but not as much. Cerulean remains mostly untouched and those are actually the only three blues I've ever tried. |
Suzy
| | Posted on Thursday, September 29, 2005 - 9:25 pm: | |
Oops Lisa...I had typos too!! |
Suzy
| | Posted on Thursday, September 29, 2005 - 9:24 pm: | |
Eshkenazi,
itsn't it funny how we all gravitate towards different color taste. Personlly I love cerulean. I can't hardly paint without it.
I also love quinacridone Gold charged into anything purple! |
Eshkenazi
| | Posted on Wednesday, September 28, 2005 - 1:54 pm: | |
Um...please feel free to ignore the numerous typos in that last post...
:) |
Eshkenazi
| | Posted on Wednesday, September 28, 2005 - 1:48 pm: | |
Robert- I'm going to have to try cerulean for clouds. I have an almost full tube of it that I generally only use for my fantasy character's tattoos. I bought it when I first started painted because it was recommended and then after using it once thought "Ew. What a nasty color." *L*
But I've never tried to the cerulean/scarlet mixture. That is one I'm going to write down to see if it works for me and my work. :)
PS You can call me Lisa. I just post under Eshkenazi because my last name is never taken as a UID. But you can call me Eshkenazi if you want too--it doesn't bother me. Sometimes the first names just help with the sense of community though so I thought I'd just throw mine out there :) |
Robert
| | Posted on Thursday, September 22, 2005 - 1:27 pm: | |
Eshkenazi--
Raw Umber vary a lot--many are dense and gritty. Like you I prefer the transparency and smoothness of Maimeriblu Raw Umber. Sennelier's and Daler-Rowney's are similar to Maimeriblu's but much more concentrated. I like Grumbacher Finest Ultramarine to mix with it. This is a great way to color distant foliage. |
Robert
| | Posted on Thursday, September 22, 2005 - 12:02 pm: | |
My favorite is a cloud gray made from cerulean blue and cadmium scarlet. Or cerulean blue and ventetian red. I can't get such a realistic cloud shadow color any other way. |
Eshkenazi
| | Posted on Wednesday, September 21, 2005 - 12:30 pm: | |
The current combination that I'm in love with (for my paintings) is ultramarine and raw umber. I use it for skies and then with different concentrations, for trees. I like both colors separately as well but I mix them a *lot*
...I think I'm going to have buy bigger tubes of both. :D
BTW, I use mai meri right now (for both of those colors.) :) |
MistyBeauchamp
| | Posted on Friday, September 16, 2005 - 3:21 pm: | |
I am primarily a pet portrait artist with about twenty years of experience, and I work in watercolor, pastel, oil and acrylic when I must.
In watercolor, I like to use phthalo green and a purple such as dioxazine or thio violet to make cool black and greys. This works well for the metal of dog's collars or horse's buckles. I like to create warm blacks with cobalt blue and a strong rusty brown like brown madder- (quinacridone, not alizarin or real madder, for lightfastness). This mix is excellent for shadows and areas where you need a strong vibrating dark, full of life- not the flat dull lifelessness of tube blacks. Some people have great success with tube blacks and can handle them with such care that they never get ugly. To me, though, the real use for a tube black is to combine it with with yellow for subtle "vegetation greens". I also like to use Phthalo turquoise, a convenience color made by combining Phthalo blue (yellowish) and Phthalo green, and I mix it with yellows for bright greens, reds for muted mauves and purples, and go across the color wheel to a red orange (quinacridone) primary to make subtle diluted greys.
I don't ever buy paint strictly according to brand or color name, but by the actual pigment that is in the tube or pan, and how that particular pigment or color in that particular brand actually performs.I find that some pigments in so called student grades are as good as or better than "artist quality" but that others leave a lot to be desired. There can also be huge variations within a single manufacturer's range, although some manufacturers seem to have gotten more uniform in quality across their ranges. I tend to shun prepackaged "convenience mixes" unless they can be demonstrated to have a real value to me. Because I paint a lot of different subject matter, I have a lot of different pigments, but I always select a limited palette of no more than about eight colors for any particular painting before I begin, and I only put out those colors I will be using, and I throw away leftovers.
When painting horses, I find I repeatedly go after the brown quinacridone and rarely if ever use burnt sienna or burnt umber, and never use sepia. I just like the vibrancy and transparency of the quinacridone colors better. For lighter golden colors like buckskin and palomino, I really like to mix in some Chinese white with mars yellow or yellow ochre or raw sienna to get the "creaminess" associated with those colors. (Some people will use "naples yellow" which is a convenience color made of one of those mixes) And I ALWAYS work some complimentary purplish darks into a golden animal to add vibrancy. Also, a little Chinese white added to the greys of a horse's nose produces a "velvetiness" that cannot be achieved without it. Yes, it is no longer "transparent watercolor", but then to my mind, neither are any of the cadmium colors, chromium oxide green (another of my favourites), or the various blacks, especially if they are applied without being diluted much. I think that whatever works for you- go for it. In the art world, rules are made to be broken! I hope this helps someone! |
sarita
| | Posted on Saturday, August 6, 2005 - 4:06 pm: | |
I spent most of this weekend combining and mixing
colors. Sometimes when I haven't a clue what to paint I find simple inspiration in just watching the colors blend. This gives me a sense of calm and peace, like meditation. Have you ever selected a subject purely for the use of a color or color combos you discovered?
Just curious, but what are you favorite color
combos. Whether mixed, or charged in to intermingle on the paper. How do use these combos and what brand do you use.
One of my favorites is Daniel Smith Q. Rose & Q. Coral. This combo excites me to watch cool red intermingle with warm red. Another is pyrrol orange and rich green gold, again D.S.
Please share your favorite color recipes. |
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