| Author | Message | ||
  Robert |
For portaits and realistic figures I use indranthene, raw sienna, and venetian red. Very similar to your triad, John. | ||
John Preston |
Indanthrone sounds interesting. My favorite subdued trio has been indigo, yellow ochre and indian red. Indanthrone sounds like it would fit in there nice. | ||
Robert |
I like to make such darks using Indranthrone (indranthrene) or (holbein Royal blue or Maimeriblu Feiance Blue)--it's all PB 60. It works like a muted dark blue (indigo) but lacks the addition of dulling carbon black found in indigo and payne's gray. I often charge full bodied pigment into wet passages and I have found that if I mix my Burnt Umber hue from burnt sienna and blue I am introducing wetter pigment because of the mix. This causes the burnt umber mix to be less dark and behave differently that if I used B.U. straight from the tube. In the same painting I may also mix the burnt umber hue from burnt sienna and blue for a more lyrical passage. It depends on what I need that particular brush load to do. | ||
John Preston |
Eric, Antwerp Blue is Prussian Blue, PB27, but contains alkalai which gives it a greener bias than regular prussian. It's looks like Prussian with a bit of Thalo mixed in. It's not as dark as regular prussian, has no granulation and mixes slightly cleaner greens than regular Prussian. I'll probably go back to regular when it runs out. Prussian was the "new" blue In Turner and Cotman's time and some of Cotman's pictures look like he had the greener alkalai shade. W&N probably called it Antwerp because Prussian was called Berlin Blue and Paris Blue when it first came out. BTW Jennifer, I've used that same mix. It's quite nice and has a lot of range depending on how much of each component you use. | ||
Eric |
What is "Antwerp blue"? Is that just a brand name for thalo blue? | ||
jennifer sheffer |
I like to use Antwerp Blue with Burnt Sienna for an "Umber-y" brown.Less granular, more transparent and more stable, in my opinion. | ||
Eric |
If you didn't want anything cool showing up I can see where you'd use burnt umber instead of mixing ult. blue and b. sienna. However, one of the things I love about watercolor is when two colors are mixed and intermingle and two of the best at that are ultramarine blue and burnt sienna. They granulate and you can see each color. I love that look. | ||
Robert |
Suzy--"it easily mixes mud" is the common complaint. Eric--Burnt sienna plus ultramarine = Burnt umber-- The reason I have started using it is that the tube burnt umber has a slight warmth and transparency that I like and sometimes mixing colors tends to introduce too much water for the needed application. Also, in figure painting, the ultramarine component of a mix might tend to introduce an unwanted cool undertone. | ||
Eric |
It seems like Burnt Umber is not on a lot of artist's pallettes. I've never used it. Can you get the same color from graying down a burnt sienna with a warm blue? (ultramarine) | ||
Suzy |
Beats me? I can't live without it. Interesting, but I've never been discouraged from using it. What were the grounds that they discouraged you...their reasoning? I have been discouraged from Paynes Gray and after trying anyway, I agreed. It muddies my work. I am either using it wrong... or using it right and not seeing the beauty thereof. But I do love Burnt Umber...especially Daniel Smiths. | ||
Robert |
So many teachers and workshp presenters and writers on watercolor warn against Burnt Umber that I've avoided it. I've begun using it and it is wonderful. If used transparently it is a great 'warm" counterpart to the darks on the blue side. How did I get along without it? |
