| Author | Message | ||
  Howard |
I was curious to see if the combination of M. Graham Phthalo Green and Daniel Smith Carbozole Violet, which uses the same pigment as Winsor Violet (PV23, dioxazine violet), would yield indigo. I wasn't able to mix "traditional" dungaree color, but I was able to create a faded dungaree look, and also was able to create a really nice turqoise. Both paints, by the way, are strong mixers and can easily dominate a mix. Howard | ||
Robert |
George, thanks-- I specified Pthalo green blue shade (PG7)and dioxiazine (winsor violet) for a specific reason. I am not, though, being theoretical (I realize the red in the violet cancels the green in the pthalo leaving the remaining blue in each), but practical--ie, a tip for a new great blue. I urge you to actually mix these two specific pigments and see the blue that results! Great indigo color! | ||
greg |
wow, nice work I especially like the tighter work... how long did you make him sit there? people are dying to model for you!!! sorry I had to say that :) beautiful work Marie | ||
marie |
Howard, you asked a few days ago about how to do drapery wet-in-wet. Sorry, I have been away from my computer. Here's how I do it: 1) Mix up plenty of fresh paint: one puddle of the local color and darker, more muted puddles for the shadows. I may have several puddles of different colors running into each other. The main thing is to make sure that the paint is at a consistency you can work with. Make sure there are no big, stringy globs of paint. Once the wash starts, there's not much time to fiddle with your palette. 2) Do a wash of the local color with the biggest brush you can handle. 3) Watch the wetness of the paper. When the paper is still shiny but not so wet as to completely run down the page, come in with your folds and shadows. I try to do each fold quickly in one brushstroke. 4) If the shadows/folds start to drip down into the light areas, take a tissue or a thirsty brush and *gently* lift away the drips. You have to keep watching for drips and runs until the paper gets fairly dry. 5) Sometimes, I might add just a few hard edges after everything is dry. It's easy to overdo it, though. That's about it. I have not had much luck with this technique using only synthetic organic pigments, such as the thalos. They always seem to dry with an odd, crinkly edge. Even when I want a rich color, I try to make sure there's an inorganic pigment (ultramarine, cobalt, or an earth color) in the mix. Here are a couple of examples: I did this sketch on Saturday. I'm not happy with the composition, but it's a really good likeness and the color and the values are right on the money. The dull orange and black drapery were done wet-in-wet. The white drapery was done dry.  Here's another, a little tighter than my usual work. The original is 15x22, and I recall using huge brushes -- a CJAS tsunami size 35 and my biggest size 16 kolinsky for the drapery.  | ||
George |
Robert, purple and green paint make blue if both the purple and green paints lean toward the blue side of the color wheel, then the green cancels out the red in the purple leaving a dark blue. | ||
Robert |
Indigo Update--Here's a brief, interesting history of Indigo: http://webexhibits.org/pigments/indiv/overview/indigo.html Since 1870, it says, the dye has been made in the lab rather tahn from the plant directly, but the indigo dye is still the same pigment. However, all of the companies who make indigo paint, use a pthalo blue and carbon black (or similar) mix rather than the dye. Prismacolor, and Grumbacher Finest before it, uses the authentic dye. | ||
Robert |
Howard, Not only are dungaress indigo in color but, more significantly, that are dyed with a dye traditional made from the indigo plant. That's what for authenticity I mentioned Prismacolor indigo since , unlike all the other indigos made from a mixture of blue and black pigments, the Prismacolor is the real indigo McCoy. | ||
Robert |
Yea, John... Bronx, Texas. I am so hyper that I seem always to press post prior to proof-reading. An apology would seem disingenuous since do doubt I will probably keep it up, despite the fact that I know better. | ||
tachee |
good idea howard! add a dot com to that address http://watercolortalk.livejournal.com/ | ||
Howard |
Hi everyone. I'd just like to let you know that I recently started a blog about watercolor that you can access at http://watercolortalk.livejournal. You're all most welcome to visit. I'm a watercolor portrait painter and will be talking a lot about that in my blog. Thanks, Howard | ||
John Preston |
Indantrone?...Wad are yoos frum da Bronx or sump'n? | ||
Robert |
Howard--spelled it wrong earlier soooo--------------here it is posted from Joe's: MB377 - Maimeriblu Watercolor Faience Blue 15 ML Price: $6.49 List Price: $12.99 This is actually Indantrone Blue. It handles beautifully. | ||
Robert |
I don't currently use Indanthrene blue but have tried it in the past and really liked Maimeriblu's version, Feiance Blue. I want to emphasize that the same blue can be made my mixing purple (winsor violet type) and pthalo green. I know they teach that a primary is defined as "you can't mix it from other colors" but I swear that purple and green paint make blue. Try it. | ||
greg |
I bought my wife another camera a while back. She shoots all of my photo reference material. she used to use an AE1 for years, now she has a Canon EOS 20D. Amazing camera. I shot these images outside on a clear day around 11:00. Art on a flat easel, camera on a tripod about 5 feet away. I zoomed in tight and took multiple images. Then I downloaded into the computer and cropped them, adjusted white balance and color, contrast, until I was happy. They are too large to scan on a flat bed scanner, but that works too for smaller work. The optics in Canon lenses are top notch. Capture the work in the highest resolution possible, you can always go down, but not back up. I am glad you liked them. :) | ||
Howard |
Impressive. Greg, how did you digitize those paintings? Did you photograph them with a digital camera, scan them, or do it another way? If you photographed them, I'd love to know how you did it. My photographs of my watercolors never seem to come out right. Howard | ||
greg |
there are 3 of my works on that thread | ||
greg |
It is one of the topics on this forum. It is called "how do I get a JPEG image on this forum" it is about 19 threads below this one. last posted on Feb 19th. | ||
Howard |
Gregg, How do I access your JPEG thread to look at your work? Howard | ||
greg |
Everyone is correct with these color mixes. If there is one thing I have painted a lot it is jeans. Look at my work in the JPEG thread, you will see a lot of jeans. Some darker than others. Ult. blue first, to establish values, I draw where the dark folds will be first, just the shadow shapes once the first light wash is complete. The first wash may be the lightest highlight, if not I use a QTIP and lightly remove some of the pigment when it is still wet. then the fun begins. remember most jeans are originally white then dyed blue in the manufact. process. I build up washes trying to gently blend into the highlights I created. folds will be dark and cool, mid values are a little warmer, maybe a touch of cerulean. I use Prismacolor Indigo as well sometimes, Robert is correct it is a wonderful Indigo. I use a little yellow ochre with a touch of burnt sienna for dust of dirt if needed and Y. ochre for the stitching if it needs to be seen. You can adjust your temperature of the denim according to your overall piece. Sometimes the jeans need to be warmer sometimes cooler blue. I also use a little violet or cool red at times. For the piece I did of all of the cowboy's standing in a line, that I shared here with you, I layed out 5-6 pairs of my jeans and studied them for colors. Jeans are kinda fun so enjoy.....you can even make them GREEN JEANS! | ||
Howard |
Thanks all for the info. I like your color combo suggestions and plan to try them, though I might also get a tube of Indigo. I haven't tried Prismacolor watercolors. How are they? Marie, how do you make drapery-like folds wet-in-wet? Any details you can provide would be much appreciated. I've painted wet-in-wet but never used that technique to make folds. I've also used Daler-Rowney Indanthrone blue but have been unhappy with how it handles. The paint doesn't seem to flow right. What brand of Indanthrone blue are you using? Does it work well? Howard | ||
marie |
There are several ways to get a denim color. Personally, I would start with ultramarine blue, possibly dulled and darkened a bit with a black or brown pigment or darker blue pigment. It depends a little on the exact shade of the denim and the quality of the light. Indanthrone blue would be another interesting pigment to explore. Ultramarine gives you a couple of nice things in addition to color. First, it has a nice texture that would work nicely with denim. Also, it behaves nicely wet-in-wet, which can be a real plus with drapery folds. | ||
Robert |
I personally would mix winsor violet (or dioxine or carbazole) violet and (Winsor green blue shade) pthalo green. Makes a perfect muted dark blue color. If you want to be authentic, the color is indigo. Most companies make indigo watercolor from tphalo blue and back. However, prismacolor uses the old, nonlightfast pigment in their indigo and it is the same pigment used in blue jeans. thus you can actually paint them with the same dye used in making them if you use Prismacolor indigo. | ||
Dan |
I would think anything from Paynes grey, Indigo or perhaps a mix of Burnt umber and Ultramarine Blue. J.M.O....see what someone else thinks. | ||
Howard |
What watercolor paints would you use to paint blue dungarees that are the traditional blue color? Howard |
