| Author | Message | ||
  Anon. Unregistered guest |
Mea Culpa | ||
Garydoc Member Username: Garydoc Post Number: 38 Registered: 8-2006 |
To anonymous, My comment to Terry was regarding the barrage of spam that was being posted, not one regarding the legitimate posts herein! Gary | ||
Anonymous Unregistered guest |
You are in error. Dobie disallows Burnt Sienna because it is a mix of the three primaries (her comment about less transparency was not the deciding factor). Her use of indian red is based upon it's effect in mixing grays from other colors and such colors can be made transparent when sufficiently diluted. I agree with Garydoc--I hate prostrating myself before a guru. How can anyone take Jeanne Dobie with more than a grain of salt after she swears by a significantly fugitive palette. I understand she abandoned it, but have her disciples? | ||
Garydoc Member Username: Garydoc Post Number: 36 Registered: 8-2006 |
Terry, HELP we're being innundated by cr-p! Gary | ||
Marie Member Username: Marie Post Number: 30 Registered: 8-2006 |
I always found it a little mystifying that her book preaches the merits of transparent pigments and then she recommends Indian Red, which is one of the few paints (along with Chromium Oxide Green) that I find so opaque as to be bothersome. | ||
Eugene Intermediate Member Username: Eugene Post Number: 61 Registered: 8-2006 |
Dobies theory has not changed but she has changed her palette, since many of her colors were fugitive. I like her painting but I don't always agree with her. She has too many formulas for my taste. example: She didn't use burnt sienna because it wasn't transparent enough. Instead, she said that mixing aureolin and rose madder genuine (both fugitive) would give you the same thing, but more transparency. I personally cannot paint without Burnt sienna. It's transparent enough for me.We all have our little quirks. | ||
Suzy Junior Member Username: Suzy Post Number: 22 Registered: 8-2006 |
The Jeanne Dobie book is quite old. I don't think her color theory has changed however | ||
Marie Member Username: Marie Post Number: 29 Registered: 8-2006 |
I like Perylene Green, although it's not an everyday pigment for me. It makes nice, subdued greens and it's wonderful for mixing darks. I also like it with raw sienna. M. Graham's Viridian is good. It's much easier to rewet than the other viridians. My main objection to Viridian is that once it dries on my palette I find it terribly difficult to rewet. | ||
Michael Unregistered guest |
I think it's been discussed before but I wanted to know what experiences folks have been having if they tried WN Perylene Green. This "shadow" green mixed with WN Transparent Yellow (PY150 version) makes some very natural subdued greens. I've always liked Viridian, but it has it's drawbacks. Just got a tube of MGraham's version, should be interesting. | ||
Eric Unregistered guest |
Speaking of Jeanne Dobie, after visiting her website, her paintings don't look anything like her paintings in the Making Color Sing book. Big style change. Does anyone know anything about that? I just find it curious when somebody writes a book featuring a certain style and then abruptly changes. Skip Lawrence would be another example. Didn't mean to hijack this "green" thread, I'm just thinking out loud. | ||
Suzy Junior Member Username: Suzy Post Number: 21 Registered: 8-2006 |
Bill.. Green Green, Im going away to where the grass is greener still! | ||
Suzy Junior Member Username: Suzy Post Number: 20 Registered: 8-2006 |
After taking a class based on Jeanne Dobies book, "Making Colors Sing" I adopted the color Viridan. Mixed with lots of fun combinations it give a beautiful variety of greens. When I lived up in North Idaho and used to paint a lot of northern woodsy scenes and landscapes, I loved using Holbien Indigo and DS Quin Gold. It made wonderful woodsy pine tree greens. | ||
A Bill Unregistered guest |
"Green Green , It's green they say, on the far side of the hill." Anyone remember this old tune? | ||
Anonymous Unregistered guest |
Try Daler Rownery Hooker's Green Light. It looks and handles beautifully. | ||
Eric Unregistered guest |
Green is certainly the color where you don't see a consensus opinion among artists. While virtually everyone uses colors like ultramarine blue and burnt sienna and aliz. crimson (or a quinacridone substitute), with green everyone does something different. I'm always grappling with the question of whether to have many different greens in my arsenal, or to just mix everything with blues and yellows. | ||
George Unregistered guest |
On a side note – when I did use phthalo green (I used a lot of it in the past) my favorite color to mix with it was Burnt Umber (Gives a very dark somber (moody) green). | ||
George Unregistered guest |
Eugene, a good a transparent dark blue is Winsor blue (also a phthalo but makes good greens with the earth yellows and orange yellows). Eric, what I was trying to say about phthalo Green not giving a large variation of greens is that all the resulting greens have that tell tail metallic undertone (to my eye). The way to avoid this is to use a number of different blue pigments to mix different greens. Marie, I’ve used phthalo green yellow shade. It works very much like the blue shade in mixes with the reds and dark yellows. The only advantage I saw in it was in mixing very bright, intense and true pure yellow greens (with the cool yellows). Since I never have any need for that color and could only imagine it being useful in abstract style paintings (and perhaps some flower paintings) I dropped it some years back. | ||
Marie Member Username: Marie Post Number: 28 Registered: 8-2006 |
Has anyone tried W/N's phthalo green yellow shade? How is it as a mixer? I have a tube of it, but I have never played around with it very much. Eric, I don't care for ultramarine for making greens. It leans too far toward violet. Cobalt and cerulean, however, I love as long as I don't want to go dark. | ||
Eric Unregistered guest |
After reading the opinions here I mixed a bunch of greens with ultramarine blue and yellows and compared them to phthalo green mixed with various yellows and burnt sienna. The phthalo green mixed with colors looked much brighter and bolder, while ultra. blue with yellows (both lemony-cooler yellow and a warmer yellow) looked duller and grayer. Ultramarine blue mixed with the cooler yellow was brighter than ultra. blue mixed with warm yellow but not as bright as phthalo green mixed with cool yellow. In my opinion phthalo green is an outstanding mixer. Phthalo blue also gave me similar results. George, you're wrong about phthalo not giving a large variation of greens. I just mixed many, many different greens mixing phthalo green with two different yellows, raw sienna, burnt sienna, alizarin crimson, and even ultra. blue and the variation is vast. Just as much variation as mixing blues and yellows or any other way you want to come up with a green. | ||
Eugene Intermediate Member Username: Eugene Post Number: 60 Registered: 8-2006 |
Marie,and George, thanks. I agree with both of you. I don't use the thalos anymore except for really darks. George, what do you use for a transparent dark blue? Ultramarine is really granular and a little opaque. Prussian is about as overwhelming as thalo. | ||
Marie Member Username: Marie Post Number: 27 Registered: 8-2006 |
Like George, I tend to use yellow and blue to make greens. Recently, I have become especially fond of W/N's Phthalo Turquoise for mixing greens. It plays well with just about any yellow. I tend to have a difficult time controlling phthalo green and convenience mixtures made from phthalo green. I have a difficult time rinsing it from my brush, and it somehow manages to work its way surreptitiously into every well on my palette. When I do use phthalo green, I use it for making darks, and I remove it from my palette as soon as I have finished with it. Even though I don't use pre-mixed greens often, my choices would be the M. Graham Hookers Green or Sap green. They are both absolutely gorgeous right out of the tube. The Rembrandt Hookers Green Deep is also nice. | ||
George Unregistered guest |
Eugene, the siennas and ochers are yellows too(earth yellows). Be sure to use a transparent blue with them. Some people like the warm (orange) yellows for their greens. They are really great for greens. Any of them will do. The cool yellows (green yellows)work well too if you use a blue that leans to the purple side with them - like ultramarine. Even green gold (its really yellow not green)is good when mixed with the right blue. For the blue in a yellow/blue mixture, any blue will do just fine, but I personally stay away from the cool blues as they tend to look unnatural. | ||
Eugene Intermediate Member Username: Eugene Post Number: 59 Registered: 8-2006 |
Goeorge. What blues and yellows do you mix to make your greens? Greens are just too green for my taste unless they are toned down with raw or burnt sienna. Reds make them too gray. Just blue and yellow will not do it for me. I agree that the thalo based are super strong, but can be controlled, if used with care. | ||
George Unregistered guest |
I prefer to mix my greens from blue and yellow. In my mind Phthalo is too unnatural a green. I think of it as auto body green. Making Phthalo more natural in appearance by adding large amounts of earths is as time consuming as mixing green from blue and yellow. The advantage of using blue and yellow is that I can go warm to cool, or cool to warm, without going back to unnatural (the result of using more Phthalo to cool a mix). I’ve noticed that people who use Phthalo, or use a paint with Phthalo in it (sap or hookers), tend to do paintings where all the greens look like they came off the same tree. If you look at nature, the range of greens have a lot of variation. Phthalo can’t give you that kind of variation easily because of its strong tinting power. It’s like money (also green) in that it corrupts everything it touches (attempt at humor). However, if you are painting a picture of a car then you should use Phthalo (Everything is good for something!). | ||
Eric Unregistered guest |
I use phthalo green (DaVinci or AJ) and always add something; usually yellow or burnt sienna or aliz. crimson for a grayish green or a really dark green. Phthalo is usually the base green in premixed greens, so that's my reason for using it. I also usually have olive green on my pallette and recently have been using Holbein permanent green #1 or #2, I can't remember which one, it's the brighter of the two. That's an extremely bright green. | ||
Eugene Intermediate Member Username: Eugene Post Number: 58 Registered: 8-2006 |
What greens do you use? I’ve always relied on sap green as a base and usually modify it with yellow, raw sienna and/or burnt sienna. I am now painting with MaimariBlu colors and like them in general. BUT, I think their sap green s awful. It’s smeary, sticky, and seems to be mixed with some kind of ”gel”, and is hard to use. Has anyone else had this trouble? I’ve switched to Hookers green, which when mixed with other colors can give me almost the same results. I’m looking for a leaf colored green to use as my workhorse green. Any suggestions? |
