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Teoria e pratica di madre Teresa. Writing down the bones: freeing the writer within. Recommend Documents. Steinberg, McGill University, Canada Tolkien: A B In truth, I keep both of these pigments on my palette, as well as a Naples Yellow Dark. But I didn't want to make students go out and buy too much at the start and its not necessary. Those are just my personal working methods. When I was in school I had a much smaller palette that I stuck with and only began expanding gradually throughout the years.
Antica Earth Green is a color that I turn to a lot for just about everything. I like Antica Green Earth because it is natural and not synthetic. I can feel the crumbly texture of the pigment particles under my brush as I paint and I like to vary that with finer particle size pigments, such as lead white. It's also a nice lower chroma green. If I want a keyed up green than I mix one with yellow and blue. Pozzuoli Red is another color that is very familiar to painters. Venetian Red is one of the closest replacements.
I actually used to use a Venetian Red by Rublev Colours but after visiting their factory and seeing a batch of Pozzuoli Red being made shown below I brought home a tube and have been using it instead.
Except that I have never encountered a blue like this one. Ruble Colours Artist Oils do not contain additives, so this is why the color's natural consistency lends Rublev Colour Ultramarine Blue Green Shade its unusual characteristics over other brands of ultramarine blue. It is honey like and ropy, extremely stringy and long and harder to spread you might need bristles for that but a joy to blend and manipulate with. It was one of the colors that got me interested in the possibilities of grinding my own paints and then having the choice of my own binder medium.
Lemon Ocher is a version of yellow ocher, a color that most people are familiar with. I chose this one as it felt very light and creamy, almost like whipped cream. It was also brighter. Alizarin Crimson is a very high tinting color which I use mainly in my darks and for giving a reddish hue to dark pigment mixtures.
I try to use it sparingly so a little will go a long way on the palette. Additionally, take heart!
For the majority of mixtures and paint mileage you will probably use earth colors and umbers like I do, and spare the more expensive pigments for highlights, tinting and accents. Cyprus Raw Umber Dark is a fantastic color. I formerly used a generic raw umber that was synthetic, and sunk in… and was devoid of texture.
The raw umbers I recommend hurdle over all of these issues.
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The French Raw Umber is probably closest to the other raw umbers you will find on the market, and is the one I am most familiar with using. And it is a lovely color with coarse pigment particles and acts similarly to Antica Green Earth. Meanwhile the Cyprus Raw Umber Dark is super dark, almost black, and is smooth and has been great for getting deep shadow colors without having to resort to too much black.
Throw some Ultramarine Blue in instead perhaps.
Of course, nothing is wrong with black. I am not one of those painters that recommends leaving black off the palette entirely. But I do try to avoid reaching for it just because it is dark. Bone Black is one of the darkest ones you will find and it is a cold black. Black does dry slower, however, and so sometimes I like to throw some Orange Molybdate in with it to make it warmer and dry faster. These are all great colors for tinting your black without getting the chalkiness in it which might not make it look as deep. There I go giving all the secrets away, oh well.
Old tricks, nothing new. Now Maya Blue is a great new color and has been made available to painters again recently. It was never on the Western Art palette since it was used by the Mayans using clay and indigo to synthetically create this lovely color. Its a bit like an earth blue, meaning that it does not have as high a chroma as other blues might and it also goes really dark which I love. This is part of my extended palette, meaning you don't absolutely have to bring it to class.
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Cobalt Chromite Blue is a pigment name that I am jut getting used to saying. Its only been on my palette for a few months and I loved it instantly. I think I was one of the first persons to try it out because I got it from the factory with a smiley face drawn on the back of the label instead of the pigment facts, it being tubed early at my request. Cobalt Chromite Blue is what I used to think of as Cerulean blue. It has a lovely hue and very strong tinting strength.
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This one comes darker than many Cerulean blues I was used to working with. This is also on my extended palette, optional. I guess I just like having lots of paints…. The next optional color is Vermilion , a very beautiful and historic red.
One of its appeals it that it can be mixed with a lots of other colors on the palette and you get greys and lavenders and not as much brown or orange. It has replaced cadmium red on my palette for the time being, as I was curious to see what would happen if I coordinated my palette as whole to a more natural set of paints found on older canvases that I admired. Verona Green Earth is a higher chroma green that I like to have on my palette and reach for instead of mixing up my own green all the time. This palette see below is from a portrait painting demonstration at the Portrait Society of America Conference.
I prefer to lay out my colors from light to dark and warm to cool, so that I get to what my eyes looks like a harmonious display of hues. The important thing is that I have got used to this arrangement so I can send my brush or palette knife to the appropriate pile for mixing without having to think about it too consciously, thus freeing up my mind for drawing and value work on the painting. I like to work on oil primed canvas which does not necessarily have to be pre-toned.
In the past I have used a dry warm brown or cool grey mid tone preparation, however I came upon the method that I use now by accident. When beginning an alla prima painting, or one day sketch, I prefer to rub raw umber and paint a medium heavy wash over the entire canvas and start working directly into that application. I find that I can rub out my lights easily and not commit to any sharp lines in the beginning stages that would distract me later.
This method also helps me to work in terms of mass, using light and dark to sculpt the features broadly. I don't stay at this stage or bring it to a great sense of finish either; after about half an hour or one sitting I am ready for color. Using color on a slightly wet and raw umber toned surface also has the advantage, at least for me, of giving my paint something to work into and "overcome". I find that I key my lights and chromas very high and that the slightly swampy underpainting brings them back down to earth and gives all the colors a unity that is only apparent when I compare the work to another similar pose done straight onto a dry surface.
See the comparison in the next few images. This is a picture of Impression of a Lady 16x20 inches, oil on canvas, sold taken while she was still fresh on the canvas. You can see what I mean about some of the earth color blending particularly in the tuft of hair on the left coming down from her wig.
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