Академический Документы
Профессиональный Документы
Культура Документы
I
M
>1
s >*
Practical, inspiring
book
is
and informative,
at painters in particular
on
color.
and
this
Aimed
visually
Manual
is
alike. It
looks at
all
Information on
paints and pigments, plus
some
straight-
guide to materials.
'"
'
-^4
mi^P
A guide
to mixing
V,
*&jj^j^^^^A
Iflfef'-^c
!V~~"!
^1
mMguMi <1L
Creative
"H
from practicing
artists.
A reference
visual synopsis of over
a variety of media.
450
to
and
colors in
\aHEL II
%>w
1n
1
1
'M
m*~~
IP
III
.t>3'8Mm
SIMON JENNINGS
First
Published
in
in
2003 by
HarperCollins Publishers.
Photographs and
illustrations
2003
the
individual artists.
All rights reserved.
may be
publication
in
No
part of this
reproduced, stored
in
and publisher.
of
Canada by
in
Ramcoast Books
9050 Shaughnessy Street
Vancouver, British Columbia V6P 6E5
1098765432
Chronicle Books LLC
85 Second Street
San Francisco,
California
94105
was
and designed
East Sussex,
conceived, edited,
at Hill
Top Studio,
UK
Simon Jennings
Text Editor
Geraldine Christy
Technical Consultant
Emma
Pearce
Carolynn Cooke
Cambridge.
UK
Consultant Editor
Sally Bulgin
Publisher. The Artist and
lennings
Amat
Color
,rch
Chris Perry
;ngs
Index
Mary Morton
Manufactured
in
Artist's Color
Manual
x#ont Gilts
Chapter
What
Is
Color?
10^45
Chapter 2
Chapter 3
Color by Color
Creative Directions
Color Index
46*~93
94^153
Reference Section
96
12
Color by color
48
Creative directions
Pigment standards
16
Blue
50
Watercolor:
Optical illusions
20
Turquoise
54
straight
The
21
Violet
55
Subdued colors
23
Red
56
Working
24
Orange
60
without black
104
Yellow
62
106
Pigments
in history
four-color process
and mixed
98
A seven-color palette
110
The
26
Green Earth
67
112
29
Green
68
Massive color
114
Choosing media
30
72
Oil colors
30
76
Rich color
from acrylics
Watercolors
32
Gray
84
Transparency
Acrylic colors
33
White
86
and luminosity
124
Color contained
128
34
effect colors
88
Broken color
132
Flesh colors
90
Painting with
&
Gouache
egg tempera
Pastels
&
in oils
118
colored pencils
35
nonart colors
136
Mediums
36
140
Media
38
144
40
Traveling color
146
Color language
42
Color on cloth
148
Interpreting color
44
Smooth
150
in action
Choosing
palettes
to
main
suppliers
80
82
Bibliography
66
Earth
Guide
Glossary of terms
Yellow Ochre
in action
156
102
25
Color
154^192
Color index
Additive and
subtractive color
basic color wheel
&
color
line
152
187
Index
188
The
Artist's Color
Sketchbooks 12/ x
Manual
8'/in (31 x
21cm)
Simon Jennings
Examples
for the
Manual, 2001-03
wirti
&=,
.iilWS
fc
##
000
**J
Sr
JJ
S3
*1
._
-*- -jg
fa
"* i*i.V2
fc
r
r
4-
1
It
Color and
I
am
know
it.
are one,
a painter."
><...1S,U
'/-/^w
A<.<-'')
COLOR
is essentially such a
...
I
-.<
*"<*
**'
V-f-?-
SC
.-:
Sc
COLOR
Simon
hook such
as this
made
is
am
companies
generous contributions,
Main contributing
in
artists
alphabetical order:
Ray Balkwill.
Joan
page 98
Nick Bowering.
page 104
the Artist's
Color Manual:
Len Hodds
Dr Francis Duck
Andrew
of the
Geraldine Christy
of
Sue Fitzgerald,
Peter
Graham,
page 28
Daphne Jo Lowrie,
Chris Perry, page
John Reay,
page 110
page 128
148
spectrum information.
George Rowlett.
www.buckenham-galleries.co.uk
Michael Richardson
(Michael Richardson Contemporary Art)
UK
my manuscript and
Marina Yedigaroff.
page 124
for
Old Holland
in
Sennelier
France and
in
in
work
of:
the Netherlands,
UK
for
use
photography throughout
In
for
review
color charts
in
book
this
alphabetical order
Nether Street
and
Emma
welcome@gerstaecker.co.uk
Anne
(Red),
Susanne Haynes
Gwynn
editing).
samples used
Color."
49, 50, 54, 55, 60, 62, 66, 67, 68, 72,
for cheerfully
in
Chapter
2,
"Color by
&
answering
their
Mussini
color
swatches on page
resin-oil range.
The
98,
I.ukas
my
Maimeri
Special photography
photography, studio set-
All special
Carolynn Cooke
Holland
Cambridge, UK,
and
Page make-up
to Amanda
Thanks
Allchin
curriculum issues.
Tri
Ml
48,
Newton,
(\
iM
American
Thanks
(Seepagesl80-8i
www.bournegallery.com
to
text translation
Theresa Bebbmgton.
(Yellow),
UK
Email:bournegallery@aol.com
Pearce
www.greatart.co.uk
UK
Liquitex
Sarah Miller
Golden
Additional contributions
GU341EAUK
Daler-Rowney
33 Lesbourne Road
editing contributions:
of
Bourne Gallery
Ltd)
Emma Pearce
All
in
Email: artspacegallery@msn.com
www.artspacegallery.co.uk
Reigate, Surrey,
the USA.
Alton, Hants,
Email:
London N1 8JS, UK
Chris Perry
mail@gas.demon.co.uk
Space Gallery
84 St Peter's Street
for press.
8,
Normandy House,
page 113
Art
and language
London N4 3QW, UK
(Gerstaecker
George Underwood,
Email:
James
page 114
Soufhwold, Suffolk, UK
Telephone: (+44) 01 502 725 41
Golden
page 106
len@buckenham-galleries.co.uk
page 132
Tim Riddihough,
81 High Street
for editing
Email:
Desmond Haughton,
am
Manager)
Andrew
Unit
page 118
(Gallery
page 136
Galleries assisted
Lucy Dunsterville.
in
Leisure
&
The following
Sally Bulgin
The copyright
reproduced
Manual
in
the images
in
artists/successors, photographers,
images are
listing
identified
followed,
in italics,
from
position,
publishers,
and
is
(p.),
by either description
column
or abbreviated title, or
art
Chapter 2
the following
in
(col.)
left to right.
reproduced here
Chapter
p.12
p.51 col.
I,
Chapter 3
Benedetto
Bmdo,
di
Museum
detail)/Philadelphia
of Art; col.
Abbe
Breuil,
Dutch
Dutch
Tile
Traditional
tile/
Royal Tichelaar
Makkum.
p.
copyright holders of
col.4,
of
case
Gallery, London, p. 13
pigment
&
subsequent editions.
the color
All
Faber,
I,
bucket/PhW Hind;
Judas
p.
57
col.
col. 2, Giotto,
Kiss of
Art images/Wmsor
Color".
2,
"Color by
p.
right/
p.
19 pigment
&
Co
91 3
Rowney
Sigma r Poke,
Modern,
after George
p.
&
Newton.
dried
col. 3,
p. 60 col.
factory/lukas.
I,
65 col
I,
Jennings;
Moon Album
col. 2,
col. 3,
col. 2,
p.
104
p.
105
all
106
Redman
/.emoos/Simon
fop/Simon Jennings
I'art
contemporain,
col.4,
p.
Cartier pour
68
col. 3,
Scheele engraving/Chroma-
tography, 1869.
p. 69
col
4, bot.
p.
bof./Tim Riddihough.
all
p.1
09
/'mages/Tim Riddihough.
p.
108
I,
main
1 1
col.
pi
2 Michelangelo,
London,
13 all /mages/George
p.1
Underwood,
p.1
5 Sunlit
Walmer Beach,
Pier,
4,
Rowlett. pp.
6-1
color
Paris, p. 26
107 Check
p.
Hand of A/afure/Fondation
/mages/Nick
Headband/l\m Riddihough.
Rowlett; col
Galleries,
Elliott
Linear defa/V/Nick
col.4,
p.
Art
painting/Ray
p.
John Everett
The Blind
Bowering.
Deal
Museums &
p.
Bowering.
Millais,
Bates,
^////Birmingham
Balkwill. p.
bof./Simon Jennings
p. 66 col.4,
Archive,
& Newton,
yellow p/gmenfs/Maimeri,
Giovanni Manzoni;
detail/Pay Ba kwi
sfand/ng/TimRiddihough.
Antonio Mensaque,
p.
Life of
Winsor
I,
p. 99
100 studio
preparing
p.63.co/.2, bof./Winsor
Girlfriends/Jate
Romneyftmm
col.
col. 2,
59
p. 58 col. 2,
kind permission of
p.
Padua,
p.16
49, 50, 54, 55, 60, 62, 66, 67, 68, 72,
& Newton,
p.
fire
I,
samples used
Chapter
work/Pay Balkwill,
artist at
I,
paintings/Pay Balkwill.
(detail)/Stadtische Galerie im
p. 98 col.
Horse
Lenbachhau, Munich,
Science of
from top/Chris
col.4,
cols.
Perry,
from the
Simon Jennings,
Simon Jennings;
col.4, //C/3/Simon
1,
2 from fop/Daphne
col.3,
fop/Judith Chestnutt,
p/gme/?f/Sennelier;
fube/Schmincke;
col.
col.
pigment/SenneWei
p. 53 col.
col. 3,
Marina Yedigaroff.
of the
52
to contact
In
col.4,
cols.2-3, pigments/SenneWer,
book.
col.4,
Tashin Oz;
in this
all
Elliott
Turkish Ceramics,
p. 96 col.3,
4, Iznik f/'/e/from
Artist's Color
images shown
1400,
c.
p. 70
diagrammatic co/or/Daler-Rowney;
sketchbooks/S\mon Jennings,
Manzoni;
Fitzgerald, pp.
Fitzgerald, p.1
22
col.
Fitzgerald, p.1
23
col. 2, bot.
pp. 28-29
paintings/PeXerGrabam.
p. 27
(Gerstaecker).
32 cols
p.
3-4/Sennelier.
Green sketch/Simon
p. 71
Red Tulips/Manna
bof./Great Art
p. 31
co/.3/Schmincke.
p.
col.3,
col.3,
p.
72
p. 77 col. 2,
top/ Observer,
Simon Jennings
7,
detail)/Sue
detail/Sue
painting
Chrysanthemums/Manna Yedigaroff
Red
Heeps).
Rowlett;
Chestnutt.
p. 39
Yedigaroff
Carnevale di
Sguare/Tretyakov,
Simmonds;
Moscow; Rembrandt,
p.1
30
29 S/Mngs/Daphne Jo Lowrie.
p.1
all
images/Daphne Jo Lowrie.
2-3, paintings (and
p.1 31 cols
details)/Daphne Jo Lowrie.
l/enez/a/Jackie
centre p/?ofos/Sennelier.
co/.J/Winsor
fop/Winsor
& Newton;
& Newton,
Rowney;
col. 5,
Newton,
p. 41
Newton;
col. 2,
mid.
col.
7,
Talens.
col.4, oof./Daler-
&
col. 4,
col.4, color
p.43
bof./Schmincke.
&
p. 42
sketches/Simon Jennings.
Way to
Faber;
Work, Hirst
&
Burn/Faber
&
Young Scientist
7by/Joustra/Humbrol
Ltd. p. 44 color
sfefc/j/Simon Jennings.
Board,
p. 83
p. 85
Homage
to
Annison). p.134
Gray
col.
133
7/John Reay.
Annison).
p.
140
col.
Rowney.
& Newton;
& Newton; co/4/Daler-
p. 87 col. 2,
Jennings,
p. 88
Resists/Simon
p. 89
Framed Madonna
7,
p. 90
Girl/Musee d'Orsay,
Paris.
top
and middle/'Judith
col.
7,
cols.
Antique Bronze/S\mon
Jennings Archive,
p.
col. 1,
p.
141
bof./Winsor
co/J/Winsor
135
British
p.
Manufacturers 1844;
pa/effes/from Art
Newton,
Our Lady of
p. 40
col. 4,
p.
Chestnutt.
p.
143
Jennings, pp.144 1 45
all
images/S\mor\
defa//s/Simon Jennings,
p.1
48
col.
and
images Chris
p.
149,
images
p.1
52
centre /mages/Carolynn
all
other
/mages/Simon Jennings.
:S
,..
color!
CHAPTER
ffl
!S^"
z figments
"Today's artists work
and
while most
better,
have
to
work with
in nisiory
to use color to
"Whai Everi
abolt Paint
B\
David
well
artists are
were
that
all
These
fats.
were needed
to
we
are
many are
romantics may
reliable ones,
find
it
The Egyptians
There
is
most
is
prepared from a
were required -
Huge
still
was
which provide
Friedlander,
in
J^ooz (1 .4g) of
can
dye works
replaced by a range of
colors,
P.
in
the Mediterranean.
Its
greater permanence.
The Greeks
a symbol of
power and
the togas
it
became
status.
to the artist's
completely
first
or Cremnitz White).
method (with
was used
Egyptian Blue,
first
until
few refinements)
the 1960s and
pigment of
all
oil
copper, which
permanent paint
a powder.
also
It
finally
in
Cinnabar
known
was
when
for
utilized
prized as the
first
found a
way
of "fixing" the
powder
a transparent white
who
dye onto
to
used today
to
it
is
is still
also
ivati
al
Hawara
in
1888
Woman, ad100-120
Encaustic on
The Greeks
metal
until
lead pigments
was used
the 1990s,
were banned
The Renaissance
Little changed in the
first
to
and
it
Portrait of a
film.
bright red
made
for priming
space with
most famous
The
were manufacturing
the Egyptians
White
Flake
35
of the
The color
1118-19
most
Tyrian Purple,
costly.
first
of the
was
on many Pompeiian
One
important colors
it
colors.
not. Incurable
was
1948
is
historical sources,
itself
in
identified
wall paintings.
in
years before
cadmium
more
developed
been
were
Breuil
lucky
advance
Young Bison
Today's
in
with other
(Altamira, N. Spain)
Chinese
P-iLE)
of the
Pearc e
Artist Neei>- to Know
& COLORS"
For the
knowledge
Emma
(in
The Romans
The Chinese
years ago
hmewood
Michelangelo Buonarroti (1475 15G4)
36-152
Color Index
1!
John
St.
with Angels,
c.
1506
on wood panel
(detail)
National Galler)
London
Pigments
Renaissance developments
The
Cadmium pigments
Italians
making processes
In
of the Egyptians
and use
was
it
the development
of
were introduced
The
the Renaissance.
produced both
was
first
used as a
it,
but
how
it
was
palette.
The
the
Scientists
bright,
possibilities
deep blue
demand
were
many
of the spectrum.
was
Madonna
gracing the
in
blue.
not available
were able
we
think
documented
in
the
Cobalt pigments
deposits of chrome
facilitated the
part
Cobalt Blue
great permanence.
It
is
used widely
moderate
as for
artists for
its
usage
in
common
Cobalt Violet
first
new
providing
colors.
the
in
1820
a highly
opaque,
in
a variety
is
was
until
the 1990s,
good covering
it
was
modern scientific
1704 a German
fell
color
was manufacturing
foul
some
that
was contaminated
with animal
oil.
making Ultramarine
fade
also
recover
darkness!
in daylight, yet
strength
in
its
was
less
hazardous and
particularly in
it
lacked
method
identical to
chemically
and
is
without the
modern
new
was
first
was
Victorian ladies.
as French Ultramarine
is
first
its
at
The
Known
released.
of
is
it
to
physically finer
as an artists'
opacity. This
known
was used
was
in
century. This
white
1828.
Instead of
Greenford, Middlesex, he
damp
St Helena.
very popular
Newton developed
home on
was a
thought
It
its
organic pigments
his prison
improvised laboratory at
because
of artificially
red lake
in
6,000 francs
chemistry. In
is
College of Chemistry.
In
It
for
In
the benefits of
the 1960s.
Zinc pigments
for a less
but
until
was
pigment
copper aceto-
were
watercolor. However,
zinc or
first
in
price.
of colors
tin,
emerald color
wallpaper
their
more permanent,
number
1910.
remained popular
because of
it
Emerald Green
The beginning
of modern pigments
By the eighteenth century, the
world was not only enjoying
greater trade between the
continents, and, therefore, more
aluminum, phosphorus,
arsenite,
in
toxic. Consisting of
is
easy manufacture of
Chrome Yellow,
of hues.
In
USA
in
area
first
until after
appeared
in
characteristics.
made
until after
Chrome pigments
The isolation of new elements
of today as "traditional."
its
in this
Genuine Emerald
new
to utilize
in
and high
driven by the
life,
tinting strength
opacity,
for
colors and
moderate
new processing
and new opportunities
to
to the artist's
palette.
Lapis lazuli
it was
cadmium yellows
However,
13
history
in
WM
tar,
which
gments
in
history
The twentieth century
Pigment development continued
apace into the new century.
The Science
Monastral Blue
In
introduced by
ICI.
Known
In
also as
"Hansa" yellows
During the
first
decade
of the
Prized for
also
a
The explosion
new pigments
of
during the
led to darker
still
combined
arrival of
the railways
in
new
and
this
a
In
method
of
easy traveling
of painting that
Alizarin
Alizarin
in
the history of
in
Germany
in
It
was
introduced
and
until
the 1960s,
However,
in
pale
it
still
was
No
relating
such as cadmium or
cobalt. Instead,
we
in
Inorganic pigments
Earth, mineral (for
cobalt).
Rose Madder
it
became
the most
new pigments
artists' materials.
Titanium White
is
in
terms of volume
of the
was
fading. Over
many more
Mars
colors.
wide range
of
browns, reds,
tended to be opaque,
it
was
in
this category.
deep crimson
to gold. This
is
Can
it
It is
a quinacridone that
is
metal oxide
was
established.
pigments today
An average palette today
new
Artists'
of only
Mars
a perfect gap
in
watercolor or
in
portraiture, or providing
filling
even
other cases
some good
we
replace colors
colors.
Traditional colors
and hundreds
Modern colors
Phthalocyanines, quinacridones,
many hundreds
of years! Today's
be
artists.
Hansa
yellows) have
were
lightfast. So,
fall into
colors
lightfast
1795,
in
glazing.
an example
crystal-clear hues
is
this category.
were
available.
washes
now
example,
involved.
more accurate,
first
By the
were offered as
technical, but
originated
longer can
name
more
Quinacridones
lightfastness;
derivatives!
in
its
permanent crimson
can
It
common
made
tinting
the
it
to their origin,
nineteenth century.
is
of
is
immensely complex.
has
many
art.
Crimson
Crimson
basis of
cost.
it
led to a period
most recognized
is
pigments
become the
moderate
abilities,
is
but the
all
mixing
striking microscopic
its
& Newton
commissioned these
of Art
(opposite)
living
and painting
in
the
twenty-first century.
become
of
good natural
depleted.
Thanks
automobile!
to the
to
elements, whether
rain, hail or
for
sunshine,
automobiles
or desert
had
to
wi
we
reds, yellows
enjoy today.
and
we
found
is
ife-t*
most
in
is
made
AV
when
lazuli,
from the
hills of
Afghanistan,
the
is
masters.
for
lazuli,
affordable price.
Microscopic photography by
The Natural History Museum, London
rich
pigment of Carmine
is
created
is
996 Winsor
scientists finally
& Newton
succeeded
in
artists to
new
enjoy this
^^'..T!
rm
Madder
root,
magnified x 240
Madder
in
of
Genuine Rose
is
& Newton's
pigments. Winsor
for
fjM
modern
formula
Madder
in
1806,
still
yields the
Used
this
in
India
warm
was
made
said to be
mango
920s due
to
concern
cows and
manufactured colors.
Microscopic photography by Florida State University
it
can fade
in thin
layers or
&
washes.
In
Newton,
in
lightfastness, developed
Permanent
,r
Alizarin
and introduced
Crimson
into
its
s>-
6 Pigment standards
There are
s\
number of universal
Colors are not the
artists to identify
know ledge
in
and build
key areas of
same
from different
artists
of
characteristics of pigments, so
that they
their
own
creative ends.
are to be found in
Permanence
provided by manufacturers.
Generally, good-quality
whole
art
materials industry,
supplied
artists the
and information
is
may
names
characteristics
I
and different
iightfastness.
The Color
ational identifies
each
pages 18-19),
jlors.
in
conjunction with
between
same name
17
Pigment standards
ASTM
The
ASTM
The
ASTM
UK
equivalent
which
most
artists are
in
both
and
means
ASTM.
where no
is
II
are
is
It
familiar.
artificially
is
for the
performance
of art
the lightfastness
recommended as "Permanent
ASTM
new and
in
rating
is
in
Do
for granted!
With
are
just
many
medium
is
multiplied by the
number of colors
available.
In a well-spaced artists'
range, there
may be
as 80 single
pigment colors.
Combine
artists
this
and an
results
is
as
many
with individual
infinite array
of
an understatement!
Painting
is
are certainly
more
colors
can use
in a lifetime.
course,
it
is
Of
important to
remember
Some
may never need opaque
suitable for another.
point
is
variety of characteristics
is
available to
all artists.
*~See also
CI International
18-19
24-25
96-153
is
the standard
compiled and
Colorists and
Colourists.
The Color
CI
is
PY:
CI
and pigment
identification
systems.
ORANGE
PO: PIGMENT
Name
Color/Pigment
Name
Chemical Description
P013
Pyrazolone Orange
Pyrazolone
P020
Cadmium Orange
Cadmium
P034
Pyrazolone Orange
Pyrazolone
P036
Benzimidazolone Orange
Benzimidazolone
P043
Perinone Orange
Perinone orange
P048
Quinacridone Gold
Quinacridone gold
P049
P062
Benzimidazolone Orange
Benzimidazolone
P065
Methine
P067
Coral Orange
Pyrazoloquinazolone
P069
Isoindoline Orange
Isoindolme
P071
Translucent Orange
P073
Pyrrole
Orange
selenosulfide
nickel
complex
PIGMENT YELLOW
Name
Color/Pigment
Name
NY24
Gamboge
PY1
Hansa: Arylamide
(Natural Yellow)
Chemical Description
Garcmia gum resin
PR:
Arylide
CI
PY3
Hansa: Arylamide
Arylide
PY4
Hansa: Arylamide
Arylide
PY5
Hansa: Arylamide
Arylide
PY10
Hansa: Arylamide
Arylide
PY12
Diarylide Yellow
Diarylide yellow
PY13
Diarylide Yellow
Diarylide yellow
PY14
Diarylide Yellow
Diarylide yellow
PY16
Diarylide Yellow
Diarylide yellow
PIGMENT RED
Name
NR4
NR9
PR3
PR4
PR5
PR8
PR9
PR12
PR23
PR48
Color/Pigment
Name
^^^^^^^^B
Chemical Description
Carmine
Cochineal lake
Rose Madder
Toluidine Red
Toluidine
Naphthol Red
Naphthol
Naphthol Red
Naphthol
Naphthol Red
Naphthol
Naphthol Red
Naphthol
Naphthol Red
Naphthol
Scarlet Lake
PY17
Diarylide Yellow
Diarylide yellow
PY30
Benzimidazolone Yellow
Benzimidazolone
PR48:3
Geranium
PY32
Strontium Yellow
Barium chromate
PR49
Lithol
PY34
Chrome Yellow
Lead chromate
PR81
PY35
Cadmium Yellow
Cadmium
zinc sulfide
Alizarin
PY37
Cadmium Yellow
Cadmium
sulfide
PR83
PR88
Thioindigo Violet
Thioindigo
PY40
Aureolm
Potassium cobaltinitrite
PR101
Venetian/Indian/English/Light Red
PY41
Naples Yellow
Lead antimoniate
PR 102
Red/Burnt Ochre/Mars
PR 104
Molybdate Orange
Lead molibdate
PR 106
Vermilion (genuine)
Mercuric sulfide
Cadmium Red
Cadmium
Naphthol Red
Quinacridone Red/Magenta
Quinacridone
Red
Lithol
Rhodamine
Dihydroxyanthraquinone lake
Crimson
PY42
Yellow Oxide
PY43
Yellow Ochre
PY53
PY65
Hansa Arylamide
Arylide
PR108
PR112
PR 122
PY73
Hansa: Arylamide
Arylide
PR 146
Naphthol Red
Naphthol
PY74
Hansa: Arylamide
Arylide
PR 149
Perylene Red
Perylene
PY83
Diarylide Yellow
Diarylide yellow
PR 166
PY97
Hansa Yellow
Diarylide yellow
PR 168
Dibromanthone
Anthraquinone scarlet
PY98
Hansa Yellow
Diarylide yellow
PR170
Naphthol Red
Naphthol
PY100
rartrazme bellow
Tartrazine lake
PR171
Benzimidazolone Maroon
Benzimidazolone
Gamboge Modern
selenosulfide
AS carbamide
PY108
Indian
Anthrapyrimidine
PR173
Rhodamine/Aluminum
PY109
Isomdolinone Yellow
Isoindolinone
PR 175
Deep
Benzimidazolone
PY110
Isoindolinone Yellow
Tetrachloroisoindolinone
PR 176
Benzimidazolone Red
PY112
Flavanthrone Yellow
Naphthol
PR177
Permanent
PY119
Mars Yellow
PR178
Perylene Red
PY120
Benzimidazolone Yellow
Benzimidazolone
PR179
Perylene
PY128
Azo condensation
PR 188
Scarlet/Naphthol
Naphthol/Arylamide
PY129
Green Gold
PR 190
Perylene Red
Perylene
PY137
Isoindolinone Yellow
Isoindolme
PR202
Quinacridone Crimson
Quinacridone
PY138
Isoindolinone Yellow
Isoindolme
PR206
PY139
Isoindolinone Yellow
Isoindolme
PR207
Quinacridone Red
Quinacridone
PY150
Nickel azomethine
PR209
Quinacridone Red
Quinacridone
Benzimidazolone Yellow
Benzimidazolone
PR214
Deep Red
Nickel dioxine
PR224
Perylene Red
Perylene
Benzimidazolone Yellow
Benzimidazolone
PR251
Permanent Red
Pyrazoloquinazolone scarlet
Benzimidazolone Yellow
Benzimidazolone
PR254
Pyrrole
Benzimidazolone Yellow
Benzimidazolone
PR255
Pyrrole Scarlet
Benzimidazolone Yellow
Benzimidazolone
PR260
Vermilion Extra
Isoindolme scarlet
Bismuth Vanadium
Bismuth vanadate
PR2B4
Pyrrole
Red
PR270
Pyrrole
Red
PY184
Scarlet
Alizarin
Crimson
Maroon
Red
lake
Benzimidazolone
Anthraquinonoid red
Perylene
Perylene
International
^Identification system Pigments are
CI
1.
Name - Color
Index Generic
two ways:
identified in
PBr:
Name
Pigments are placed within their part of the spectrum and then given a number.
For example:
Cadmium Red
Pigment Green; PB
is
is
forth.
PBr
is
to
PR108; PG
is
CI
PIGMENT BROWN
Name
Color/Pigment
Name
Chemical Description
NBr8
Vandyke Brown
Bituminous earth
PBr6
Mars Brown
is
Pigment Black.
PBr7
Raw &
PBr23
2.
PBr24
PBr25
Benzimidazolone Brown
Benzimidazolone brown
PBr33
Mineral Brown
Cadmium Red
is 77202.
Of the two methods, the Color Index Generic Name
is the most common and is used in these tables.
PV:
Name
PIGMENT VIOLET
Name
Burnt Sienna/Umber
Name
Name
Chemical Description
CI
PV1
Rhodamme
NBk6
Bitumen
Gilsonite
PV2
PTMA
PTMA
PTMA
toner
PBkl
Aniline/Jet Black
Aniline black
toner
PBk6
Lamp/Blue Black
Carbon black
toner
PBk7
Lamp
PBk8
Vine Black
Wood
PBk9
Ivory Black
Bone black
CI
Color/Pigment
violet
Color/Pigment
Chemical Description
PV3
PV4
PTMA
PV14
Cobalt Violet
Cobalt phosphate
PV15
Ultramarine Violet
Sodium aluminum
PV16
Manganese
PBk10
Graphite
Powdered graphite
PV19
Quinacridone
Quinacridone
PBk11
Mars Black
PV23
Dioxazine Violet/Purple
Dioxazine violet
PBk19
Davy's Gray
PV31
Isoviolanthrone Violet
Isoviolanthrone
PV42
Quinacridone
Quinacridone
PBk28
Mineral Black
Copper chromate
PV49
Cobalt Violet
PBk31
Perylene
Perylene
Chemical Description
CI
Violet
Violet
sulfosilicate
Name
Color/Pigment
Name
Carbon black
Black
charcoal
Powdered slate/Hydrated
aluminum
silicate
Color/Pigment
Name
Chemical Description
PB15
Hhthalo Blue
Copper phthalocyanine
PW1
Flake
PB15:1
Phthalo Blue
PW4
PW5
Zinc
Lithophone
PW6
PW18
PW19
PW20
Titanium White
Titanium dioxide
Whiting
Calcium carbonate
PB15:3
Phthalo Blue
PB15:4
Phthalo Blue
PB15:6
Phthalo/Blue
PB16
Metal-free phthalocyanine
PB27
Prussian Blue
Hydrous ferriammonium
ferrocyanide
PB28
Cobalt Blue
PB29
PB33
PB35
Ultramarine Blue
Manganese Blue
Cerulean Blue
Cobalt
PB36
PB60
PB72
Cobalt Turquoise
PB73
PB74
tin
oxide
Indanthrene Blue
Indanthrone
Cobalt Deep
Cobalt Deep
Cobalt silicate
Cobalt Deep
White
White
Name
PG7
Color/Pigment
Name
Phthalo Green
Chemical Description
Chlorinated copper phthalocyanine
PW,
1
!
PW22
PW24
PW25
PW26
PW27
China Clay
Hydrated aluminum
Mica
Aluminum potassium
Blanc Fixe
Barium sulfate
Natural barium sulfate
Aluminum hydrate
Gypsum
Calcium sulfate
Talc
Magnesium aluminum
Silica
Silica
"See also
Blue 50-53
Violet 55
Naphthol Green
Azomethine
PG12
Naphthol Green
PG17
PG18
Viridian
PG19
Cobalt Green
PG23
Terre Verte
Green earth
Green 68-71
PG24
Ultramarine Green
silicate
PG26
Cobalt Green
Deep
Red 56-59
Orange 60-61
Yellow 62-65
Black 76-83
PG36
Phthalo Green
PG50
Cobalt/Teal/Light/Oxide Green
silicate
Barium Sulfate
PG10
complex
silicate
Aluminum Hydrate
PG8
nickel
Barium sulfate
19
White 86-87
Color index 156-179
silicate
20 Optical
illusions
The
"...it is
no more
possible to learn to
to learn to
swim
on a sofa."
M\\ DOERNER(1870-iy3
l
subject of color
is
it
is
really look
In this
and handle
book
there
is
is
particular colors
value to the
its
to the artist so
artist.
media
in
in the
various
applications.
To
comment holds
that the
Hundreds
and most
only effective
confidence
is
to
way
to
artists will
admit
knowledge and
hoped
that this
all
colors
White
book
They
is
printing process.
Without a white
illusion
Modern
resemble
Some
manufacturers, particularly
in
and these,
and
experimentation.
for color
50 years or so ago,
would not have been easily possible
to mass produce a color-printed book to this standard, and the
expense of doing so would have been immense. Color printing
printing has been around for a long time,
it
is
among
in
image can be
clearly
full-
seen on
*ss*v
PROCESS CYAN
120
OCESS
MAGENTA
412
'
tSSYEU-0\N
675
The
21
four-color process
CMYK r.smike")
Every color you see
book
in this
tint
Color control
At the foot of every page
proofed, a control strip
is
known
as the process
full-color image.
PROCESS CYAN
PROCESS MAGENTA
BLEU CYAN
MAGENTA
NORMAL MAGENTA
MAGENTA
MAGENTA
NORMAL BLAU
AZUL CYAN
CYAAN BLAUW
en
10%
-^
50%
en
70%
4ro
en
o
SS
CO
I
"O
CD
"^
CMYK
CD
Cyan, magenta,
CD
which
C/100%
M/100%
mass-produced,
full-color
images
are derived.
PROCESS YELLOW
JAUNE
NORMAL GELB
AMARILLO
GEEL
PROCESS BLACK
10%
30%
N0 |R
NORMAL SCHWARZ
NEGRO
NERO
50 o/o
%
CO
z*
~
(S
._
"}
9
o^
CO
<w
CD
CJI
.
.
o"
z,
^
3
Y/100%
ro
n
en
cr>
o
o
CO
r-
Masterpiece, 1962
Oil
on canvas
DACS
Collection, Los
Angeles
in fact,
a green that
was between
in
crude
not,
his color
lemon yellow,
in
value,
23
Georges-Pierre Seurat'
Le Chahut, 1889-90
Oil
on canvas
Kroller-Miiller State
Museum,
Otterlo,
139cm)
Netherlands
produce
brilliant,
luminous effects
in
his paintings.
The
is
actual size.
detail
below
Dot screens
The infinite range of
Sigmar Polke
printed colors
is
(b.
1941)
Girlfriends, 1965-66
Oil
on canvas
magazine photographs. By
emphasizing the printed dot
patterns, he could transport a lowquality, mass-culture
snapshot to
See also
CI International
18-19
48-93
Creative directions
96-153
24 Colors
of the
spectrum
In physics color
is
defined as an attribute of an
Sir Isaac
gravitation
physics of
for his
work on the
his
color. In this
after a painting by
law of
engraving
by
is
that object
transmitted in different
is
George Romney,
is
blue, a rose
is
red.
The spectrum
The simplest demonstration of color physics
beam
how the
a
is
to transmit
white light
is
Seven
and
violet.
George Hardie
Moon, 1973
of the
Album cover 12
x 12in (30 x
On
this
30cm)
employs a graphic
illustration of the
metaphor
and uncertainty.
After George
Romney
Newton and
From The
the Prism
Life of
George Romney
light) is
separated into
colored components
when passed
sequence
White
is
light
can also be
when
it
is
Many
transparent natural
in this
way.
A rainbow
is
a prime
example
of
phenomenon of
segmented colored light known as
spectrum.
similar
prisms
raindrops
In
this
to create a
sentimental
nd
girl is
on a mirror.
sadly, her
experience
a also
The Blind
Oil
Girl,
1856
Gallery
but,
beauty.
Additive
Iridescence
The term
insect
to interference
as
it
known
light,
Colored
television
observer changes.
is
colored
paints.
and the
scattering of light as
This phenomenon
projected through
filters
RGB. When
white light
is
iridescence.
and
RGB, the
result
The term
The additive
primary colors
are red, green
as RGB.
When
white
light is
projected
through
filters
of these colors
Subtractive color
Red, yellow and blue
make
black.
beams
are
mixed, they
produce the
secondary
colors yellow,
cyan and
magenta.
Patrick Gries
The Hand
of
Nature
Photograph
Fondation Canier pour
I'art
contemporain, Paris
Anne
Spectrum colors
The seven distinguishable colors
the spectrum are
all
available
in
white
of
the
light.
is
is
the
Primary
red
foundation for
understanding the
From
physics of color.
system for
this, a useful
Secondary
orange
classifying pigment
color for
artists,
known
been developed.
Six-color division
Diagrammatic color
The color wheel, also known as
the color circle, may be described
colors.
as
circle,
red,
for
acts
color for
artists,
demonstrates
relate
and
another.
and
how
it
colors
interact with
An
one
Primary colors
understanding
violet, or red
yellow
(red,
common
Primary
one another on
color identification.
when
all
Twelve-color division
By increasing the number
Color
of
experimentation
Many
manufacturers
recommend primary
colors within their
and
produce
all
bluish reds or
blue
experiment with
colors and mixing
combinations.
green
-~
<--
*:
Primary
yellow
Ad
0"
It
is
infinitum
theoretically possible to
wheel
until
the appearance of
a continuous
achieved.
merge
is
27
Harmonious colors
same
section of
common
When
Warm
Secondary colors
color produced
use
considered to be
Generally,
warm
termed complementary.
that are
the red/orange/yellow
primaries
Crimson
is
a bluish red.
red
is
termed a secondary
make
The secondary
violet.
between the
may have an
When
may be
color
primary
complemented by the
is
complement
and orange
So green
is
of green-blue,
bright orange.
for instance, a
red
and so
in
a clean,
warm
or cool.
in
the green/blue/
The undertone
of a
on.
in
violet sector.
the
is its
color for
Complementary colors
color.
Alizarin
b$ mixing two
a painting.
in
make
it
look
much
brighter,
will
and vice
amount
of the
complementary
toning
printing
These
to
in
photography and
colors, or close
of artists' colors.
cyan.
approximations
in
many ranges
Adding white
to a color lightens
and creates a
tint.
its
mixed with
makes
blue-violet
that
secondaries;
infinite
number
is
called a
may be
produced by mixing a
is,
how
dark or
light
violet
they are
colors.
Tone
amounts
of colors can be
When two
mixed by combining
color
wheel
into a
tertiaries with
gradated
progression of colors.
complementaries are
be planned, but
make mixes
Artists
it is
all
may
too easy to
~See also
CI International
18-19
Color by color
Color index
it
Similarly, a color
those used
brightness.
A further
practical range of
its
to a
slightly,
Tertiary colors
tertiaries, are
Basic primaries
down
it
48-93
156-179
28
or
in
action
Color in action 29
Theory
into practice
Peter
Graham
is
Manhattan
(detail)
Graham
Manhattan
Peter
Watercolor
17 x24in (43.4 x 61cm)
canvas
to
life.
chance
to
to bring the
me
with a
and interpret
what I saw into how I felt.
flavors of the scene,
Graham
Southern Sun
Peter
Oil
on canvas
Manhattan
(full
image)
conveys
my experience
of a great city
and power -
30 Choosing media
This section
is
who may
Oil
Traditional Oils
be uncertain
all
the
and brochures
were described as
Many
art
colors
Many
leisure
dedicated solely to
art materials.
at the
at
if
of these
A
is
is
well worth
it
in
order to
express themselves
paint
is
in color.
Oil
medium, while
most
popular option favored by amateur
artists, and widely respected by
traditional
professionals, too,
the
watercolor.
is
traditional
and
oil paints.
More
specialized
among
numerous products in
this category that you can use for
creative expression. A number of
the
make an
informative choice.
know where
comes
Oil
In the
to
making
a personal
selection, particularly if
you have
are in
may be
it
to get started.
but
is
it
not strong or
them
is
produced by the
considerably by keeping a
when
cleaning up.
Do you
watercolors or acrylics,
his
is
and less-expensive
not good, lor there are
k ;nii advances in
some cases
In
re
..'.
have
teristics.
for a flexible
to yellow, so
air
speedy evaporation
of
water. But
possible
to
it is still
complete a painting
one session
or,
as
it
sometimes known,
in
in this
"alia
mood
and completing
a
slower drying
A good
Crimson,
to the
making whites.
added
for
three primaries, an
way,
in
oil in
is
often
worked
it is
or another similar
oil
(Hue),
Cadmium Yellow
Yellow Ochre,
Raw
Cadmium Red
(Hue) and
is
to
you can
away
the
luality
oil
in
is
oil
can be expensive,
particularly if you consider products
that the)
which
generally considered to be
Drying times
a finished painting
is
oil,
the best
of a subject
linseed
have
by dispersing pigment
low-odor thinners.
more
newcomer to painting.
Most colors are made
and using
jars
colors are
increasingly sophisticated
now
on your
oil
lid
quality
important considerations
in
colors
oil
need
begin
to
want
to
will
of colors,
and there
is
no
Oil colors 31
Choosing media
White
White
is
important color on an
oil
White
is
it
that
overpowering
it
mixing precise
Zinc
White
may
for
tints.
is
it
is
good
for tinting
and
spirits
of
for you.
are
movement with
oilbars, also known as
known
oils
to
have
resins, such as
is
made from
irritate
off
fumes and
link
- and
It
recommended
oil
it
usual 2 to 12 days to
touch
become
dry.
Household turpentine
not
quickly, but
is
was found
that resin
transportation
traditional
a fast-
and spread
in
leather or
was
the
packaging for
oil
bars,
conventional
masters' formulations
and mediums
The more
oil
Mediums, page
paint
is
it
It
is
it
usual
name
on a range of surfaces,
from glass to ceramics.
to today's Mussini
natural
dammar
light to
reflectivity that
expands. As
continues to dry,
it
resins that
penetrate
layers.
it
modeled with
a knife or
it
loses
oil
and a
It
is
oil
colors.
Oils
Oils are the traditional artist's
colors look
The addition
for
use
industrial coatings
paints,
in
and house
which accelerates
water-resistant finish.
you apply
more
in
more movement
may
result in
'&t&
in
makes
more brilliant.
developed
or as a
enhanced
this
there will be
own,
of resin also
more stable
medium. Renowned
In
use
them
Resin
oils
come
in
You
them
oil
or Liquin.
~See also
Mediums 36-37
in
turpentine or low-odor
with linseed
and luminosity.
over
modern
paint film.
thinners,
in
glazes, depth
if
color.
and
artists' oils
mixed with
weight and
in
mixed with
go.
color increases
oilbars on their
allow
tip
artists'-quality pigments,
medium as you
oil
In
lent his
designed to blend
drying,
who
was
to
resin oils.
(see
dries, so
prevents cracking.
medium
color, the
36). "Fat"
more prone
movement as
underpainting
In
Cesare Mussini,
painting, as an
or painting
They
traditional diluents, or
drying alternative to
oils.
and
directly on the
Oils
Alkyd Oils
Alkyd oils are
direct
artist
water evaporates
the
oils
and waxes.
more pleasant
less harmful
artists'-
recommended
oil
and
be confused with
quality pigments
it.
Not
it
oil-painting sticks.
to
together in one
fluid
diluent for
color
painting, artists
oil
results,
oil
you want
oils
the most
Oilbars
come
repelling
thinning
enhance color
and the
brilliance
impression of depth -
commonly used
resins to
or even low-odor
is
almost
the smell of
turpentine, mineral
added
Turpentine
artists for
If
a less
so
can be done.
thinners, but
its
it
you hate
has proved
oils
It
Although
tints.
Natural resins,
introduction of water-
mixable
mixing paler
the
Water-Mixable Oils
There is a saying that
"oil and water will
48-93
96-153
Creative directions
order suppliers.
32 Watercolors
'AH
artists
have an urge
communicate their
ow n unique view of the
world, and one of the
to
beauties of watercolor
Choosing media
Availability, price
and quality
by simply rubbing
paper beneath.
In
in
Nothing causes
Ivory Black.
rights
permanence.
immediacy. It
invites a direct and
spontaneous response
to a subject - whether
you are painting a
also
landscape, a portrait,
oils
major
their
own
figure study,
or
manufacturers produce
tints,
the traditional
is its
still life
an expressive abstract.
No
other
known as
and
both
pans.
acrylics,
As with
and students'-
artists'-
medium
capture a subject
\\
ith
such speed
and economy of
brushstroke.
By
most popular
painting,
medium, watercolor
also probably the
is
most
artist.
make
in
Used well,
it
a clear statement
clarity
and freshness
depends on
clear
Watercolor boxes
and mixing palettes
Until a few years ago,
watercolor boxes were
either made of wood or
and you can
today.
More
still
pigment, which
in
packaged
is
in
arabic
in
tin,
buy these
recently, tubes
through a
grind
super micron
to
it
full
By
lighter-weight
vary
their nature,
pigments
transparency and
in their
more
try
is
field sets
in
now
cylindrical
that
flip
light,
open
The
for details of
and opacity.
lost.
for
Buying watercolors
You can buy both tubes and
traditional
to leave
clarity
method
portraying white
of
is
not always
and confused.
transparency
as easy as
watercolorists tend to
experienced painters.
it
is
More
sounds,
all
the
you information
on properties such as
serious
will
of mixing surface
that
have to
is
not
always an advantage.
progresses. Once
it is
dry,
it
Traditional pigments
still
behind
of the transparency of
them
watercolor,
be white.
is
dry
largely
When
the paint
is
a matter of personal
it
must always
lacks
you opt
to
with
dries,
pigment
float to
harmony
may
pigments,
to brilliant
creating a
finished
when
special effect.
Some
newer pigments,
off
a mistake or
is
-iu
suspended
is
gum
a solution of
dissolved
add more
to
is
to
color
technique
fluid
away
skilled glazing
pigmented
up the
color they
and
mix
of
flat
lifeless, preferring to
in sets.
The
covering power
can
pure color.
more immediate.
Most
far the
of using
quality colors.
and wrongs
it
sink
and
buy colors
granulation. This
to
uniform
colors
Blue,
Burnt
where
texture,
a smoother,
wash
granulate as
a useful
but
would be Cerulean
is
it
is
more
required,
will not
dries.
Choosing media
Acrylic resin was
developed
Acrylic colors
15 minutes to dry, but allow
first
more
a day or
in the early
of impasto.
Some
oil
painters use
ment
as a quick-drying
into artists'
colors
underpainting to
was quickly
noted by
art
speed up the
materials
painting process.
Correcting mistakes
available by 1947.
As each glaze
becomes
painting styles.
oil
first
acrylic colors
developed,
were
many
purists
layer
produce a choice
of
become
size tubes
brittle
makes them an
over time, so
and larger
outdoor work.
Drying times
pigment used
second
quality brands
reflected
is
it
is
in
worth
in
water
medium speaks
around each
now on
popular
among
floral artists
painters,
illustrators,
and
silk
who move
with a matte-satin
artist to
page
medium, a basic
color
closely that
for
oil
and
recommended
Cadmium
finish a painting in a
it
color beneath.
take
in oils.
Red,
that
Cadmium Yellow,
Umber,
be manipulated
Ochre
medium matches
transparent
Used
washes
of color.
Burnt
colors,
it
is
for long
such as Permanent
this problem,
Diluents and
Because
mediums
acrylics are
wash
water
also important to
is
It
brushes thoroughly
- once
head,
painting process.
artwork
You can
it
While
to
wet
it
acrylic paint
is still
dries
it
Mediums, page
36).
would
because
painting
quick succession
French Ultramarine,
other
you can
enables the
include
No
tubs.
in
liquid acrylics,
apply layers of
decorative crafts.
With
acrylic colors in
acrylic colors
of
brilliant
acrylic
creamy counterparts,
Being a heavy-bodied
in
like their
finish.
An
tiny particle of
Versatility
watercolors, applied
from
148).
in
color technology,
of
is
Liquid acrylics
like
some
it
for beginners.
and
more
Good-quality acrylics
in artists'-
acrylics
ideal choice
The
water resistance of
the
it
lifting
oils.
it
for
When
dries
insoluble, so you
* Acrylics
Acrylics have
medium
become
a popular
in
use
like
watercolor or with
added mediums
for
effects similar to
impasto
oil
paints.
33
34 Gouache
&
Egg tempera
Gouache
Egg tempera
Egg tempera
was
design, gouache
the
medium
best
color in popularity.
professional design
studios,
where
was
it
Egg tempera
illustrations in solid
is
well
medium.
In fact,
is
it
intact, a
is,
of
pigments used
makes
in
but
good
the
gouache
is
offers an
who
prepared
is
wet,
is still
it
lift
takes about a
to "cure," then
or interweave of the
week
paper fibers.
is
it
must be
left to
dry
its
paint
good
best
is
recommended unless
White.
Some
soaked
artists
andean be
but
or with
transparent watercolor.
Considering
gouache
is
versatility,
an underrated
medium. Use
washes
its
it
in
dedicated tempera
it
make
is
their
own
paint,
a difficult process
rugged
increase
Yellow,
to
it
must
with rabbit-skin
first
common
White
broad sweeps of
rich
size.
work.
Chalk-based pastels of
make
all
compatible with
oil
pastels
(see opposite).
in
with watercolor,
Hard pastels
and pastel pencils
washes
of
tempera gives a
in
quality to a painting.
colors,
As
a fine-art
tempera
and
and sheen.
or
body
color,
is
an
shape,
more
come
to preplan,
make
like
detailed
slightly chalky
pastel pencils,
and vegetable
oils
thin layers,
its
luminous sheen.
Applied
same goes
for
which are
of
use, they
appearance.
In
particularly
who
fewer
sold unwrapped.
in
medium,
suited to painters
for
little
deep
its flexibility.
essential Permanent
Cadmium
is
tempera
for
Cadmium
oil
dried.
Choosing
and
added linseed
Hardboard
tubes,
in
or metal.
energetic paintings
gesso, stretched
in
painting, but
and
Newcomers
egg tempera
produce long
to
it
experience to perfect.
already mixed
to achieve attractive
not
good support
dilute
is
to
passed through
strips of color,
to size
and
The mixed
is
an extruder
egg yolk to
"dough"
and small
of binder
preservative.
in
amounts
Egg tempera
made from
As
Pastel sticks
the next.
own
in
pigment
its
two
or
fixed
used on
is
and rework.
chalky finish
diluted color.
or
or
It
to experiment.
a water-
color with
tempera painting
more experienced
artist
opaque
it
exciting challenge to
layer
most
wet color
the
of
all
in
While
not
mainstream painting
later
in
when
by the legendary
master artists of the
Renaissance before it
was overtaken by oil
painting
medium works
thin veils of color,
touch. The
one
is
most popular
Pastels
in
Buying pastels
Fixing pastel
It is
sold
in
sticks of color.
will
it
fixed
smudging.
even
fine,
most
find
must be
soft pastel
Aerosols give a
work
to prevent
starter set
a dozen colors,
in
used outside
if
Pastels
Choosing media
Colored Pencils
Pastel pencils
at least in a well-ventilated
deserve as a more
serious art
may be
landscape
more
Color choice
subdivided into
same pigment.
Better-quality
handwrapped
in
protect
mediums, yet
they are also one of the
cheapest and most
convenient.
You can
start
with as few as
and
tints of red,
If
it is
wise
to
oil
pastel
in oil,
fat.
and sometimes
Applied directly
warm
wax
Other media
In
significant
art,
with
improvements
permanence
at the top
end
in
sets,
of artwork
their
in
own
right.
waxy
color core,
come
colors.
in
in
and boxes.
most pastel
in
still
artists
wet media.
with
effect.
tints in single
more
rigid
sees the
is
fade
light of day.
the
It
of
sheets and
working surface.
(right)
like
are
and
normally harder
lightfast, so that
will not
who
characteristic
wide range
is
pencils
after the
it
Among
comes
medium
some
chain-and-laid surface,
drawing
quality, but,
its
lack
Early attempts
devised
is
but, before
master pastellist
named
in
limitation to creativity
pencil can be
add dramatic
for
Color mixing
at colored pencil
Ingres,
painted
your work
colors
experiment,
unknown
not
it is
when
you
it.
and
of sets in tins
Color mixing
to catch the
of imagination
maybe
wide choice
crayons, felt-tip
Major
handy to carry
wax
and hold
to
powerful blacks
fragile color
silk
using
on glass and
water-soluble versions
manufacturers offer up to
art
result
Oil
any good
ceramics, as well as
huge range of
fluid color.
in
for painting
Alongside traditional
in
of the market.
make marks
crayon. Brush
choose a
Choice
now
to
animal
basic palette
sticks or pieces.
bound
advantages over
similar
medium.
sticks are
and contamination.
carry.
other options
Not
paper to
come
of
painting
ranging
tints,
same clouds
Oil Pastels
the least understood of
the
and portraiture.
make
possible, or
in
childhood, so they
in
texture and
many
varieties of colored
water-
add water
to the color on
*~See also
Color by color
wash
Creative directions
of color.
48-93
96-153
s^n
36 Mediums
In art materials'
known
If
as a
medium
(plural "media").
painting,
it
painting."
(plural
is
"mediums")
the term
is
may
be added to paint
when you
handling
use
"fat
initial
washes.
If
however, you
paint,
add
will
properties or
need
to the paint to
it
is
many
in
studio
has been
superseded by
some
less
when
when
Another
medium
or
as you
("fat")
As water
is
is
to
painting.
oil
It
Used as a
in oil
solvent,
slow
in
color.
It
when mixed
with colors,
of spike
more
may come
paint
is
many
different forms.
spirits.
be described as "purified,"
"cold-pressed," "bleached,"
"boiled," "thickened,"
"refined," "stand" or
"drying" linseed
can be
has
oil
flow and
medium
how
the addition of
and color
depends to a certain extent on the quality of
the paint and the type and amount of medium
added to it. Experimentation and trial and error
are the best methods of learning and mastering
e
'>l
mediums.
he
list
on
youi paintin
this
Each
oil.
characteristics
considerably accelerate
its
is
suitable
linseed
spirits.
risk of cracking,
oil
increases the
most increase
mediums are
features as
and
and
form of
available
in
the
liquid or gel.
A huge
range of proprietary
liquid thinners
purity.
mediums
been developed
to
minimize
Mineral spirits
Artists'-quality mineral
a purified form,
spirits,
provides an alternative
diluent to turpentine and,
while
it
smell,
has a characteristic
odor
its
is
less
completely
odorless formulation
is
also
more
little
less
like
turpentine,
it
should
first
of solvent
and linseed
oil,
consistency of
later layers
its
oil
paint
in
without affecting
may yellow
it.
One
disadvantage of linseed
that
it
is
colors Linseed
Artists' painting
improve strength
pronounced.
own
its
same
in
may
distilled to
It
further processed
linseed, available
Alkyd mediums
used as
or "distilled
enjoy the
mediums can
oil
later layers of
essence"
addition of
an additive for
mineral
To avoid the
across
"rectified turpentine
oil
traditional
you
Linseed
The
is oil
paint, increasing
is
evaporation
dry.
turpentine
to watercolor, so
is
turpentine
However, specific
Turpentine
and,
The
and washes of
to
and
formulated low-odor or
fairly
effect
it
to
glazing.
painting.
detail work.
hazardous, commercially
oil
solvent-thinner used
surface appearance.
situations,
that
to color to
it.
Low-odor thinners
a strong odor and
stage
"medium"
and pastes
in a
The
to
termed a "mixed-media
However,
mediums
Oil painting
oil
can be
spirits
Acrylic painting
Poppy
Gloss mediums
oil
Liquid gloss
"purified" or "bleached,"
from poppy
and
more suitable
light colors
linseed.
It
to
when
dry
is
generally
oil
oil,
version
is
also available.
Walnut
Walnut
oil
extracted from
oil,
walnut kernels,
color,
a pale solution
in
look
it
fluidity
it
is
work with, as
it
water.
to color,
gloss and
its
Gum
transparency.
may
available
gouache paint
a variety of
in
more
light,
flexible
Oxgall
what
This
to cracking
hard, or fine,
painting.
it
arabic
to
make
it
when
The thicker
is
Some
another traditional
with a knife.
D.li
mm.
dry.
coarse, so
is
nirS
medium and
medium and
in
increases
easier for
it
thicknesses, such as
thicken
available as
is
When added
make
mediums
It
that will
mediums
or turpentine.
the traditional
is
medium.
Gel gloss
but a "drying"
arabic
and
easier to
slightly less
durable. Poppy
brighter,
arabic
Gum
sometimes making
use with
for
Gum
when
is
are required.
dry.
painting
mediums impart
Variously described as
to
pastes contain
Gouache medium
Matte mediums
These mediums decrease the
Special
gouache
small changes
in
similar
is
use to linseed
oil,
but
it
It
finish.
Safflower/sunflower
These
oils
oil
have properties
gloss
mediums
liquid
poppy seed
oil,
are used by
some makers.
and they
In
Special-effects
For
more unusual
mediums
specific
find
it
you
color
try
some
helpful to use an
in
way. Pearlescent or
iridescent
may
mediums produce
mediums
chosen color
associated with
change according
direction of light
may want
painting
down
viewed.
mediums are
available for
mediums
consist of
formulations of
gum
water. This
in
in
colors,
little
and improves
and
into
Larger amounts
provide the
means
may
will result in
**See also
Choosing media 30-35
to the
and the
Color by color
Flow improvers
Various commercially
amounts
paint.
They
work
and
for
of
oil
more expressive
painting,
and knife
is
Color index
"^1
MsM
still
The
96-153
156-179
48-93
Creative directions
increase
of adding
washes
its
also dries
Impasto gel
Impasto mediums
it
arabic
if
reduce
time a
with transparent
that purpose.
coverage, and
when used
paint, they
to increase the
from peeling
to stay put
painting.
it
By thinning the
are available
oil
dry.
slightly
and prevent
may
for
or designers' colors
a shimmering metallic or
colors. Interference
liquids
is
mediums
Watercolor medium
combination helps to
mediums
It
when
and glycerine
relatively quickly,
mediums
in color.
synthetic form.
Drying
in
These proprietary
prevent change
available
Retarding
increase fluidity.
when
color
in
to
and
need
will
and you
They tend
or flint,
to control the
37
mediums
"4H
38
Media
in
action
***>-'
,.
(Left,
George Rowlett
on board
24
Ray Balkwill
Morning Mist
Watercolor
5 x 7in (12.5 x 17.5cm)
Judith Chestnutt
Shoreline, 2001
Paper pulp
12 x
12m
(30 x
30cm)
Marina Yedigaroff
Red Tulips
Oil
on board
20 x 30in
Oils,
(51 x
91.5cm)
(Right,
Simmonds
Venezia (detail)
Jackie
Carnevale
di
Pastel on paper
17 x 18in(43 x 46cm)
Douglas Wilson
Lemon
(detail)
Acrylic on board
Tim Riddihough
Check Headband
Reed pen and
ink,
-m.i 'ng
wry
*~See also
Choosing media 30-35
Mediums 36-37
Choosing palettes 40-41
<il;i/ifH|
Massive color
in oils
114
Media
in
action 39
is
choice
among amateur
be watercolors.
The
painters tends to
versatility
and high
is
abilities,
own
and
right,
many mixed-media
combined with
Pure acrylic,
Pastels,
a versatile dry
medium
for painting
ink
this
the practical,
40 Choosing palettes
When
comes
to
your
Wooden thumbhole
matters. Bigger
painting sessions.
it
is
because it gives
a greater mixing area,
which helps keep
colors clean and pure.
better,
It is
possible to
work
painters
who
to relieve stress
is
a chore
to
is
mixing
and plastic
paintboxes have mixing
palette with
well-designed
thumbhole
it
at the easel.
You can
the refrigerator.
for watercolor
in
it
on between
Palettes
like to
assiduous housekeeper.
painting,
store
lid
contoured
on the
wells. Metal
areas incorporated in
the
slider palettes.
it.
paint,
lid,
They
are
Wooden
palettes are
is
limited. Unless
kidney-shaped palette
water-based colors,
and
become an emblem of
acrylics.
The
traditional
wooden
it is
only
palette,
it
will
nonporous
material, such as
me
Mahogany
and
is
it
is
amine,
is
looks sumptuous,
One of the
you are
of acrylic color
ideal
if
this is also
disadvantages
wood
is
preferable,
Before using a
wooden
with linseed
oil
is its
comes
one of
its
when
it
on the
palette. Like mustard
on the plate, you can
waste as much as you
to color
to seal the
oil
Artists
sweeps
and drying
sides,
for a
oil
the
out.
Cover both
few days
color
harden.
to help
numi.il
to
it
and use
big
when
style
complete a
to
wash. Muffin-tin
wood and
need large
of color
enough paint
to allow the
mixing areas
Stay-Wet Palette
The Stay-Wet Palette
sizes
is
workable
for longer.
The color
is
held on a
semipermeable membrane
"v.
Plastic palettes
Plastic palettes are sold in
actually use.
new
palette, prime
benefits
When
shade
more
practical option.
Traditional palettes
color mixes.
mahogany
this includes
you
that
The
is
in
a range of
also useful.
41
Selecting a palette
management
Palette
pays
It
Choosing colors
As well as meaning a
Starting points
transportable surface,
eolors out in a
account
systematic order.
You
on which a painter
arranges and mixes
and there
them up automatically.
of colors the
chosen
means
has
work with
to
allows you to
concentrate fully on
in a particular picture.
You
come
will
of storage.
By the time
in
which
Sets vary
direction
own
and
choice.
in size.
The more
many
palette, but
painters
plastic,
used by the
to
white
When
made
years,
and
resists staining
Home-made
Many
painting.
oil
artists
Warm to
in
own
cool
in
between.
water-based colors on an
old
cans and
jars,
cups,
in
which can be
Whatever type
-keep
it
on.
in
other media,
particularly oils
and
page
32.)
Palette choice
is
acrylics.
is
recommendations on the
specific subjects
most useful
publish
portraits or
and
reds, yellows
possible to mix
many
it
hues.
- the
example.
primary colors
Phthalo Blue
combinations.
have
make
and
lighter blue
-and you
will
to include a white.
Titanium White
the
is
usually
White
is
for watercolors.
a
all
From these
beginner
who
is
uncertain of
which direction to go
clean
This
and
and so
of
same
it
Sienna, Yellow
Raw
Light to dark
it
Umber,
and
available
difficult to
Red,
Most manufacturers
prefer buyers to
Precisely as
Some manufacturers
or a
dictate the
of starter
Atypical, small
prepackaged box
ranges
below
may be
of
better to
neutral backing
it
number
is
returning to
palettes
working
if
student ranges
integral palettes
time, or
the less-expensive
artists' or
price, as
artist.
painting after a
which
refer to
well-known layouts.
White porcelain
As an alternative
- whether
It
certain of your
colors of your
"limited," "restricted,"
first.
may be more
own creative
across
at
need
such descriptions as
There are no hard and fast
a temptation to
is
systematic layout
for
artist
when shopping
in.
is
classic layout,
violet,
**See also
and
48-93
wooden
presentation
in
may
lavish,
together.
Color by color
fill
fairly limited
wide range
situations
initial
of painting
investment;
in
addition
little
^^Sr^
alone
in
will
probably increase
c^a ^^" ^^
42 Color language
Color
is
a language and
it
has a vocabulary of
its
may
Color as function
convey
soft,
feminine; blue,
An
much
artist
can
is
is
black plastic,
cheap, seviceable,
as a
upon any
to call
and blue
person
who assembles
The
the camera
You have
mood
full
control over
who
time,
services
in
your
art.
colored wire.
Manipulating
used
color sketches.
Raw
Cadmium
moods
way
In
bottom sketch
is
more somber
in
washes
Practical color
As
It is
used to
tell
is
people what
tell
what, and what goes where: green wire to earth, red wire to
live.
Color
is
Change
of
use
woven wire
basket.
Color as communicator
Color has the
images;
it
When we
is
power
to instill
a great communicator.
look at a map,
we
can
Woven Basket
minor road.
We
build a picture
Plastic-coated wire
6m
in
of
Raw Umber.
Communicating
with color
43
Polychrome sculpture
Much
particularly
Joustra/Humbrol Ltd
Young Scientist
Anatomy Toy
Plastic
The colors
chosen
natural material
convey
to
made
of the
(left) is
a child's
of colored plastic.
components are
make them
distinguishable
iver is
dark
color as a language to
lighter
- but
convey information.
Three-dimensional color
in
color
were
attracted
Hymn,
stands
some
20ft (6.10m)
tall
On
its
unveiling in
The Tunes
in
London, described
Hirst's
twenty-first century.
that
it is
ambitious
It
cannot be denied
in size
and color.
Left
Damien
Hirst (b.1965)
Hymn
Painted bronze
44 Interpreting color
In this
10-minute sketch,
yellow
plate,
The
fruits
on a white
on a black
setting
table.
a neutral-
is
of the table.
mood
intermixed to build up
subject.
Plate of Fruit
Se e also
jlors of the
spectrum 24-25
48-93
Creative directions
96-153
show
acrylic
/
r
45
Interpreting color
Mixing media
Do not be
down
pastels, acrylics
and gouache
look
for lively
color experimentation.
it
and pastels.
Rub, scratch and scrub
into the surface, using a
muddy.
Use thick and thin paint,
draw lines and apply washes.
Forget about making
results looking too
a neutral color to
Scrubbed
it
Black
Neutral-beige
White provides
creates a
warm
interior.
The back
edge
of the table
Behind
wash
a basic red.
of black indicates a
doorway.
an accurate drawing or a
photographic likeness of the
objects -just apply the paint
green
as fast as
Black
is
tint is
are trying to
simple
still life
in front
of
you
If
like
Orange
Cadmium Yellow Deep combined
with pure red and a medium yellow
White
makes
break into
a vibrant mix.
White provides
white used
of light
at its purest.
its
shows
Other colors
purity, giving a
and shadow.
sense
Yellow
Cadmium Yellow
skin of the fruit,
is
which
is
freckled
yellow
but
in art
banana
So
try painting
T^
/-^
-^
^
XS
.vv>
Is;
i*2>
p*
4S&>L
k/>t
C\v
V-'
v,
>
r#
<><*
fTr""'
3j
fr*.
ffff
*^:
W^t
^ Afrs
'2
&&\*u<
urn
'_.}
III,
m
\m
"m--
(f{
?v
'1
IK
*
',
fj-?"i'ii'.."^*
Wife
A''
Z&,
1
V&^&k
T>as*B*|
\Uh
->xl
uN
^a
%
j
BE
i]
Hi
X
in
ST*>*1
luh
TlST-i
W/^V^BEmYtI
Biw
Wl
LLW
wVS i z-'-JL |
k&icnJ
5S3?
;:
Tut-*dj
ossfia]
W(J{jt
11
U3t)
wa*s
Ir9
'
mJsHm
SCAM*
ouiwH
emir
^j^^
Mi
LAJ
ll
//A
COLOR
BY COLOR
?-o
CHAPTER
^'
B~_feiiaroo
THcno
5^_
^_
"toim
HI*
5b-
'C
gm
:
w*
ffjp^
air- "vial
*? it
ijyl
W
ft' i
T-mh-h'i
r\v
'M
mm
^S"^
T?1
'
^v
'
'IT
r//
48
Color by color
53
*-Red*^ 56*-57*-58*-59*-
-Blue*- Violet*-55-
Hpy
Brown/Red
Earth *74*75*^
80, 81,82. 83
79
-Gray*- 84*-85*^
Color by color 49
On the following
we explore many
pages
of the
We
composition and
attributes of these
colors, and
Red*- 0range*-60*^1-
Yellow*- 62*-63*-64*-65*-66
Yellow Ochre 66
how
they
pigments
we
""*?! Wtittm
^P*S
SB
1
- ..
Jk
..
>m ^*
^
L^"*^
^m
fr
tor
^%w>^
EvT
*P
^i
jM
nb
Metallic colors,
Iridescent colors,
Fluorescent colors,
Interference colors, and
Mica formulations.
Due to the limitations of the four-color
printing process,
Wr
-^^
White*- 86 *-87*~
it
is
not possible to
BP^nr^B
'ffiS^'
^^~
and refer
to
Flesh*- 90*-91*-92*-93'
and reddish yellow
tints
See also
Optical illusions 20-21
24-25
96-153
50 Blue
"In music a light blue
like a flute, a
'eel la;
is
darker blue
a still darker a
ami
\\
-an
organ."
Blue
is
overwhelmingly present
because
it
in
our
lives,
is
changing backdrop
that
is
in
to all
Blue retains
the
distinct character
its
white or black
is
more
clearly than
when
added.
it
may
the
however,
that blue
was
properly recognized as
Early blues
When
referred to by the
civilizations,
it
ground
produced a soft
this
Romans as
was
Azurite
was categorized
was
silicates
among them
a color
ingredients
were
fired
with sand to
^^
blue?
between green
the
color
"Of
inlet in the spectrum,
is
things
etc.,
brui
qualifyii
much
;is
smoke.
moonlight, a
lified
by or
Antwerp Blue
Berlin Blue
Blue Ashes
Blue Bice
obtained
its
Blue Verditer
source mineral
it
Bremen Blue
as
known as
was
It
still in
artists,
the
more
Indian Blue
who tended
Blue
Egyptian Blue
in
Renaissance
to
Leyden Blue
Mountain Blue
for
Paris Blue
The
color
Pozzuoli Blue
Sky Blue
Smalt
Smalt Blue
Thenard's Blue
Vestorian Blue
"frit."
Woad
Woad
What
Alexandrian Blue
was
who
Mountain Blue.
use
was
the following:
Delft
Frit
that
Egyptian wall
"Armenian stone."
of blue,
in
as a black or dark.
may see
historical references to
to malachite. This
shades
Naming blues
Many old names have been
superseded, but you
overall term
northern
in
who dyed
into the
It
in
the
"See also
CI International
18-19
to indigo.
Turquoise 54
Artist
irs... i"
eighth century.
Violet 55
Color index/Blues
165-169
Blue
in
Oriental blues
While
the
Ages saw
Indigo
Indigo, as
name
its
implies,
India.
For painters
it
was
available
in
the
Ultramarine
The name Ultramarine meaning "from beyond the
sea" - gives some indication
of the color's exotic standing.
by Renaissance artists as an
underpainting to
azurite to give
depth and to
warm
its
effect.
gemstone called
lapis lazuli
found
in
Afghanistan.
Smalt
The cost
of Ultramarine
reflected
in its
use,
was
and master
were
Indigo dye
In
A deep
production
industry.
economize on Ultramarine by
was used
uniforms. Although
in
As a
all
fugitive, Indigo
to fading.
important areas
commercial scale
in
a painting, such
is
It is still
all
blues are
particularly prone
for
work
advent of
paint, Ultramarine
the
little.
coloring of
was used
It
a glass
frit
to
is
said
Iznik tiles
clothes,
lead white
useful
used on a large
first
its
most
for the
is
blue
was used
first
floral motifs.
tiles
Cobalt
manganese
red-purple
were
incorporated.
component
but other
pigment
if it
is
is
Blue Bice
Leyden Blue
to take
on a grayish tinge
washed
washes
is
is
in India.
in silver
Used
mines
in the
imitating the
In their
Ming Blue
was
Dutch seventeenth-
metal found
for the
became known as
were
and
history
51
52 Blue
The quest
saw
nineteenth century
in the
artists
today.
in
maker
artificially
by accident.
In
1704 a
was
oil
ferrocyanide, and
was
he
was
color
Prussian Blue
and as
was
it
fine
fairly
in
artists' color.
inexpensive
is
also
a lighter version.
Cobalt Blue
Its
aluminate, and
in
chemical composition
is
warm
is
available
neither
in
filter
product
in
and mix
it
powdered
for a
lei sit
longer
it
week
or so.
The
and
it
ith
first,
descriptions.
was sourced
lazuli, it was
In
1824 the
I'lndustrie
came up with
J. -B.
Guimet
carbonate,
silica
and
sulfur.
Heating
in
changed
slightly
by simply adapting
its
provenance.
it
all artists.
Ultramarine,
Its
became
Pigment use
The blue pigments most frequently
seen and widely used by modern
manufacturers are PB15 Copper
and
lapis lazuli
a clean-looking
shades from
is
cobalt
blue that
deep. Cobalt
then
it
Blue.
was
is
own
prohibitively expensive.
artificial
was
first
was
to boil
is
French Ultramarine
could discover
known as Thenard's
all
their
of 6,000 francs to
also
it
It
blues
it
as Coeruleum.
Other chemists
in a
1870
when the
maker George Rowney
Since Ultramarine
turpentine; bring
In
artists' color
dyeing textiles
known as
The
scientist,
through heating
new
Check
created
oil,
it
in
became an
bright,
Antwerp Blue
"Take
it
for
discovered
in
was
who produced
marketed
own
English paint
ferric
its
Named
containing
chemical mixture of
Cerulean Blue
made
color to be
first
paint
make an
by
was produced
to
technology
new ways of
the discovery of
Prussian Blue
How
in industrial
The
Modern blues
Many of the core modern
for blue
third rinsing
and PB27
PB15
is
Ferric ferrocyanide.
an ingredient
Manganese Blue
in
Indigo,
named
Phthalo.
PB73
in
Blue Deep.
Blue pigments
When you
PB27
fall
bottom
to the
ol the
blue.'"
Ferric ferrocyanide
PB35 Cobalt
LlBRI C'>l OKI
M
IRS)
I
nil
'
silicate
oxide
'
if
tin
c.i
PB60 Indanthrone
01
PB73 Cobalt
silicate
is
Cobalt
Mode
Core blues
The most common
Blue obsessions
blues are Phthalocyanine,
Cyan or
maker
medium.
contents are usually the same, but hues vary from one
to another,
53
n blue
is
period
artists
and movements
in art
Homage to
blue
French
artist
produced
the 1950s.
the
full
In
Chemical blues
The twentieth century saw
developed a
new
Blue
patenting
synthetic chemical
mimicked
that
in
natural colors.
new
he
Ultramarine,
as International Klein
it
(1KB).
intensity of pigment,
vibrancy. 1KB
trademark
became
Klein's
color.
artists.
Phthalocyanine Blue
Phthalo Blue
This powerful color
is
made from
copper phthalocyanine,
synthesized
in
Basic blues
first
that are
named
sometimes
(it is
Intense Blue),
has replaced
it
MUSSINT
(77
..
sometimes have
is
Lasur-Cyan
translucent cyan
Among
"
reddish tinge
for creating
secondary colors.
greenish, but
recommended as
good mixers
traditionally a highly
for instance,
Winsor
is
the complementary of
^^^
^^^M^^L^
ei5ml
known within
21).
Blue.
m^
the
^^11
page
wr*
is
meaning "dark
flu
blue."
\ji
Manganese Blue
This color, developed
in
the early
twentieth century,
was
%.'
Idfc
to Cerulean, but
weaker
in
tinting
now
Jb
mL
w"
it
unavailable.
Indanthrene Blue
This violet blue, similar to Indigo,
was developed
Reiter, this
in
901
Some
1,
1911
(detail)
as der Blaue
group of Expressionist
artists
it
when
more
blues, especially
It
is
It
is
in tints.
art
phthalocyanine
when used
Cobalt Blue
Ultramarine Blue
and
their riders.
54 Turquoise
The color
Frequently, "turquoise"
is
to
used as an adjective
depending on
its
particular bias.
its
(From
artifacts
left to right,
top to bottom)
Green
Turquoise pigments
Natural turquoise varies
in
There
is
Artists
two minerals
and
point of
because turquoise
sits
betwe
spectrum, altho
as a separate hue.
named
bear the
name
many prepared
artists'
colors
These
toward red
at
of
to be greenish. Single
It
'See also
Blue 50-53
Green 68-71
Color index/Turquoise
Color index/Violet
168-169
165-166
Violet
Violet
is
is
the
complementary
"/
is
at
55
is
of
atmosphere.
CLAUDI
Mom
It is violet.
(1840-1926)
,:.
..--.
browns (Mars
violets).
B
''-
;:.:-,--<-.-
:.:-,;.
:....-:.
:-
s$ttm
1
Violet pigments
Caput Mortuum
This
color seen
PV15 (Ultramarine
Violet), PV19 (Quinacridone)
and PV23 (Dioxazine Violet)
and sometimes
hues available.
(From
left to right,
top to bottom)
Violet,
Deep
Quinacridone
Medium
Violet, Violet,
Mortuum, Permanent
Violet Dark.
example,
name
subdued violet-brown
originated
in
catacombs
in
Rome.
salts that
by mixing.
Its
watercolors.
in
colors
in artists' oil
is
is
was
Mars
some
makes good
flesh tones
pigment
is
to their
Mortuum
character that
in
is
It
when mixed
is
an
PR1 01
artificial
).
It
mixed
on the palette.
Caput Mortuum
is
maroon Mars
violet.
56 Red
Red
"If one says 'Red'
name
(the
ami
there are
of a color)
50 people
listening,
50
the
hottest of the
warm
colors.
reds in
their minds..."
Josef Ai
bi
rs
(1888-1976)
amount
a small
oldest color
its
It is
the
is
it
may reduce
its
will sing
names -
in the
saturated form
can be
it
is
and sparkle.
It is
one of the
word we speak
Red
is
In
It
first
red palettes
when mixed
variations, such as
light,
n at
ol
the least-refracted
from crimson to
n and orange,
esp
n in
'
rubie
lips,
blood.
oals,
and
in.
hair..."
human
Earth,
found
It
in
springs,
in
ancient
obsolete pigment,
for
"powder
it is
Now
toxicity.
its
it
Scarlet
is
of
CI International
Violet 55
Orange 60-61
is
also
in
Puritan times
with a scarlet
18-19
lust,
and a
suspected of committing
adultery
"See also
women
associated with
woman
when
Red
this
composed
an
use continued
first
today, because
its
extreme
is
of the mine").
was no
Red lead
pigment
red-letter
sulfide.
is
spectrum, of shades
books to
Realgar
process are
Realgar
Once
a red
until
red?
approaching
"Of OT
the color
made from
II
Red-letter day
tones
powder
(probably gypsum or even
What
warm
made by
transparent white
many
and
became the
Earth reds
tedious and
dye
The
- they were
rare
difficult to
cardinals, in
were
letter.
was branded
Even before
An
72-75
Earth
"Oh,
Isis
deliver
me
evil,
was
Red
in
57
history
Dragon's Blood
Also called Indian cinnabar by the
Greeks, Pliny maintained that the
came from
color
a mixture of an
two beasts.
In fact,
is
it
a red-brown
resin
of
an
that
the bark
of the
grow
is
prickly stalks
resemble long
to
and
tails
seem
wavelength
of
for
warmer
colors
will
Vermilion
The Greeks made an
form
artificial
which
until
it
took
common
in
use. Again,
it
was
the
was
often used
painting
where
in
it
manuscript
was
glazed with
white). Similarly,
Vermilion
madder
was
in
painting
Vermilion
is
made
by heating
any
in
mixture.
the mixture
According to Theophrastus
in
300bc)
ore
was
cliffs
it.
(c.
red color.
It
was
it is
form of a black
not as bright as
you ground
it
still
become
until
are also
The
names -
Crimson
Alizarin
referred to as Rose
or
diBondone (1267-1337)
The Kiss of Judas, c. 1305-06
Giotto
(detail)
some
of
find to describe
Bright Red
for instance.
Some manufacturers
own names to colors
attach their
they have
become apparent
to the
finer
the mid-
the
also
is
Madder
Permanent Madder,
artist after
medium
oil
while
new media
such as gouache
more
is
example,
is
very close
in
terms of handling
for
"Judas hair"
in
in
of the colors
of mercuric sulfide.
A term
available
is
Many
"if
of reds
media.
of the
Cinnabar
Naming reds
A wide variety
abilities to
Cadmium Red.
Often, an old name may be attached
to a paint color, but it is now made
the
oil
paint called
permanence
or toxicity that
associated with
it
in
were
Red
Burgundy
Cadmium Red
Carmine
Chinese Vermilior
Crimson
Florentine Red
Brilliant
French Vermilion
Genuine Red
Geranium
Helios Red
Intense Red
Magenta
Munich Lake
Nacarat Carmine
Naphthol Red
Pyrrole Red
Rose
Rowney Red
Ruby
Scarlet
Transparent Red
Vermilion
Winsor Red
58 Red
Madders
Alizarin Crimson
In
general Alizarin
Crimson mixes
to obtain violet
Purples and
''
.violets
mixed
with Cadmium
Red tend
to
brownish
Red.
however,
is
for
plant
it
was introduced
George
to
and
into France
Field,
in color.
Cadmium
good
madder
Greece,
be
Cadmium Red
h
now
are
atWinsor
& Newton
mixing
with yellows to
produce a clean
The
bright orange.
known as
Complementary
of Alizarin Crimson.
color
come from
Dried madder root
As the complementary
red
is
of green,
which
Genuine madders
Winsor & Newton are
a useful
The names
dye
this color
was
the only
same
down
saturated greens.
Eventually, the
two mixed
together, with
fugitive color
bright
gray or a
these vary
warm
medium
pinkish gray.
in
hue from a
pound
held
and
it
of cochineal.
in
was brought
Europe shortly
to
pigment combinations.
commonly used as
Synthetic madders range
permanent reds
to individual preferences,
palette will
good
oils
adding
and acrylics
a
for
it
it
proved to be
until
Madder
plant
or crimson are
now
synthetically produced.
the
Scarlet Lake
Scarlet Lake
is
pigments, but
it
The color
is
also
known as
Scarlet Vermilion.
Rubia tinctorum
Chrome Red
Orange-red was
Alizarin Crimson
Alizarin
Crimson
is
a synthetic substitute
for
introduced by two
first
artificially.
By 1920,
it
had
derived from
chromium, discovered
in
the early
is
is
toxic
no longer used.
were not
lightfast.
rom these
possible to mix
two reds,
a wide spectrum "I colors.
and
more
a food coloring,
because as a paint
word carmine
invention of Alizarin
paintbox. Different
minimum
light,
artists
but a
hue from
Red legs
for
in
it is
is
artist's
saw
color
the addition of
red
first
Alizarin
Crimson
staining
power -
It
is
is
used a
lot
with glazes.
is,
therefore,
Aniline reds
A number
of aniline
developed
in
pigments were
(see page 81
).
and a
Magenta
Modern
New
59
rec
reds
the advent of new chemical
have considerably augmented the artist's choice
that
Many
first
the 1950s.
in
of
new
colors,
bright
Cadmium
In
colors
lightfast
in their oil
acrylic
by the German
mixes.
scientist
By
Friedrich Strohmeyer.
various
cadmium
particularly
colored black
Sample selection
of
In
may be
deep dark
The Fauves
or
obtained from
cadmiums
beasts")
were the
break
Phthalo Green.
colors were
Inspired by red
away from
vehicle. Prime
These
colors all veer toward the
hotter part of the spectrum
also reliable to use.
using descriptive
it
as an emotive
Peryiene Red
Developed
in
pigments.
for "wild
first artists to
warm
In
maroon
in
(1880-1 954),
darks.
who chose
a bright,
Pyrrole Red
Cadmium Red
Cadmium Red was
not introduced
until
As
is
when
their
to
name
group of
bright, fiery
it
introduced
the
first
is
Cadmium Red
important colors
palette and
is
for Vermilion.
red. Paint
is
Sample selection
of
quinacridones
in
most
is
give
cadmium
the artist's
designated as
medium and
In
Red
colors.
introduced
in
the
920s.
factor that
Cadmium
It
is
of concern to artists
is
which
makes an
some Naphthols
artists' colors.
particularly
if
toxicity,
undiluted pigment
lightfast
is
Sample selection
of
magentas
2,
seemed
to
impact of color.
Scarlet Lake.
Medium and
950s and
this
Naphthol Red
Naphthol Red
of the
color
are
**
Kit
^|
light,
opaque permanent
IP
them an advantage
in
dark.
a limited palette,
is
=8
^P
will often
right
their chart
mm
WoTTtHklO
may
over
^^
have
Naphthol Red
of the
manufacturers
lightfast,
may
color.
one
in
990s,
Red
fP
more
implies, this
(fn*cT]
60 Orange
The color oranse
"Orange
is
like a
man,
WASsm
Kandinsky (1866-1944)
named
is
fruit.
in the
In
it
may
hot part of
pigment
slight bias
Although
two primaries,
word
toward
be mixed from
were
were not
and most
lightfast
later replaced
by cadmiums.
known by
also
Advances
chemical
in
Cadmium Orange
There
is
huge number
of
cadmium
Antonio Mensaque
deep
red.
Cadmium was
production
in
Perinone Orange
An intense orange with
cadmium
iew
colors
Orange
is
Among
lightfast.
perinone. benzimidazolone
first
Oranges, 1863
and
bright, clear
available.
a bright
warm
this color
first
is
a lake pigment,
it
available
is
dark shades.
light or
semiopaque pigment.
and
covering power.
its
a red bias,
used as a dye
in
Cadmium
color that
was
to increase
artist
that are
it
may appear
is
in
watercolor
In
be a granular and
to
lightfast
is
It
aluminum flakes
to
produce a
Benzimidazolone Orange
New
mid-oranges were
developed from chromium
and cadmium
It
is
is
as strong as
in
improvements
cadmium
colors
when
have ensured
of
in the early
bias.
and today
properties.
reliable,
Pyrrole Orange
Chrome Orange
This bright reddish orange
was
in
It
*~Se e also
International
was produced
1809.
by the reaction
18-19
Yellow 62-65
Color index/Orange 161
and dried
to
in
create colors
was
filtered
sector. Pyrrole
Orange
is
a bright
transparent and
mid-orange that
is
lightfast. This is
61
Orange
Experimenting with orange
Orange exists as a single pigment
(see page 18), but
it
is
one
of the
secondary colors
to
and yellows.
"
Warm
red, intensified
by a suitable yellow,
is orange."
Wassily Kandinsky (1866-1944)
Naming orange
orange hues.
oranges and
Many
was unknown
importation of the
to describe
until
the
fruit into
Europe
in
the
is
an
in
PY ingredients.
left to right)
(Old Holland)
& Newton)
Orange
(Liquitex)
(Talens)
Cadmium Orange
(Lukas)
(Liquitex)
Cadmium Orange
(Tri-Art)
Burnt Orange
There are various hues carrying the
descriptive
Cadmium Orange
(Tri-Art)
name orange
that veer
Among them
62 Yellow
Yellow
is
artist's
in
warm
it
zelio
their
intelligence, transform a
yellow spot into the sun."
Pablo Picasso (1881-1973)
is
it
put.
and
is
of colors
Yellow Ochre
Yellow ochres,
or earths, have
Naming yellows
continued to be
opaque
and
It
is
of the
may
names
for
see:
color.
66).
Aureolin
Indian Yellow
Azo Yellow
Barium Yellow
Lead-Tin Yellow
Brilliant
Lemon Yellow
Yellow
Massicot
Cadmium Lemon
Cadmium Yellow
Chrome Yellow
Naples Yellow
Cobalt Yellow
Vanadium Yellow
Winsor Yellow
Orpiment
Paris Yellow
Gamboge
the
Orpiment
Golden Ochre
Yellow Ochre
that has
The Egyptians
Hansa Yellow
Zinc Yellow
been appropriated to
identify certain
developed a
modern brands
brighter,
of yellow.
more
acidic yellow
mineral pigment,
Prehistoric yellow
a sulfide of
known
arsenic,
as orpiment.
It
came from
been
in
the
full,
in
identified
Egyptian,
is
It
mentioned
in
yellow?
"Ot the color between green
and orange in the spectrum,
still
used
to this day.
colors. Saffron
used
\\h;ii is
colored
like
primros*
01
buttercup or
lemon or sulfur
in
was
also
Massicot
A lead-monoxide
earthy yellow
pigment, massicot
was
a byproduct
by the Greeks.
or gold..."
unpleasant-smelling color
are
Plant yellows
the
made
and Ireland
to Persia
Much
it
later
and Byzantium.
was made
chemically
names
for
it
is
in
it
daylight
"See also
18-19
CI International
Orange 60-61
Yellow Ochre 66
Earth
72-75
Chinese Yellow.
Color index/Yellows
157-159
is
Yellow
Helios
and other
artists;
gold
sewn
is
it
is
woven and
also
often represented
of Trades),
63
history
into textiles..."
is
in
Nuremberg, 1568
for
Gold
Heraldic convention ignores
leaf
was reserved
it
Real gold
for the
powdered
The
mention of
ground gold being suspended
in honey as a binder.
but there
Indian Yellow
Mummy
Along with
75), the
On
is
It
is
"A
reputed to have
cows
mango
just
1
leaves.
one
Its
village,
manufacture, from
was banned
in
the
an unhealthy
color
is
now
although
it
in
golden
replicated chemically,
may
an
"A
color
artificial
And
in
known
one.
color
as orpiment
It is
it is
yellow used
miniatures.
Gamboge
This yellow pigment from
was
first
Cambodia
in
the
is
it
incorporates
moderately
its
own
lightfast, so
binder.
is
in
It
is
the bright
jewel-like Indian
it,
"A
as realgar
color
known
an
closely resembling
It is
poisonous.
is
really poisonous.
is
lest
you
We do not use
it,
Beware of soiling
is
really
only
64 Yellow
Modern
Yellow "pinks"
Up
and
the
seventeenth
Manx of
yellows
The advances
in
Particularly important
cadmium
that include
historical pedigrees.
Ochre, nearly
ingredients,
With
of these
all
which ensures
their
made of synthetic
permanence.
Chrome Yellow
in
1797 by N.
chemist.
Its
L.
Vauquelin, a French
were
constituents
named
various colors, so he
Cadmium Yellow
of
In
it
cadmium
expensive.
to
in
was
it
in
tendency
too.
to discolor
aged.
it
known as
also
color has
now
largely
been replaced
Naples Yellow
favorite color among
in
Brown Pink
(middle) and
(top), Italian
Stil
Pink
de Grain (bottom).
deep orange-scarlet
*"
Tv"^
fc
-
- "rtT
all
sold as
and
zinc yellow,
*'
were
three colors
-*- *xc
By about
color.
were
made from
chromate and
*<*
was
fourteenth century.
that
its
believed
It is
original source
was
the
Mount Vesuvius
Yellow
is
made with
various
widely
is
in oil in light,
in
medium and
warm
It is
pinkish
also produced
it
lightfast,
Aureolin
cobalt yellow
in
the 1860s
introduced
precipitated
yellows
Some manufacturers
72-75
yellow
,-93
offer pinkish
name
fall
157-159
salt
expensive pigment,
it
or a
change
in acidity.
most suitable as
An
has good
it
can
to heat
The color
is
a watercolor.
with
Hansa yellows
The Hansa yellows were developed
of the
also see
more pink
or
lemon yellows
to
warm
golden
into the
Color index/Yellows
in
to turn
Yellow Ochre 66
available
Se e also
became
may
*~
Cadmium Lemon.
in
colors are
(Right,
in
in oils.
Warm
Cadmium Yellow
medium and
was
a cool,
greenish
was used
their
Manufacturers
a range
light,
different tones of
chromate
painters,
three tones
volcanic earth of
Chrome Lemon
offer
usually provide
it
on exposure to
still
the artist's
As well as providing
lightfast properties.
had a
light
in
its
It
colors
in full
Cadmium
of hues, they
hue to
soon replaced
had disadvantages,
palette.
began
this color
pigment was
sulfide, the
an important element
manufacture of
names you
potassium chromate
cadmium yellows
were
for "color").
nitrate with
"pink"
Yellow
Among the
may see to
many
chemically
yellows.
in effect, a
new
used
fully
saturated.
65
Modern yellow
Indian Yellow,
pigment
of the older
all of
yellows are
now
synthesized from
is
iron
oxide PR101.
hues, often
Yellows
in
ingredients.
The exception
is
Lemon Yellow
Lemon Yellow may now be made
JOOOOC
The color
is
yellow that
Pigment formulations
Most yellows are made from
oranges.
It is
greens and
transparent, with a
somewhat weak
tinting
power.
titanate,
potassium cobaltrinitrate
and natural
members
iron oxides.
of the
A few
Yellow Ochre
Yellow Ochre
be approximated
in
an important
made from
66).
Many
*DOOQOOOOOOOQOe
Van Gogh and
Vincent van
other
replicated by synthetic
mixes.
It
may now be
Brown
yellow
Gogh
is
considered useful
hue.
House, he painted
his
surroundings of
cornfields, sunflowers
many
of Vincent's vivid
chrome yellows
"
.
it
would be easy
to define
that bright
many
the
In
artists
adopted
or
Gamboge and
Chrome Yellow,
many
paintings
in
some
the
in
66 Yellow Ochre
Ochres
MM
selection of colors
whose
ingredient
is
iron oxide.
light
reddish yellows.
Yellow Ochre
a dull
is
cheap
iron oxide
Attish Light
PY42,
lightfast
it
and
fairly
The
to obtain.
absence
is
found
of clay. Natural
in
many
Ochre
Bronze Yellow
IIL.HL
r
Deep Ochre
Flesh Ochre
Gold/Golden Ochre
Mars Yellow
Nickel Azo Yellow
Orange Ochre
Roman Ochre
Yellow Oxide
Africa, Italy
manufacturers' literature.
of the color
at the
and
its
reddish
brown
to an earthy,
golden yellow.
is
It
A
Maimeri plant
in Italy
said that
As
Hills,
far
as
we
can
tell,
the
becomes.
"See also
be from
story
12-15
Earth
72-75
fire
ashes.
to
Green Earth 67
Its
Green Earth
bottom)
oxides, are
(Old Holland)
Terre Verte
(Taiens)
Terre Verte
(Senneiier)
silicate.
(Lukas)
brownish
Creta viridis
Roman
times,
when
it
was used
as
It
wall paintings
in
India. In
variety of
Minor and
Pompeii, Asia
all
medieval and
nearly
in
(From
bottom)
was
pages 112-11
oil
is
translucent
absorption and
is
was mixed
widespread as
and columbine,
greenness.
turns
When
brown and
as Green Umber.
famous source
*~See also
near Verona
in
di
enhance
to
Terra Verde
its
is
sometimes known
CI International
18-19
Green 68-71
may
(Senneiier)
(Lukas Studio)
Olive Green
(Taiens)
Green Earth
(Lukas Sorte
Rowney
Earth
72-75
1)
Olive (Rowney)
(Lukas)
(Old Holland)
Greenish Umber
(Taiens)
In
with
Green Earth
Green Umber
A
of the mineral was
Italy; hence, its name
(Taiens)
3).
and the
Green Earth
incorporated as an underpainting
iron oxides
commonly from
may see
are:
Belgian Green
Holly Green
Celadon Green
Cyprus Green
Green Bice
Green Stone
Rhenish Earth
Hessian
Saxon Earth
Tyrol Green
Venice Green
Verona Green
olive).
68 Green
"Grass green and aspengreen, Laurel-green
Chlorophyll
and
sea-green, Fine-emerald
green,
is
It
traps the
And many
another hue;
As green commands
the
reflected.
variables of green
So love
my
loves of you."
and blue
on the
lies
in the
palette
Green
is
between yellow
readily mixable
Variables of Green
Green
in history
exists as a
common
of synthetic pigments
in the
nineteenth century.
PG18
The history
page
Malachite
50).
is
carbonate of copper.
a basic
found
many
in
It
is
usually
in
Among
the obsolete
Carl
a naturally
Scheele's Green
In
arsenic,
Swedish chemist
Carl
acid,
Naming greens
Green
manufacture of
discernible to the
Hungarian Green.
pigment, because he
names
for this
malachite
in
out of azurite;
it
is
formed
good
it
called
is
is
copper green
felt that
its
first
aware
is
not mentioned
laying in."
Chrysocolla
classical
in
following account
18-19
known as
is
words
chrysocolla, found
for
because
it
was used by
Yell'
Gre<;>
been
has
Some
still in
now
of the following
names are
many have
disappeared:
in
George
Field's
"...To
make
the green,
some
was
tombs dating
added, a
little
at
a time
Almond Green
Leaf Green
Apple Green
Arnaudon's Green
Leek Green
Avocado Green
Mineral Green
Bottle Green
Brunswick Green
Casali's Green
Celadon Green
Mittler's
Chartreuse
Chlorophyll
because of effervescence, to
a warm solution of copper
sulfate The mixture was
allowed to stand so that the
green precipitate could settle.
the liquid was poured off, and
Chrome Green
Cinnabar
Cobalt Green
the ancients
Turq
eye. Prior
pigment
Chromatography (1869):
name
human
in literary
mineral
to the standardization of
artists.
is
in
In
this
and
nal
bright green
"See also
Viridian as single
in
to 2000bc.
Copper Green
Dingler's Green
Emerald Green
Evergreen
Hungarian Green
Jade Green
Kelly Green
Lily
Green
Green
Moss Green
Mountain Green
Munich Green
Myrtle Green
Nitrate Green
Pansy Green
Paris Green
Plessy's Green
Prussian Green
Scheele's Green
Schnitzer's Green
Schweinfurt Green
Verdigris
Vienna Green
Woodland Green
69
3en
Verdigris
Verdigris (from the French
"green of Greece")
meaning
a blue-green
is
known
is
It
its
in
wine-
was made
it
by
crust
would form
when scraped
were pulverized
blue
powder
Verdigris
is
off,
the scrapings
to produce a light
sold as verdigris.
nowadays as an
not seen
artists'
is
Vegetable greens
Green pigments were extracted from
flower petals
in
the seventeenth
Lily
names
Green,
Iris
name
Green, a
still in
use to describe
twelfth century.
century,
for
use
In
the eighteenth
in
watercolor.
It
was
also
was
often stored
in
it
bladders.
Chromium Green
This
is
Cinnabar
Cinnabar
catalogs.
Vauquelin,
of
known as
known as
in
1797,
in
a mineral
chrocoite.
Many
colored
Green,
green
Green
is
communicates
their color to
was
listed
Chromium oxide
& Newton in
by Winsor
.will furnish
is
widely
power," and
means of
enriching their pictures, and
be substantially increased.
in
makers'
of a combination
was made
by mixing Prussian
made
64).
is
In
a variety of
page
It
pigments.
Vauquelin wrote:
Sap Green
a shade of green or
is
70 Green
Modern greens
Emerald Green
Emerald Green generally has a
bright,
was one
of
among
colors. Popular
the French
many
it
in
Emerald
and
Munich
or
it
is
known as
also
Paris,
pigment was
brighter,
more durable
&
catalog
Gauguin, writing
to
and
their watercolors
in their first
in
..?^$^*^^
colors
oil
832. Paul
February, 1897,
in
colors.
in
Phthalo-based greens
the
and
component
fabrics,
It
was
house
paint.
One
being marketed
its toxicity,
bright tone
media and
because
it
was
!M^$i^^
of
which
rely
m?rt,v
named
its
and lightfastness.
the1960s, replacing
is
several trade
the 1950s,
in
in all
Green
under the
all
despite
permanence
Emerald Green's
of
still
and as a
\mmm&*ft0fa
*^^#^^J?iy54ff.v*W
it
with
Sap Green, a
originally
of azo
!&Ml>
-gtytytf*^V4*^
berries,
is
now
synthesized from
.rftp^%^&**^f$$tt$*4
is
this initiative.
today often
Hooker's Green
William Hooker painted pottery and
may be
Hooker's Green
is
Green, originally
a mid-green with
a base,
Green pigment as
red,
mixture of
Gamboge and
Prussian
pigment,
it
is
usage
is
Oxide, consistently
made from
to
brownish yellow-green,
Raw
is
by
green with a
charts.
made from
Some
of
in
them are
color
single
left to right)
Cadmium Green
or
(right)
(PG18
(PG7
PG36
or
or
PG7
+ PY35/PY37)
(PG17)
PG18
+ PY1/3/35/42)
list
Cobalt Green
manufacturer to manufacturer.
Emerald Green
or
PG36
PY3
or
PY42)
PY42/PRioi/PBr7)
Permanent Green
Sap Green
Viridian
similar color
artist
will
Sienna,
You
its
Olive Green
Chromium
compared
a dull
Prepared greens
Exceptions
or
PG36)
Green
(PG18
or
PG7)
little orrjr
Earth,
page
67).
Yellowish Green
(PG7
01
PG36
PY3/74/154)
71
Green
Experiment with green
The
little
shows how
greens
is
Complementary opposites
white to create a
tint.
" VV7/v
how
(From top to bottom,
left to right)
Can
to paint."
to the vibrant
design of
energy
many
in the
paintings.
(Golden)
Viridian (Lukas)
Emerald Green
(Winsor
& Newton)
(Ligmtex)
Light
(Lukas)
(Tn-Art)
(Golden)
(Lukas)
Permanent Green
(Winsor
& Newton)
Viridian
oxide,
now known
created
in
Paris
As
a glaze or
appears as a
wash
this
rrw
pigment
is
emerald color
vivid
applied thickly
was
as Viridian,
1838. Viridian
in
When
takes on a duller
pigment
is
because of
its
excellent tinting
is
in all
mediums.
Green sketch
and browns.
Portrait
and
life
Ready-made
painters
tints.
When
Cadmium Yellow,
this color
acrylics
were used
or
hills,
to
light leaf
produces
and
finally a light
his painting
Mixing greens
However, at
its
simplest, green
is
to
to interesting results.
on canvas
(detail)
27Mx35in(70x89cm)
Yale University Art Gallery
and
me mud
you
the skin of Venus."
will paint
Raw
all
earth colors.
known
to
They
are
some of
Burnt
Umber
which
made
is
it
was
first
in a similar
is
after
found, and
iron oxides
Red Ochre
warm red-brown
is
is
based on
way. Earth
the
in
wonder
Gulf
names used
of this
iron oxide
of
its
Red Ochre
little
valley,
and
the
....
this I
a seam of earth
in the
in the
face of a
man
or woman."
Earth pigments
These very ancient rich mineral sources produce yellow,
red, brown and green pigments, depending on the natural
iron-oxide coloring agent in the deposits. They were used
in prehistoric cave paintings and are probably the most
permanent colors available, because they are little affected
by atmospheric conditions. The minerals are dug from the
earth, washed and then ground to produce the pigments.
/--...
The color
was used
in
because of
its
Some
qualities.
English Red
Pozzuoli Red
Indian Red
Red Oxide
Red
Mars Orange
Mars Red
Persian Red
Pompeiian Red
Sinopia
Light
Spanish Red
Terra Rosa
Turkey Red
Venetian Red
Brown Ochre
Brown Ochre
as
another reddish
is
name
is
not used
ochres. The
is
and
in
it
is
PBr7,
the
color
Spanish Brown.
relating to
natural
its
similarity to the
for
(PBr6)
is
See also
Pigments in history 12-15
CI International
to
18-19
Yellow Ochre 66
67
n Earth
1-145
Coil
It
of
Brown
3d Oxides
English Reds
Browi
Mad
iii
172 175
173
jiennas 174
iM75
r.
thought
ih.it
o/ido', of
non woo;
in clay,
and
manganese ores,
pigments were ground with
various ingredients,
Spanish Brown
In
under
this
name
is
Brown Ochre
it
light
Brown and
Earth
73
Iron ores
and reddish browns
Iron oxide is a principal
coloring agent derived
Most
come from
iron oxides
Hematite
is
the Greek
hard,
ferric
oxide
is
used
in
of
the
Sinopia
This
is
is
was an
where
town on the
it is
mined. This
In
the fifteenth
in
was
for
when viewing
is
clearly untrue
colors.
74
"I
cannot pretend
Earth
to feel
with the
and
brilliant ones,
am
Winston S. Churchill
Thoughts and Ad\ ntures (1932)
i
Mars colors
Mars
Used as substitutes
Mars Brown
is
a mid-chocolate
shade, generally
made from
(PR1 01
and
is
a chocolate purple-
55).
(see page
neutral
still
among
available.
Most
Vandyke Brown
Synthetic oxides
This
to black in color.
original
Its
was
composition
humus
of
or
in
the
form of peat or
red-brown hue
Mars Red
used as a substitute
it
has
and
made from
whom
is
found.
It is
original formulation,
the pigment
it
fades.
artists
found
and wood
is
is
Owing
it
staining.
Vandyke Brown
(NBr8)
is still
"See also
1/2-175
l aw
Siennas 172
names
are
this
name
is
seen
in
Sepia
This organic pigment originates from
is
in air,
literal
officinalis),
Sea.
It
by the
is
found
in
the Adriatic
popularity
by
its
is
also
In its
given by
known as Kassel
Earth, from the place in Germany
where the natural ingredients were
named.
name
association
Mars
Seydelmann
in
Dresden.
It
was used
mainly as a watercolor or
red-oxide pigments.
ink.
brown
or
75
Earth
Brown Madder
A
brownish-orange
color,
from
originally derived
was
also
58),
known as
Now
Ruben's Madder.
based on
Alizarin
Crimson (PR83),
it
is
a transparent
permanent
lake,
current formulations
and
may
-1
Mummy Brown
A brown pigment made from
asphaltum used
this
was
Egyptian tombs.
as an art color
until
embalming,
for
recorded usage
Its
was from
the
800s
the 1920s.
Asphaltum
Also called Bitumen (see page
composed
matter,
color,
produced from
manganese, the
and were
in
and
originally
Tuscany,
iron
Italy.
greenish-brown earth
Umber
Raw
instability,
for
It is
and
lightfast pigment.
and
particularly Sardinia
in Italy,
Sicily.
Raw
Sienna
is
one of the
indicate
Some
producers
di
still
known as
of synthetic oxides
a mixture
).
It
Italian
is
also
Umber
Produced by calcining
red-brown, produced by
calcining (roasting)
Raw Sienna,
this
is
Pozzuoli Earth
NBkB
(trade
name
but
Gilsonite),
available as an
oil
is
yellowish-brown pigment
boiling the soot
nineteenth centuries
in
Burnt
Umber
names
in
the
was
is now
Raw Umber.
It
its
renowned
for
for
as cement.
Some makers
still
offer a
bears the
name
Pozzuoli Earth or
many
It
watercolor
wash drawings.
or the
produced
the
is
brown-red used
traditional
paint.
This
Raw
perfect for
is
The
and
Bistre
or in tonal
its
exists,
brown with
Raw Umber,
similar properties to
has
it
made from
Raw Umber,
Burnt Sienna
It
and wrinkles.
Siena.
A warm
its
thinly.
still
employ
Burnt
lack of chalkiness,
of natural
some use
tar dyestuffs,
was used
it
Records
(PR101).
its
colors.
It
in oil
popular with
name
regions
dissolved
is
was
or turpentine.
is
is
It
Latin
color,
is
of modified organic
made from
Raw Umber
Raw Sienna
An orange-brown
is
83),
blackish-brown color,
this ancient
76 Black
"White may be said
represent light,
to
descriptive
names
of black
books on
in
and
black
black,
for total
darkness.
this
book,
we
(1452-1519)
Dominator
white as colors.
deaden
an
its
it
So,
is
is
spontaneous brush
drawing and for attaining a
tremendous range of gray tints
to
unnecessary
rarely appears at
- perhaps
is.
and has a
palette?
It is
common
It is
know
rightful place in
its
strength
many of the
too. You can
secondaries,
white.
artist's
and handle
Black as a
it
with caution.
tinting color
are old-fashioned
day
names
purest in nature
and
artist's palette,
because
art
Respect black
Black in its own right,
however, is a useful and
fluid,
in
colors.
Defining black
completely dark."
is
for types
manufacturers* catalogs
the
It is
in
will
is
Leonardo da Vinci
black
Naming blacks
You will come across many
Technically speaking,
tints.
names
tint
for black
in
Making black
It
is
easy
to
mix black
media
is
Black as a darkener
name
of the
pigment that
"See also
rnational
18-19
in
blacks 80
and shading 81
Aniline Black,
Bone
PBk1
(50440)
PBk9 (77267)
Black, PBk6/PBk7
Black,
Carbon
(77266)
PBkll
(77499)
Mixing bib
"Note:
some
listings
show Carbon
77
Choosing black
Taken
black
at
is
black, and
Originally
all
stalks
Once you
Black
Ivory
is
name
When you
look
in
you
at
will
is
a perfect black
made
is
take a lamp
manner:
in this
of linseed
full
As
Ivory Black.
the lamp.
Then
name
was originally
have a bluish
tints.
of black
the old-fashioned
why
Ivory Black
also
is
known as Elephant
is
names
among
finer grade of
later
in this
this
as
that if
Cennino Cennini
The Craftsman's Handbook
(Fifteenth Century)
paint.
dish
Its
some
make as much of it
way as you need."
much
know
it is
"Grind
its
in
this color
an hour or an hour, or as
for
is
for this
a pigment
that
sometimes
Black. At
is
Vine
out of
so lighted, under a
undertone and,
its
it,
"...there
which
put
to
painting,
This
oil,
black
It
individual characters
evident.
make lamp
to
by roasting vine
Black
are familiar
pastel, etc.
made
become
How
Vine Black
face value,
is
permanent and
Lamp
with white
tends to produce
warmish
it
Black.
In tints
grays.
Payne's Gray
Among
the blacks
in artists'
color
always see
Payne's Gray
is
see
many
of the descriptive
aluminosilicate) and
Among the
Mars Black
included, too.
quality blacks
are Ivory,
It is
considered useful
by watercolorists, because
well and
Mars Black
Mars
is
name
originally a trade
that
is
good
opaque media -
it
thins
and
acrylic
art materials'
manufacturers
in
alchemical
name
these colors
is
Mars
was the
Among
unnecessary. However,
for iron.
Black,
which
is
in oils;
however,
it
is
in
watercolor and
in
nearly
pigment that
all
is
it
composite
is
popular
available
in
of the manufacturers'
is
named
Payne (1760-1830), a
Devon
District in England.
oils
is
made from
residual soot.
burning
it
Many
Lamp Black
This carbon pigment
Lamp
Black
one
is
of
is
evident
when seen
is
in tints.
it
has
more
Lamp
Lamp
Black.
78
Top tone
when
various blacks
spread thinly as
undertone.
You can
when
the
when
and shades.
Color observations
made
Tests were
using random
illustrations
was
oil
for
paint
these
You
will
Ivory Black
Vine Black
A dense
Traditionaly considered
brown
to
differently,
water
or acrylic
in
produces
tints.
paint,
is oil,
black, slightly
inferior in intensity to
warm
glazes and
Widely available
composed
(Sample Wmsor
of
in oil
PBk9
& Newton,
18-19
&, -,
in tint.
(Sample: Daler-
Rowney,
Payne's Gray
A composite
commonly made
in tints.
is
often a composite
Carbon
available in
commonly
oil
Lamp
and composed
PBk11.
of
Oil.
PBk9)
PBk19.
slate
cool-shade black,
in
some
ranges.)
(Sample: Sclimmcke.
paint
of
in acrylic
Classic Artists'
Black
color
Widely available
Ready-made
Mars Black
PB29 and
acks80
when
black
onal
Lamp
undertone,
"See also
Lamp Black
A very dense opaque
I,
Mussim. Resin
PB29,
PRWil
Oil,
PBk7,
Black
79
paintings
in
Pure black
The most famous black in
the history of modern art is
Black Suprematisi Square
(1914-15) by the Russian
artist Kasimir Malevich
(1878-1935). This
the
first
is
among
absolutely abstract
paintings, and
it
seems
to
Histories of twentieth-century
much importance to
work. Black Suprematisi
Square is a painting that
works on the imagination
of the viewer, prompting
reflection, and is wide open
art
attach
this
to interpretation.
It is
that
this all-
this
on canvas 31 x 31
Tretyakov,
series of black
as chiaroscuro
is
the
On
closer inspection,
the
certainly unreproducible
tension and
drama of both
79cm)
Reinhardt (1913-67)
produced a
known
(79 x
Chiaroscuro
There are many examples of
paintings dominated by the
blacks, and in these paintings
in
Moscow
Rembrandt (1606-69)
Self-portrait
Oil
aged 34
on canvas 40 x 31 V?
in (1
02 x 80cm)
After
Ad Reinhardt
5,
on canvas
1962
80
ations
in
Comparing makes
Within the same price and quality
vary
in
For example,
more
finely
likely to
may be more
some
may be more
others
transparent.
shows
(right)
that similarly
named
manufacturer.
We
have included
(From
among
left to right,
top to bottom)
Payne's Gray
Schmincke, PB29/PBk7
Payne's Gray
Winsor
& Newton,
PB6/PB1 5/PBk6
Payne's Gray
Lukas,
PB15/PBk7/PR17
Payne's Gray
Daler-Rowney, PB29/PBk7
Blue Black
Winsor & Newton, PBk6
Blue Black
Schmincke, PBk6
Ivory Black
Daler-Rowney, PBk9
Ivory Black
Lukas, PBk7
Ivory Black
Schmincke, PBk9
Mars Black
Old Holland, PBkl
Ivory Black
Maimeri, PBk9
Ivory Black
Lamp Black
'
Lamp Black
Daler-Rowney, PBk7
Carbon Black
Maimeri, PBk7
I.
PBk8
72/PB151/PG7
ml
Payne's Gray
-
Neutral
PB15/PV19
available in
it
is
a composite pigment
maker
to maker.
Black
Experiment with the
81
for tintim
Coal tar
No
article
Coal
tar
is
heavy, sticky,
many
Tinting
Variation in the gray tints you
industrial processes,
of gas.
It
was considered
until a
discovery
middle of the
in the
medium
gouache,
to
major
be fairly useless
nineteenth century.
(watercolor, acrylic,
oil).
how some
You
blacks
will notice
make warm
are neutral.
2,000
known
all
were
artificial colors,
as aniline pigments,
Gray scale
coal
be
made
right)
gray scale
is
aim
is
tar.
may
Shading
in
New York
to receive a
impact
it
production of synthetic
organic pigments.
colors.
Tone scale
A tone
scale
(right)
also helps to
acrylic paints
of
his discovery
have
Synthetic organic pigments
were
82
Black
ixing
regarded by
is
artists as a fairly
straightforward color to
mix. so
question,
need
to
"Do
really
spend good
money on
black paint?"
When
used in combination
with other colors on your
palette, the
answer
is
many artists
it. One
London colors
Much London painting
of the
(b. 1922),
his colors
To
"London
colors."
a pigment in
identified as
its
own
PBk8, and
used as an ingredient
Viridian
Black-mix combinations
You can make successful darks and
replacement colors
for black
by
above
colors.
column
land
if
id.
When
as undertone, as seen
If
of the chart,
is
hunt Sienna
or
become even
darker.
right,
is
in paint.
83
Ready- mack
of Czestochowa
wood panel
Our Lady
Painted
48 x32Zin (122.2
82.2cm)
Dark hues
Many makers
There
is
Legend
attributes
it
to the
the Evangelist,
life,
hand
who
the
of St.
painted
it,
Luke
from
extensive repainting
it
may date
century, with
fifth or sixth
in
shown below.
from the
provide colors
similar to those
the fifteenth.
violets.
The
thickly as
how the
color behaves
Titanium White
is
when
shows
a
little
added.
Nearly black
Along with Payne's Gray,
manufacturers provide many
serious, dark colors that at
first glance could be mistaken
Unreliable blacks
There are several examples of
black-skinned depictions of
the Virgin Mary, and experts
dispute
why
for black.
(thinner) or
medium,
damage
known
as asphaltum, has
migrated to the surface over
the years.
Bitumen or Asphaltum
This deep-shade brown, which
almost black
warm, earthy
in
is
neutral tints
when
is still
in oil
available.,
paint frorrv
number
real
executed
When
is
these are
the Virgin
Among
of
makers.
(From
Traditional darks
Oil
Color range.
bottom)
Blue
Deep
Neutral Tint
Van
Dijk
Brown
Sepia Extra
(From top
to
bottom)
Phthalo Turquoise
Dioxazine Violet
Virdian
Raw Umber
84 Gray
Grays may be produced by mixing black and white
"Forcing yourself to use
restricted
means
is
the
in
colors.
blue,
liberates invention."
painting gray
Pablo Pk so (1881-1973)
was
traditionally obtained
by glazing
paint.
little
oil
complementary colors
Grays
side
in history
by
side.
Charcoal Gray
In oils
Watercolor
history of painting.
this
ground charcoal.
is
strengthened with
is
iron oxide.
Veneda
An
page
was used
Cool and
Used
82.)
Warm
Grays
Warm
Grays
word
used to describe
is
shades
form of crystalline
first
used
in
the
make lead
named from the Greek
eighteenth century to
technique
The
It
is
"to write").
in
Payne's Gray
color,
produce a
specifically gray, to
many
The technique was
Renaissance
artists of Flanders
Grisaille
pigment used
in
is
and
blue-gray
stained-glass work.
is
lightfast
and
Davy's Gray
slate that tended to be
The color
is
now
oil
is
yellowish gray.
strengthened and
based on a variety
derived.
to
mix and.
pigments,
premixed grays.
also
may
some
primary
will
mud."
work, provides
Color mrjfix
/'
the
remnants of a
L'ia\ that is
good
is
of ingredients
painting.
(.lay's
neutral
often reused.
down
suggested by
is
in
mixes.
the 1890s.
Mouse Gray
Brownish Gray
Neutral Gray
Charcoal Gray
Olive Gray
Cold Gray
Davy's Gray
inert,
powdered
Bluish Gray
Cool Gray
also a gray
Guazzo
from the
crimson, blue
but
of
was employed
made from
Originally
^See
specially suited to
describes underpainting
Germany.
pencils.
grapho (meaning
is
architectural subjects.
is
was
It
by a
numbering system - for
example, Neutral Gray
Neutral Gray 2 etc. - which
1
it
several
in
described as achromatic,
is
soft, blackish
carbon,
Grisaille
an indication
that gives
having no distinguishable
Graphite Gray
This French
name
medieval illumination.
in
a descriptive
bias.
hue
Naming gray
Grays may bear
bias. Cool
London
Deep Gray
Dove Gray
Payne's Gray
Pebble Gray
Purplish Blue Gray
Graphite Gray
Shade Gray
Greenish Gray
Shell Gray
Light Gray
Warm
Medium Gray
Yellow-Green Gray
Gray
85
Blended pigments
offer many grays composed
of many pigments. A warm gray
Makers
Prepared grays
Manufacturers offer several
Many
prepared grays.
are
pigments- black
white (PW),
for
(PB)
and
example.
cooler gray,
three pigments.
many pigments.
left
to right)
& Newton)
Warm
Gray (Talens)
Neutral Gray
Warm
N3
(Golden)
Warm
Gray (Lukas)
Warm
Gray
Cool Gray
N5
N2
(Golden)
(Golden)
N7 (Golden)
difficult
have been
involved with.
.is
that of
(b.
1931)
Homage to Gray
know what want," stated
Gerhard Richter, a German painter
don't
in
East
Germany under
subsequently expressed
resistance to any ideology.
his
He was
the 1970s he
made
a series of
flat,
86 White
black
If
"And
discriminating sight
Black's not so black;
thought to be unnecessary
is
media
to such
the opposite.
is
artist's
indispensable
It is
and gouache.
as oils, acrylics
an
in
A unique
it
known,
well
is
or base coat,
it
too.
Used
as a primer,
ground
is
is built.
The
earliest white
White lead is one of the
earliest manufactured
pigments on record. It was
known in ancient China and
is
common
Chinese White
This
and
in the earliest
It
periods of European
White lead stacking
The Dutch developed the
modern stack process for
making white, hence the
name Dutch White (PW1).
Lead white has been made
by the stacking process since
was made
of lead
by placing strips
in
sealed
in
a small outbuilding.
method
of
ceased
in
manufacture only
the 1960s.
was
art. It
is
1834 by Winsor
in
now
available from
&
many
Cremnitz White
This
an old-fashioned, high-quality
is
power.
carbonate.
Flake
more
is
It
stringy than
It is
an excellent mixer
painting practice.
is
poisonous
if
It
However,
is
is
is
the
cases
of the whites,
In
some
in
It
It
is
oil
the
it
is
It
in
stiffer.
a comparatively quick-drying,
but
is
effect
It
to
darken
if
may be
a polluted atmosphere.
is
It
can
It is
transparent
very translucent
tints.
Iridescent White
This
is
composed
Titanium White
of a
is
coated with
colors.
It
when seen
mixer,
White.
you
undiluted. Iridescent
White produces
colors
effective
when used
in
shimmer
admixture. Used
it
produces
available
light interference.
and
in oil
It
acrylic media.
It
is
gouaches and
less
is
tints. In oil
above) and
tendency
oils,
paint
it
is
and making
is
when compared
to Flake
White
manufactured as a watercolor
under the
Underpainting White
general-purpose oil-painting
may be used
for
an excellent mixer,
Tinting 81
in
of colors.
unique effects of
too, particularly
whites.
found
may be
to warm
is
when used
suffixed
addition to
acrylics.
painter.
sometimes offered
In
media
flexible
special-effect colors
a good
its
this color
is
other
is
is
Zinc White
medium,
oil
White
paint
in
down
in
Flake
It
will find in
available only as an
it
ranges.
mica.
catalogs
Permanent White.
because
it
it
is
oil
compared
name you
white lead
Flake White
This
for
most powerful
it
accidentally
many
Titanium White
manufacturers offer
white
of reserving
unique effect.
in their acrylic
hazardous replacement
tints. It is
its
Mixing White
Some
Titanium White
that
paper for
relies
although
considered a neutral
&
introduced
hazardous whites.
was
ingested, and in
Metallic
White
Newton and
ms 36-37
is
is
when used
matte
finish.
It
It
is
quick drying
alone, produces a
should be applied to
87
Whit
Naming
whites
art and
makers' catalogs and color
are old-fashioned
names
and may
outmoded brands
and recipes. Other names are
refer to
manufacturers' descriptive
name may
You
another.
to
will almost
example, a
a white ground.
name
is
component
of Baryta
is
a heavy,
is
medium on
Subsequent areas
of
initial
old-
in
word
this
line
the
Baryta White
oil
Reserved white
This
is
in
watercolor
passages
the main
White.
may
be applied to achieve
this.
Bismuth White
Used
in
white lead,
color
is
now superseded
this
by Zinc White.
Blanc Fixe
This
is
a later
White, but
development
made from
is
of Baryta
White magic
barium
artificial
sometimes used
gone out
a magical influence
many
of general use.
colors
are transformed.
Permanent White
Originally used as
for blanc fixe,
an alternative name
Permanent White
is
(From top
now
It is
sometimes seen
in
also a
listings.
It
to indicate opacity
manufactured as
It
is
and
nonyellowing characteristics.
Chinese White
An old-established name used
that
school, student,
commonly used
name
to
Indigo (Lukas)
(Lukas)
Sepia (Lukas)
has been
(Lukas)
prepared watercolor
is still
Viridian
used
Hue
(Liquitex)
Traditionally, artists
illusion of metal or
Most
resistant to fading
in their paintings
by
ambient reflections.
similarly.
colors. Here,
been painted
to
make
are,
Ivory Black
therefore, highly
dimensional work,
on
fairly dry to
Some
are derived
pigments.
fall into
catch the
are manufactured by
in
USA.
the
applications.
solid black.
Increasing brilliance
Iridescent pigments
traditionally used
is
They
and iridescent
base coat of
Yellow
or tarnish.
techniques using
skillful
and
Metallic colors
light-scatterins surfaces
Antique Bronze
Acrylic ranges provide the
iridescent
depend on
light
for brilliance.
mediums
allow more
will
or
light to
final
top
and
reflectivity.
important element
is
an
painting
in
Nowadays, most of
or
browns
major
the
art materials'
Mixing
suspended
in the
is
mica
is
appropriate
Similarly,
acrylics with
many
light-
Base coats
Some iridescent
colors appear to
This
produce
pearli/ecl effects.
hanging visual
the viewer moves.
NB
volume
in
pigment.
as mica flakes)
pigment
for
color.
in
addition to the
base
want
to use. For
example,
the printing
how
'
sampu
is
the
full
paint
.uracy, refer to
Metallic
89
Red poliment
Poliment
is
base coat
for gilding.
In
named
by leaving a
little
of the red
Vladimir Madonna,
c.
Anon
The
1125
postcard reproduction
Pigment on panel
21 x 30in (53 x
Pearlizing colors
Many
whites or iridescent
whites that can be used
very effectively to
Use them
75cm)
(original size)
illustration
10x1 5cm)
above shows a
(4 x 6in,
of the Vladimir
Madonna,
right).
directly in
the effect.
See also
Iridescent white used as
a mixture
and as
a glaze
Pigments
in
history
12-15
Earth
72-75
90 Flesh colors
Flesh
is
it
many ready-made
European market.
Ready-made
colors
However, when
it
comes
human
Straight
Colors sold
Brillant
specifically for
painting flesh
provide
warm
Many
other
colors available,
although suitable
for flesh tones,
as such. Naples
Yellow Reddish,
Jaune
Brillant
and Unbleached
Titanium are good
examples
of
such
useful colors.
VH
Flesh experiments
Raw Umber
Titanium White
Warm
neutrals
tints
"Icbl
A multitude of hues
These are Vincent van
Gogh's own words on
his
"When
brother Theo:
compare my painted
common
in
light.
(1
853-90)
on canvas
32x23Min(81
Musee
60cm)
91
92
Toning down
Raw
Sienna with
Raw Umber
shown
were
were chosen.
Raw Sienna
Raw Umber
Titanium White
Mixing combinations
Raw Umber & Titanium White
Titanium White
&
Raw Sienna
Raw Umber &
Titanium White
&
*"
Raw
also
w64
Mixing combinations
White
h 106
Raw
Sienna
&
Titanium White
Process Magenta
Process Yellow
&
Process
Mixing combinations
Process Magenta & Titanium
Process Yellow
& Raw
&
Process Yellow
&
Process
Raw Umber
&
Titanium White
&
Process
& Raw
&
Titanium
Sienna
Process Yellow
Sienna
Process Yellow
combinations can go on
practically ad infinitum. You
can continue the experiments
with Burnt Umber and Burnt
Sienna and all kinds of ochres
Sienna
93
KKADEMIE'
Prepared
fl 01 color
******
214
Hautton
I"
f"
,^__
.__
flesh tmt
_____
rem fe chair
^____
tmta peile
tono
came ^^____^.
flesh colors
Most of the
prepared flesh colors shown
artist's palette.
in the
color charts
(left)
represent
Some
are
others are
combination pigments.
colors
shown here
contain, in various
Some
hues
component altogether
and others have added
violet
more complex
and orange
pigments
to enrich
(From top
to
Flesh Tint,
Flesh Color,
(0)
Flesh Color
2, Lukas Series
(0)
Flesh Color
4, Lukas Series
(0)
Flesh Color,
(0)
Flesh Tint,
Flesh Tint,
Griffin
(0)
Alkyd (aO)
Ligmtex (A)
Art (A)
Flesh Ochre,
Flesh Ochre,
Flesh Ochre,
(0)=
oil
(rO)= resin
(aO)
(G)=
(A)
oil
= alkyd
oil
gouache
acrylic
s ^m
-;
'
>,:<
_._-V/^_.
uj*k
CEEiffl
DIRECTION;
CHAPTER
96 Creative directions
Color produces a very
Watercolor:
straight
many
there are as
directions and
creative
Fast color
and mixed
106
for flesh
Ray Balkwill
Tim Riddihough
methods
we have had
opened
their
homes and
generously to bring us an
insight into their approach
Putting
more
Expressive color
in
a variety of media
who do acknowledge
rules
A seven-
Subdued
102
colors
Joan
Elliott
Bates
color palette
Desmond Haughton
list
of
style
Many
Working
Renaissance
without black
skin tones
Nick Bowering
George Underwood
the artists
selection
(left,
John Reay.
Rich darks without using black
ried
techniques
for
glowing portraits
97
Creative directions
Massive
color in oils
George Rowlett
114
Color
contained
Daphne Jo Lowrie
Colors
1128
Color
|140
on cloth
Various artists
Judith Chestnutt
Il48
_L^
Color and the physical paint surface
Rich color
Broken
from acrylics
Sue
118
Fitzgerald
color
John Reay
Transparency
and luminosity
nonart colors
Marina Yedigaroff
A transparent
h 32
color dimension
Carr&
Dunsterville
136
work
for free
Smooth
Colors
Painting with
124
Il44
color
150
Various artists
Various artists
Traveling
Dry color
color
and
Simon Jennings
146
line
Various artists
152
medium
Watercolor explorations
Living in Exmouth, England,
it is little wonder that the sea
its
inspiration.
main
The elemental
medium
perfect
to
is
the
convey
this.
worked
unpredictability
part in painting
in watercolor:
I
"When
concentrate on tone
painting
first,
with color
in a
supporting
find
my
black and
elusive and
reference,
when
am working
in the studio."
is
who
in
working outdoors,
it
when
can also be
Ray
watercolor to "do
its
own
"
thing
so popular with
When
use
also vital
the
it is
demand much
in
In addition to his
the studio
achieved
artist
Watercolor's characteristics of
this
its
in.
role.
solely in watercolor,
trying to master
working
wealth of maritime
in
of expression yet
and
Spontaneity
what he describes as
he
is
artists.
painting in
The
colors that
Raw
Aureolin, Cadmium
Burnt Umber.
favorite mixture
browns
color wheel.
Sienna,
artist
lighter grays,
middle-value colors,
He chooses
or
transparency, lightfastness
and Rose
colorful grays.
in his
As
sometimes uses
artist is
new
Mediums 36-37
more recently,
he has been making paintings
that combine opaque media
with watercolor.
"See also
)smg media/Watercolor 32-33
Sepia
ideas, and.
medium
he
is
Viridian
when he wants
He
mixed with
a near black.
99
Ray Balkwill
Sheltered Moorings
(detail)
Mixing media
The
artist often
gouache
pastel
"I
adds
ink
and
to the watercolor
in his
and
mixed-media paintings:
basic rules
in
painting.
It's all
few
about
own
vision."
how
With
this
method, he
still
He does
this
Ray Balkwill
00
When
as simply
and
One
painting
good use of
The
He
artists'-quality watercolors.
because
it
is
quantities of strong
In
hills,
built
using masking
"wet-in-wet" technique
Finishing touches
The
involved adding a
is
space and
the
light.
Of course,
to excite the
mixed with.
touches, such as
was
artist
wash of
Cadmium Orange and Naples
Yellow over the whole of the
paper to set a warm mood,
knowing that there would be
applied a light
it
is
washes.
further
wash of
colors
and a mixture
of Ultramarine and Permanent
Rose for the shadows and
distant water. Ultramarine and
Light Red. and Ultramarine
and Burnt Sienna, were added
hull of the boat
painting
is
often
much
mined by
detail in the
its
go" of a
is
difficult, particularly
if
paper
and students'-quality
painting
artist
the
in
some of the
show through.
Light Red was used for the
initial
freshness. "Letting
The
were added
the
Further darks
and boat,
final
:iled.
in the
warmth and
dry. a
with a
and
adding Ux)
was
a useful
this
Quayside
flicks
texture to
When
in
detail.
few
otherwise
much
way of adding
finishing touches
thinly
to
eye without
involving too
when
you want
transparent
').
is
deep
Brushes
He uses four brushes, including a
1 in (25mm) hake, a filbert, a no. 12
a rigger. He advises
places with
particularly if
that
wells.
in
it
merging
little
Transparent watercolors
have an attractive airy quality
When
Raw
makes
and "sparkle."
By
watercolor
artist
up using
three or four washes, allowing
the next.
Ray uses
was
in a
and the
its
painting Quayside
(opposite)
Palettes
is
off.
Permanent Rose,
Light Red,
Raw
used masking
on 1401b (300gsm)
!'
I'll
|'.i|"'i
In
addition the
fluid
and worked
Whatman
(Not)
101
Wa
The
Ray Balkwill
Quayside
Watercolor
5 x 7in (12.5 x 17.5cm)
artist
painting
is
why many
mellow mixtures
Devon, and
painting
it
was
Quayside
He does much
of his
the UK, where the atmosphere tends to soften the colors. This
in
is
was
is
of blue-gray
The
good example
accentuate the
of
how
it
created.
of a place.
is
produced by
02 Subdued colors
Tonalism
"Whereas some think of
color as primaries,
I
is
which
a style of painting in
the artist
for
my chords
Elliott
painting as close
known
as tonal masses, as
key.
secondaries or tertiaries
and harmonies."
Joan
and form
when used
at the
in
quality of color
Bates studied
in
broadly.
in
painting, are
used
instinctive
known as
The
different talents to
Naples Yellow
Light
Raw
Cadmium Orange
Red
emerge and
member of the
Euston Road School, there
he had been a
Any
Sir
Joan
founded
is
made up of
and she
a landscape,
in
Sienna
drawings
Elliott Bates's
of
the late
in
painting
still life
or figure
Joan
this is instinctive.
once heard
palette out
a white that
is
used by
oil
is
is
painters and
known
Being made from
paint formulations.
lead, Flake
White
is
toxic
and should
Raw
Sienna.
abstract painting
much admires
work of Piero
late
John.
Personal palette
The
artist
- or she may
completely different
del la
Gwen
try a
believes that a
Cadmium Orange
to her palette.
is
to her
own
The
familiar "voice."
artist
has no particular
See also
Choosing media/Oils 30- 31
preferred brand of
genuine turpentine,
never linseed oil. Colors are
mixed instead of taken
White
Her
Yellow Ochre,
ladmium
uses
oil paint,
is
straight
or
this,
Bates's choice
Yellow Ochre,
White
Elliott
or
Vuillard, and
white. Joan
work
will
Cadmium Yellow
Francesca, Rembrandt,
the
use
lays her
values." She
relies
in
She
The
will typically
fc
Bates
she
Elliott
Mediums 36-37
86- -87
Joan
Elliott
Bates
on board
6x 10in(15x 25.3cm)
The painting
above
is
shown
nearly
actual
size.
"My
always
so.
often
work
directly
from
the studio.
in
a high key
My
Most
of
my
colors are
light.
much concerned
with mark-making, which shows the
individual hand of the artist - his or
brushwork
is
her calligraphy."
very
03
have
thousands of colors
choose from,
it
to
discourages
black.
He
is
an
artist
who
controlled palette
Naples Yellow
Cadmium Yellow
Cadmium Red
Alizarin
Crimson
Ultramarine
Monochrome experiments
views
things monochromatically:
"I have spent a lot of time
Instinctively, this artist
black-and-white photography,
and
in
single-color printmaking.
and
have experimented
In both lithography
etching,
become
He works
in oils
on
either
white-primed board or
Basic dark
it
is
Warm
this
of boat paintings.
Different layers
to use a
Recently, he has
Limited palette
Nick Bowering tends
He
likes light
He
has painted
Alizarin
lets the
white
to brighten
Mixing colors
He never
You can
plenty of color.
is
it
is
He
feels
clement
in
these pictures.
layer on layer, he
the mid-tones.
that
paint.
show through
By adding
purely monochromatic
local-color underpainting,
then
overpowering."
and dark
Cadmium Red,
is
that
want a
warm
more yellow.
deep black
If
black,
want
add
a cool.
Linear detail
Sometimes the
artist
scratches back
end
of the
Cool
Orange Boat
Essaouira
Oil
on canvas
10 x 12in
30cm)
(25.5 x
Nick Bowering
Beached Boats
Oil
on board
(below
7x
left)
14in
(18 x 35.5cm)
(below right)
9 x 14in
(23 x 35.5cm)
MaMHHMHHMB
_f
i^LigSS^ac^p-=-r'__.
^^g
^mVVBBSpS
Manipulating blacks
In these two small monochrome studies, the dark
color has been steered
toward cool or warm by
"See also
Choosing media/Oils 30-31
Mediums 36-37
Choosing palettes 40-41
Blacks/Darks 76-83
'
05
of tones to be seen in
new materials
and new methods.
using
Sometimes
start with
colored outlines,
human
flesh.
Mixing media
His mixed-media paintings
Seeing flesh
While at art school Tim first
used a naturalistic approach
oil pastel,
reproduce as accurately as
soluble ink.
model
in front of him.
His tutors encouraged
him to be individual and
less natural in style, and he
He might
decide
and
If
on
to
it
it,
has paint
then
it is
a painting
me."
Gouache
medium and
not
work
for him.
am painting
a dark body
or a pinkish one, these are the
"If I
He moved on
more
to a
representational approach,
I will
my
add
all
is,
trying to
convey
He does
him.
not stick
rigidly to attempting to
ink
on paper
12x9in(30x23cm)
[i
tins little
study, a
was
abstracted
random
laid first
color
and then
may
Ochre with a
make
of Yellow
bit
of something
warmish
ground and then work into
else to
it
very messy
I
splash
He
it
when
am
paint and
on."
watercolor paper of no
specific
is
make
as long as
heavy enough
reasonably Hat
of moisture
is
to
it
remain
when
put on
a lot
it.
is
his
main painting
as
107
Working with
color and
a reed pen
The
artist often
works
studies.
He uses
a reed
He
penknife.
working with
because
likes
this tool,
it
gives an
in
happen.
element
is
It
is
going
is
this
of uncertainty
The unpredictable
brings
more
line
vitality to
Tim Riddihough
Check headband
Reed pen and
ink,
19 Xx13^in(50x35cm)
08
Working at speed
Tim Riddihough tries
"Opposite page
approach
and not have a set routine, because he finds
this restricts the end result. Sometimes he
starts with an ink outline and, because he
uses water-soluble ink, the subsequent paint
dissolves it and the ink starts to run.
Sometimes he reverses this approach and
starts
I can work all day on
a painting, spending hours
and even days on it, and
"Ifind
little
conscious thought as
possible.
am
like
a bull at a
in. I
on
it
with a
flat
to vary his
Tim Riddihough
Fast studies
Size range:
12x9in(30x23cm)19 /x13^in(50x35cm)
3
start
Just about
with pastel.
Exactly
is
how
his
"I
to
5 minutes
at the most.
am
of
unity and
all
He does not just draw outlines and fill them in, because this
can become very stilted and flat, like painting by numbers, but
he always tries to paint the figure and the background together
so that there
Oil, acrylic
Green-outlined figure
(top left)
The
a
artist
damp gouache-painted
surface.
White
oil
dissolves and
pastel applied
coming through
a screen
Red man,
crossed legs, leaning back
(bottom
Here
is
random color
left)
an example of using a
for flesh,
one
of those
Straight paint
(top
and bottom
tight)
and forms
~See also
Choosing media 30-35
Flesh colors
90-93
line
shapes
of the figure.
152-153
A seven-color palette
1 1
Desmond Haughton's
painting
is
about exploiting a
Lemon
Green,
colorist.
Yellow,
moves between
artist
the artist
palette
to
primaries
directly opposite
and those
that
be purest
in
one another
he considers to
atmosphere
hue.
to the portrait.
composition
is
he was drawn
its
also important
One
to the artist.
of the reasons
to the vest
shape, as well as
Desmond
its
was
color.
describes his
composing the
one of simple
approach
portrait as being
if
looking
creates
all
to
poster or a print
at a
He
color.
of seven colors.
Desmond makes
very clear
monumental composition by
the
fill
picture frame.
mixed
before laying them down.
In the self-portrait shown
the composition
The
artist
fitting in,
or
employ underpainting
techniques. He works
artist
at first
abstract patterns
His technique
and shapes.
immediate
to bottom: French
Ultramarine,
made with
is
Cadmium
Red, Alizarin
Titanium White.
^S e e
also
visual opposites.
Lemon Yellow
He used
is
with Titanium
make
composition.
my palette,
In turn, the
He does
on a white shirt,
and brightens
the yellow color even more.
the
The
to
yellow
which
sits
lifts
is
first
time.
He
favors round
block areas
draw
in
details out.
hut
always work
One of the
mistakes
is
to
biggest
use black as a
in
111
"In
no
my paintings
there are
lines as such.
and another
starts."
Desmond Haughton
Self-portrait
on canvas
The choice
of color
and
style of
mood
of a portrait painting
and
an
Desmond Haughton
sitter.
artist
who
self-portraits
color palette.
Sienna for
tints
composition revolves.
shape
is
that?
"
flesh on panel
and a little white lead... and lay two
coats all over the face, over the hands, over the feet, and over
the nudes. ... On a wall make your pinks with cinabrese, bear
in mind on a panel they should be made with vermilion. And
when you are putting on the first pinks, do not have straight
vermilion - have a little white lead in it. And also put a little
white lead into the verdaccio with which you shade at first -
Renaissance
Italian
that flourished
"Take a
from
sixteenth centuries
still
its
is
recognized for
supreme
artistic
make
achievement and
little
terre verte
laying each flesh color in its place on the areas of the face.
do not work up so close to the verdaccio shadows as to cover
them entirely; but work them out with the darkest flesh color,
fusing and softening them like a puff of smoke.
Bear in
mind that a panel needs to be laid in more times than a wall;
but not so much as not to need to have the green, which lies
under the flesh colors, always show through a little. When you
have got your flesh colors down so that the face is just about
right, make a flesh color a little bit lighter and pick out the
forms... until you finally come to touch in with pure white lead
any little relief more pronounced than the rest, such as there
would be on the eyebrow or the tip of the nose, etc."
.
Terre Verte
some of the
A common and
colors for
used
may come
across
looking
paintings by
at
when
in
inexpensive pigment
Known
in
masters of the
Renaissance.
Sinopia
A name
pigment
in
Iron
Verdaccio
made
in
Florence,
Black, chalk,
In
was known
Lamp
green-brown and
for outlining
Raw
and
Cinabrese
An ancient red pigment
derived from
Cinnabar. Used
in
known as
admixtures with
warm
flesh
in
Madonna,
Child and
St.
with Angels,
Oil
on
wood
41/ x30/m
c.
John
1506
panel (detail)
(105.4 x 76.8cm)
verte
'See also
teen Earth 67
George Underwood
Portrait Fragments, 1997
Oil
lesh colors
90-93
on canvas
size)
A traditional approach
In these small detail studies, the artist has
is
it
is
used effectively to
in oils
"This
it
is
painting, not
London
sculpture. If I could do
atmosphere
is
presence of
it
floor, the
permeated by
oil paint.
studio
like
is
The whole
The physical
is
but.
It is
s"
a privileged experience
anyone with an
for
says,
interest in
describes his
as
well-organized world,
dripping with colors.
The
known
well
artist is
for
when
my
them
paintings
at first.
if
Then they
take
become
as hard
as concrete."
is:
own
technique
work
and physically,
what he
and acting
in
palette.
instinctively as if "running
way of working
light
changes."
By
taking the
working wet-in-wet.
An
The
tries to
paint
he
One
made 35
is
years ago
absolutely sound.
applied with
which he
scrapes back, removes, and
in
lights first,
it
is
darks
and
not
mistake
that
It is
first.
"Do
a painting
starts painting
works outward.
His main colors are mixed
on a piece of board used as a
He
Core palette
Method of working
George works on primed
the
totally
you knock
He
drawn from
is
of the Impressionists.
is
completed
in the studio.
moving toward
in the painting.
(5cm). 4in
of
- Ultramarine Blue,
Brunswick Green, Chrome Yellow
Titanium White
plus
means
is
that
"I try
to be absolutely honest
and
The
artist
has always
^See also
ils
30-31
He
was van
color, he
isn't
is
Massive
or
115
in oils
"long" paint
The
artist
color, so
he buys
oil
George Rowlett
paint that
is
available.
Sunlit
His favorite
Stokes
is
manufactured by
Sheffield
in
in
the north of
Oil
England. He buys
it
in
bulk and
Many
this paint,
quality
He has
in
gal
(51)
Collection of University of St
likes its
feel.
It
is
An
important
spatulas,
for his
still-life
in
studio are
familiar with the pull
it.
It
is
what
is
progress
He
objects and a
of
Andrews
and George
and
on board
it is
all
in
the artist's
and stretch
termed a "long"
an old-
fine.
George Rowlett
on board
24 x 40in
(61 x
Private collection
101.5cm)
s?is
-J.
'
*
v.
>
'
-
'
>
'
.
.;
'
Site*
MS
b<*
eg
*=Sa'
>
rW
vi
M%s
i
-vM
\^-
!W- lw-
aW
&
*"<
v..
tfl
p%
5s
IV
'.
U Y^
>;
is
and fabrics
to music.
if
building up thick
more
you can
actually place a thick wedge
of paint on the canvas, one
layers, but, with the
that holds
its
shape, without
mediums
or texture pastes,
you have
to
make
sure you
She
silks.
and
sheen
sewn
Sometimes she
are
sewn from
bridal
into
them.
gowns, with
combined
in
many
artists,
she has
piece of material.
never
will
background:
"I've got a
mind-store
in
up more
some
Some
of the
Sue
is
and
to lack the
clarity
of
oils.
"when
parts to
Equally,
is
it's
to
the painting
it
in blots, just
for three
at
an
unsatisfactory painting.
jfeffi
particularly favoring
if
work
ffiBjfiMWH
one
j
make over
another, but, in
more liquid
comes in jars.
&
it
actually polish
paint alizarins.
"I
medium
little
one
oil paints.
a variety of
Like
is
found on
cracking.
Acrylic paints
Color inspiration
Sue
h$k
K T
iw
111
B9>
/'>
1/
Ti
E& 1
th
AM^HH
HTDt
'"
'
jflSnH
1 iHi
,^>
-,;
119
'
T&r^?'
"77zg reason zo/n/
%#_
my paintings
describe
mixed media
^Itfe
is
as
because
Now
Sometimes
medium and
paste.
is
it
acrylic,
thickly.
mixed with
a gel
texture or modeling
When
it
texture, adding
an extra color
detail.
and then,
everything
is
finally,
dry,
when
she works
in
powder suspended
is
in oil.
*'
Sue
Fitzgerald
Shawl
15x18in(38x46cm)
(detail, left)
121
"Do
purple anyway."
Mixing colors
Sue
but they
overlaid to a
Sometimes
but,
a dinner-plate palette
is
used
all
the
is still
wet.
Sue
in oils
in this
or watercolors.
Fitzgerald
Two Dragons
Acrylic
36 x 48in
(91 x
122cm)
122
Her advice
is
^^5giHSIH
"Whenever
shop
go
an art
into
and how they contrast. For example, placing Burnt Sienna next
to purple works well. You might think that these are strong
dark colors without much contrast, but you do not have to use
bright reds or bright yellows to create a glow. "People think
of
me
necessarily.
and
use an awful
lot
For example,
some
saffron silks,
don't
(From
left to right)
Alizarin
I've got
and I was
artist
now
an
plates
tried to
Cadmium Red
Cadmium Orange
Indanthrene Blue
really 'saffronlike'
Burnt
in
in
two
or three
Organizing colors
Sue appreciates that a tidy
studio would make her
Umber
Cerulean Blue
it
Ultramarine Blue
came across a
use
needed a
She
Crimson
Dioxazine Purple
Improvised palettes
The
Permanent Rose
Umber
all
W/&Z
painting
Burnt Sienna
know
Cadmium Yellow
Mars Black
at
would be very
precise, but
repertoire of colors."
have
my
nature.
in order, the
and
Core colors
There are certain core
colors that
always keeps
ones that she
in
Sue
her studio,
likes to return
and again.
Essential colors
Alizarin
'
}/Acrylic
Crimson
relies
'
'net colors
a particularly
for glazing
'.'
is
33
it
half an hour."
88
this color
to
be
color,
Never think
to create vivid
of
such colors as
dull colors,
'.
immediately evident
in
her paintings.
Cadmium
Reds.
123
still life,
up
on the
it's
If
want
versatile
do
to
it
and those
for
up but not in
way, because
I might decide to change it
around or begin to move
away from it. I never draw,
I just go straight in with
pots,
I'll
set
it
a very precise
brush or knife."
into
Starting points
It
Brush care
makes sure
all
after a
the brushes
in
a couple of hours.
how
it
Keeping brushes
and colors clean
to
Working on canvas
Sue
is
very conscientious
because the
surface gets obliterated by
paint and texture anyway."
really matter,
When
to
new
some color
she starts a
on
break
it
up and get
rid
may cover
in
most
of
use
it
in
Unifying texture
The
put
it
might
or
in
the painting.
it
on, or
whatever -
all
might rub
it
on,
very accidental, a
subsequent colors."
Marina Yedigaroff
am
"I
trying to
transparency of light
and
color. I call
it
is
a painter
who
is
fascinated by
see-throughness."
constantly evolving.
Her
executed
in a variety
^_^:Mi
'If"
:'
V-
^^^^^^=^
I
-r
rl
Decorated house
Marina Yedigaroff's concerns
.
an
artist is
with what
lies
beyond
and imagery.
The
Visual themes
She
is
inspired by stained
appear
in
Among
glass and the idea of light shining through objects from the
back to the front - something that nature does all the time. The
paint is applied extremely wet, so that the work has fluidity
and transparency. "See-throughness" is an obsession, and she
is constantly seeking to achieve a luminosity in her painting.
inspirational colors.
shapes and
in
goua
Working
in
The
ink
25
artist
in the
Marina Yedigaroff
Chrysanthemums
Gouache and
20 x 30in
ink
on paper
(51 x
91.5cm)
in parallel,
go;
fine
it is
26
3ouache and
ink
IS
Working
In
in oils
Red
worked
"/
paper, but I
am
very
and
life
in others
The
imagination.
from her
tulips in
from
life.
many
of
organized. I have to be to
Some
The
artist
just
painting;
and
at
at the
it
kicks the
wish to
do has this
behind
get
and
beyond
the surface
"Everything
through
not see
and look
something
to
else, yet
absolutely."
it
(30CMl25gsm) watercolor
paper with a smooth or Not
surface and works in a variety
of sizes. She is not particular
about the make of gouache or
ink she uses, simply judging
by personal preference.
The artist usually works
flat on a table. Colors are not
set out in any particular order,
and instead of a conventional
palette, she uses an old china
which she
likes to return
The
point
is
and are
at
hand.
it
is
of
She acknowledges
there
may
from
textiles, describing
that
be some influence
come
layer
uses
I,
into
mixed-media
strong surface
"lit
rtisl
the
always
OOlb
is
mind, using
worked
flat, sitting at
is
a table,
is
much
gouache and
in
passionately averse to
it
the artist's
is
oil
is
technique
because she
is
The
artist's
very precise,
is still
aiming for
e pictures
wet
working
because
it
is
so thin.
used to
have to
spirits is
keep
my
brushes clean to
The
settle.
artist
finished painting
is
few days,
it
looks as
if
she thinks
it
just paints
over
paint next."
Marina Yedigaroff
Red Tulips
Oil
20 x 30in
on board
(51 x
91.5cm)
Choice of media
gouache and
Oil paint,
medium
for
it
artificial
with
oils,
colors,
is
more
usually associated
"See also
Choosing media/Oils 30-31
Choosing media/Gouache 34
Liquid colors 151
in oils
27
28 Color contained
Daphne Jo Lowrie
"My work
is
about
simplification. I
am
which may
between
oils
is
an
who moves
artist
freely
still-life
to
and landscape
on simplicity of color,
of her subjects.
Choosing color
Working with
- usually
oils.
Oil paint
Mixing color
The artist works with two
palettes, keeping her main
oils
is
in
malleable
way
mixing.
it
marks and
textures: "It
it
is
dip
my
and
its
enjoy
its
versatility
very
it
my
sensuality."
It is all
organized, although
color
first in
work
in
mood, but
Cadmium,
Alizarin
From an emotional,
a positive
rather
mood.
It
become
is
family.
little
of
all
those
afterward
oils offer
is a problem, but
something that
other painting media cannot.
all
are
all
from
yellow, such as an
and
harmony
mauve
in the
midflow.
Picking up individual
medium, so she
harmony
common
source
effect, for
coastal
series of paintings,
Cadmium and
Venetian Red,
Cerulean and Cobalt
Blue, and a Cadmium
Yellow for warmth.
Her foundation
colors of white and
left
over,
129
The
The
artist
pictorial
still-life
paintings
theme
that
is
strong
In
still-
arrangements set up on
table
in
front of a
window.
color,
interpreting
and improvising.
Daphne Jo Lowrie
Siblings, 2001
Oil
21^x
on canvas
17 /in (55
x45cm)
'See also
Choosing media/Oils 30-31
Choosing palettes 40-41
Black
76-79
30
Color contained
Daphne Jo Lowrie
Still Life
on canvas
21Mx17Kin(55x45cm)
Exploring a theme
In
artist started
the outlines
in
She made a
of the objects.
dark-line
is
Crimson to take
When
Alizarin
little
is
have
been picked
not
wanes
little
added and
is
the outline a
drawing
is
red,
brownish. Sometimes a
Umber
all
little
little
Raw
makes
this, too,
is
the picture
its
structure.
Varying intensity
The intensity of the color and
texture within a painting
is
the
mediums
spirits.
Working over
The
artist originally
still lifes
shapes
in
obliterating
makes
marks:
"I
do not tend
to
to
fill
in
the
almost three-dimensional
was
thought of these
it
and occasionally
altogether, although
it
always leaving
it
as part of the
in
relation to
and that
it
worked
in
(liately.
Processes and
worry inc."
successful
in
shape, particularly
color
bounces
in
off the
the
way
the
Still
Daphne Jo Lowrie
Life with Bottles
Oil
on canvas
(55x45cm)
went on
series of images.
to paint a
131
Coloi
Vivid solid-ground colors
Daphne Jo Lowrie
likes
on paper before
moving on
to canvas.
The
your colors
the color
to register
is
Working
Solid-color grounds
a lot
in
in
first
marks.
in oils
movements
in the color,
which adds
to the design.
Interpreting color
the still-life
painting in an emotional
"/
iMm ^^ssasss^
The
artist
may
decide to paint
ground colors are painted as a challenge for when she does the
final paintings, and they enable her to create color mixes and
combinations that "sock you in the eye." Strong and powerful
effects often cannot be achieved on a purely white ground.
place,
this to
So
often
mundane
to the
sublime."
worked with
the orange
of the painting.
"As soon as
sensing
how
my first
am already
get
colors down, I
to
move
the
to
scrape
it
back
I realize quite
is
going
in
progress
is
painted
and there
to zero,
quickly
whether a painting
to work or not."
underpainting
is
also
in solid
some
local
Burnt Sienna.
left attract
the
^L
32 Broken color
John Reay
"I
oil
it
with
simplicity of it.
do
little
paintings.
is
an
Many
artist
who works on
worked over an
often
what he
calls "a
Working methods
artist
works on primed
how
it
when using
a knife."
to
He
then
tints the
prepared
like
oils.
make
luminousness
He
when
He
has an
it
all
out in
not stick to
when
it
do
get going.
is
is
just
and
If
you look
closely,
you
no thinners or
make
in a
perspective
is
painting, correct
important and
look right.
30-31
some
He does
must
not want
152-153
The
painting
improvised within a
all
is
fairly tight
make an
in
the
it
like
becomes very
thin
looks
more
work
and transparent,
it
with the
painting knife.
way
oilbar technique
of drawing, as an
oil
uses oilbar as a
He considers the
artist often
as another
He
The
media/Oilbars 31
line
as he paints.
mixing 23
rand
them
The
idia/Oils
<q
in the
(oil-painting sticks) to
'ilor
detail: "I
*~See also
essential to
tends to keep to a
paint, with
with a knife."
it is
a large
often
to the
confused, so
neutral-colored acrylic or
used
the figures
all
need."
basic drawing
drawing
scheme in place.
Sometimes he makes a few
surface texture
stick, is
started
oil-painting
known as
draw
lambswool
Oilbar, also
light.
The
oilbar
produce
to
attack
Working with
large oil
in color.
example, he
color;
may have an
work over
him
it
to build
133
John Reay
Lowestoft Beach
Oil
36 x
48m
on board
(91.5 x
122cm)
and juxtaposition.
means
who expressed
light
34
Broken prismatic
effect
chooses are
Light
For about five years. John
In a
approach
to
intuitive.
is
factor in a picture.
a unifying
pulls
It
is
There
is
a set order,
my
layout,
full
light
reds, grading
warm
blues,
Alizarin
from
through purples to
massed-figure compositions,
colors
some of the
He
Cadmium Yellow,
Cadmium Yellow Light.
Lemon Yellow. Yellow Ochre
and, sometimes. Raw Sienna.
Blue.
He
so
all
is
of color.
to the
the painting."
"1
pieces of board.
I pick up the
component colors and mix
them while spreading them on
for example,
the canvas."
He
uses the
A mix
of Alizarin
creates a
He
is
that
Titanium White as it is a
strong opaque white. He finds
Flake White can often be a
little too heavy and textured
when used straight from the
tube. Titanium White has a
much smoother consistency
for knifework.
The color
on the
palette.
With
the colors
is
chance of contamination.
he tends to
is
Yellow Ochre. He
describes
as
it
He
lovely, earthy
medium range
color and a
too. a
"'a
warm glowing
finds
it
one,
color."
brings a bronze
often pick
"ii
'lend
up two or three
one go
Crimson
Cadmium Red
Vermilion
Cadmium Yellow
Cadmium Yellow
Lemon Yellow
warmth
Core colors
Alizarin
to figure painting.
the knife in
Light
Yellow Ochre
them wet-into-wet
Raw
face."
Cerulean Blue
Ultramarine Blue
Cobalt Blue
palette are
Viridian
Sienna
in the
Yellow Ochre
is
warm, resonant
color.
more
work."
interesting
135
Knife and brushwork
Most of the color mixing takes
place on the surface of the
painting. The artist frequently
ofpainting, accident
and chance can play
a large part."
"The
done
initial
laying
am
usually
in is
when
redrawing
lot
it
going on.
all
the time,
working
Lowestoft Beach
is
to get a greater
John Reay
same-size detail)
He
tries to
complete the
knife-worked passages
in
so satisfactory to go over a
marks:
"You cannot
paint with
painting again
way;
He
it is
when
it is
dry.
encrusted surface.
a process of defining,
Sometimes he needs
to
go
again to
it
with
make
it
minimum overworking.
a painting knife,
I can get amazing mixes,
because the individual colors
never quite blend, particularly
if you pick up two colors on
"I find with
different parts
blade. They
in the
mark
of the knife
become blended
that results.
chance.
It is
very
much
by
can accidentally pick up a fleck of color, but the color does not
blend in the same way as it does with brushwork. The colors
it
'We tend
lot
to
get through a
of white;
it's
the greatest
probably
volume of
we
use a
use.
this
lot
of
paint
artists
mainly
is
in film, television
is
who
seen
special events.
artists
working
create their
They
are, in a sense,
to order or
own
commercial
hire,
which they
as a matter of course,
colors
Bulk-volume colors
There are many kinds of
colors - mainly with an
acrylic base
that are
and mural
However, through
large-scale, scenic
painting.
experience, these
found
artists
that ordinary
flat latex
have
household
working methods
House and
best.
industrial paints
needs to bear
in
mind
that
made
They are
rooms
for decorating
longevity
composed of ingredients
Sound technique
Paint specialists generally
industrial,
there are
recommend
that artists
good reasons
do not use
in their
paintings, and
these paints,
in
good products
in
For painters
work
is
who
lints
in
hundreds,
and shades.
that
can eventually
From an
fail.
artist's point
of
fillers
make
can often
in intensity
when used
painting a
picture.
for
unoosing nonart
coioi
37
Ihoosing a palette
Core colors
directl)
set list
of
having
complex
to resort to
color mixing
in the studio.
around
two reds, a
two greens and a
three browns,
pink,
yellow (see
left).
Preferred finish
Just as artists working on
conventional "easel" paintings
discover their preferred brand of
color, so
Trade
Name
Generic
Name
Regatta
Cerulean Blue
2.
Aria
Cobalt Blue
for black,
3.
Apothecary
Ultramarine Blue
stronger pigmentation.
finish,
where they
4.
Poppy
Cadmium Red
5.
Fancy Dress
6.
Monarch
Quinacridone Red
7.
Gold Cup
Cadmium Yellow
8.
Bracken
Yellow Ochre
9.
Saddle
Burnt Sienna
evenly.
lO.VanDyke
11.
Hollybush
12. Goblin
Burnt
Light
Umber
except
prefer the
its
and dry
other brands
bit
plastickyfilm."
of a
38
and a
lot
painting
is
for
water,
becomes a
staining technique,
unprimed
and absorbent support,
a conventional painting.
detail with
to
An
special colors
their paints
by mixing
on the
floor.
3ft
(4m) high.
frame is
(4m) height but they have worked on huge
pieces up to 20ft (37m) long,
and these have to be tackled
their current painting
limited to a
3ft
in sections. If the
exceeds
to
3ft
height
down
Painting surface
md
used as
at.
used
for
the floor
is
,;ilette.
to paint
on
is
is
a fairly
work on
it
unprimed.
139
Planning a painting
On
preparatory
When
hand, working
references
at
from
own
their
reference
on the commission.
In this case an Indian
city
was
central to the
The
references
made
Royal
at the
Botanic Gardens,
Kew,
in
Teamwork
The
artists
Preparatory sketch
own
spurts of energy.
measuring
two
painting
3 x 20ft (4 x
6m) takes
If
it
is
commission the
artists are
working on,
it
will
final
alternative color
?L
Color swatches
When
artists
make
color swatches,
experience that
if
too
many
colors
mj
life
taken out of
fci.
the painting.
-
frjy
admire the
recycling ethic
and work
is
and
her
in
home -
that
commonplace
in
every
medium
is
Some
printed
When
thinking of a
new
and tested
The
artist
criteria.
Judith Chestnutt
Color sample
Paper pulp
6 x4in (15.2 x 10.2cm)
tell
Or
newsprint, which
is
often,
is
can
get.
nice skies."
essential in
making
good
Shredding
Having selected the papers for
recycling, the next process
is
Hand shredding
is
of more
and the
artist
to a
you think
about it, the paper has been
shredded once before in the
subdued color.
materials for the paper-pulp
for destroying
medium
shredder
and shred it
again and the fibers have
become even shorter. The
paper pulp does not blend
easily and join together in the
finished work."
get hold of
whatever paper
it
shredding.
"1 use
paper.
it
materials.
tried
raw
raw materials
looking
because her
pulp that
is
is
a continuous
paper
Sometimes
in
an office-supply store
is
documents. Using a
when working on
saves time
best,
whole the
and
a large
artist
more
and the
for the
fibers tend to
remain intact
pulp-making process.
Recycling envelopes
Bank and junk-mail envelope
interiors provide a
for recycling to
wealth of blues
paper pulp.
41
,-
a*
It.^
V"
?
i.
V'.rfc
..'.-
/;
'.31
<**
"TV
*<%
i-WL
*,".#'
-'.a
'
>/
...
^
The
J-.:
artist is
committed
to conservation,
Judith Chestnutt
Shoreline, 2001
Paper pulp
I2x12in(30x30cm)
and creative
skills to
In
in
her
recycling
make
42
Currently. Judith
various blues, and both cool and warm yellows, for shredding
and pulping. Fortunately, she says, blue and yellow are
predominant junk-mail colors, so she has a lot of color choice
for her subject matter.
Before she starts a pulp picture, the artist thinks a lot about
and what she wants to do. She makes preparatory paintings
and drawings and has a design for the composition in mind.
All her themes - sea, sky and horizon - are inspired by nature.
it
particularly helpful
if
it
is
"I
artist
works
Remnants
like
of the original
some
seeing
it
made
is
of
an envelope there."
**.:*
/**>
very important to use
"It is
or chemicals, and
colored pulp
is
of water. My ingredients
are very pure and simple. I
do not use any glues, binders
lots
0^
my final
stored
in
in
is
'
%?*&*'
^
what
lining pattern of
of the original
then soaked
^v
is
transferred
in
is
small amounts to an
learned through
trial
and
error the
The
artist
works
on a table,
flat
laying
down an absorbent
in this
and lays
up, the
it
way
work
to
make
It
is
seconds - that
is
needed
is
with on the
final picture.
shredded paper
is
If
feel the
if
was
work
is
on one side to
is,
leave
it
finished
to dry overnight."
work
is,
by
its
like paint."
The
very nature,
handmade piece
highly textured, a
another process
is
picture
is
employed
to
She uses
work
to
in
a hot, ordinary
domestic
areas of the
tip to
lough.
fibers
have
If
II
Mill
relief.
and lock
more than
five
is
blended
for
"I
bring
holds
dry:
using paint,
finished."
it
the
pulped (that
up, laying
"I
sorts of colors.
is
five
"In
Junk-mail colors
about
first
surface,
together properly.
all
- use them
1
just
143
Waste-paper collages
In addition to
pulping junk
free
You
will be
images.
To
by
text or
avoid what
is
this is
Color samples
Paper pulp
8 x6in (20.3x1 5.2cm)
"It is
Anyone can do
it
anywhere.
~
Print editions
If
by scanning junk-paper
them onto
*"*
Make
in
the
Collage samples
Magazine cuttings
and envelope
interiors
-'
f&l
44 Colors
Many
artists
primitive societies
in their
and fun
for free
still
it
easy
is
Mustard powder
Early
used
for
in
Fat, saliva,
Blood
Myths exist
of
deranged
It is
artists
who
said that
El
own
blood,
ash and
use of animal
to be a
fat, saliva,
now
It
is
the earth
to
result of
drawing
protect skin
his
least
(1541-1614) used
turpentine.
his
own
blood.
damage caused by
It is known that blood
it
few
siennas
are also
commonly
Mustard powder
in
red
wine
found.
is
Mustard powder
English mustard
makes
Custom
tinting
tints,
cola.
using
Cochineal mask
This graphite drawing
is
tinted with
El
tural
'i
Greco (1541-1614)
complementaries
leaves of Rhus tnchocarpa
arth 72-
75
-143
in
powder form
145
Vegetable colors
Color can be obtained from
into the
colors tend to go
brown
some
Many
or quickly
samples here
Coal ash
Grass
Simon Jennings
Rose hip
Dust to Dust
Teak wood dust
and
medium
Mineral colors
Colors can easily be obtained by
drilling into bricks
masonry
drill bit.
The
resulting spoil,
bound
in
an
like paint.
medium on canvas
1Mx8in (29.3 x 20.5cm)
acrylic
46 Traveling color
Beach color
was
The beach
in this
composed
location
shadows and
There
is
textures.
a great tradition
When
litiht
and color
from nature.
traveling
may be
it
and materials.
Primary Blue
An inexpensive and
versatile middle blue.
It
is
in
Parchment
An
Avery
used here
for the
and distant
hills.
beach
It
was
neutral lightish
when
traveling
light.
here-applied
Primary Blue
with a
in
hue
to
is
fairly
close
Cerulean Blue.
little
white added.
It
proved versatile
thickly for
the sea,
in
washes
and
in
admixture to
sky,
for the
it
suggests the
also used
in its
It
was
pure state
ng ahead
a
r
es
and
sunny
example,
come
to
mind
ur palette
accord
media ano
_M J
OZVHOHH'J
re JmvA
gmovHC
u-t-imrism
ZI-30W
AS"WH li
jnovdo
ancvdo
147
Traveling light
The
artist,
small
five
shown
join (Sketchbook
is
50 percent actual
size
and watercolor
colors.
sketchbook
8'/ x 21 in (21
Color inspiration
x53cm)
to
and
size.
it
is
shown
details on the
in
the actual-size
left.
"See also
Choosing media/Acrylics 33
Dry color and line 152-
among
be found on most
beaches.
A red came
in
handy
hills
48 Color on cloth
A
strong relationship
exists in the
"I
am
a painter
not a dyer.
Rl
IH
MBRANDT'S
III
M'l'l
II
Kl
II
OLORS KM)
MK
making of
of color
painting and
in
ls\l
Kl
Cotton and
in textiles.
provided a traditional
base for the
artist's
many
color
In addition to straightforward
making
colorful
most manufacturers*
catalogs today, you will find
textile and fabric paints, and
art. In
(below)
Set Aside
Wall hanging,
Wax-resisted dyes on
silk
3/x25/m(47x64cm)
You
will also
wide range of
silk
and
Helen Banzhaf
(left and far left)
Vessels
Machine embroideries
149
is an artist whose background is in film animation,
where he learned about colors and color mixing. These skills
have infuenced his work as an illustrator, painter, paper
sculptor and textile artist. For inspiration for his work, he
develops drawings and paintings from his sketchbook. Many
of his images include people and animals, which he uses to
communicate an environmental message.
Chris Perry
Chris Perry
Homage
to Paul
Australian birds
(left)
(far left)
T-shirt designs
The
artist
washes the
T-shirt to
the
in
same
|fjj&
stiffener
and
as a
J*""'""
'"*"'
'
p( C/Cf}""
may be
is
shirt.
-SS-
The
with water
it
the color to be
uses
flat
artist
like
if
he wants
and opaque, he
bristle brushes.
lines
after
two
and paints
When
dry,
colors to
Lemon Yellow,
limits his
Brilliant
wide range
enough
of mixes.
to
The
produce a
artist is
an
tfincent
fa P;r-y
down
Cobalt,
which
Gogh
Chris Perry
Homage
to
watered-
excellent for
90
Vincent van
is
on
textile paints
left)
textile
medium
that,
when added
it
to
more
50 Smooth color
Cel painting
Prior to the
mark
nearly
There
are.
flatter,
however, many
artists
who
practice a
to color.
"paint and
where the
design
These
advent of computers,
all
is
traced
is
in
this is particularly so
was
then
when
filled in
by hand.
by photography or direct
painting
digital scanning.
to
skill,
because the
artists
flood
it
into the
flat
had
and
In traditional,
artists
who
known
quickly,
as Cel
still
more
fluid
Although a
little
35 years
thousands
of hundreds of
of individual eels,
often favored by
composed
in
968)
shows the
flatness and
of
and clear
plastic.
The
detail
above
cel.
To make certain
and evenness
of
complete flatness
were
was
Painting
an invaluable tech-
surface effect.
quid colors
Enamel paint
the paintings of the building
In
make enamel an
medium for painting
application
ideal
details
and
flat
areas alike.
blended
dry.
Simon Jennings
Building Fascias
Enamel on board
24
x61cm)
x 24in (61
Opaque
colors similar
in consistency to those
favored by traditional
animation
artists are
available today
and
can be found
many
in
manufacturers' catalogs in
jar
and
bottle form.
These
made
water-based or
are
readily intermixable
and
catalogs,
but
more
where
of
similar,
specialized,
and textiles
shown, too.
glass, ceramics
are often
'':
'.'.
*~See also
id
148-149
51
There
is
is
huge variety
media available
dry
that
line
easy to use
and transportable,
suitable for use alone
or in mixed-media
Charcoal sticks and pencil
These
applications.
and painting.
'\\
wash
effects
Charcoal
The
known
wide range
for
Much
may be produced
Colored pencils
highk suitable
and grades.
Some
in
is
various thicknesses.
many
soluble
in
Many media
effects.
liquids, such as
that use
availability varies
maker
ie
to the next,
pigments
painl colors.
Mi
Mixing media
iifacturers
Oil pastel
offtt
in the
products
here. Turpentine
pastel,
is
used
charcoal,
a
is
available
in sticks, too.
for blending
of this media
in
is
Use
These come
that arc
of tones
in
in
artist's
variety of thicknesses
sticks.
and time-honored
traditional sticks
as oil-painting sticks),
classic
to blend the
top.
Oil pastels
and
fluid
produce
surface effects.
fluid
techniques, creating
in
the
same
wet
piece.
and transportable,
Pastels
mr
2.2-
\-ur~7
-O
Oilbar
Z-
A
\\ I
.*.
V*
sticks,
You can
when
medium. Pastels
whose
come
and impasto
most
effects.
in
hundreds
of the
of colors,
major manufacturers
SUfa*.
behave
wide color
arfUtciy*
The technique
is
known as
of
working
in
~See also
Choosing media/
Pastels
Sketchbook experiments
Experiment with mixing and blending water-soluble colored pencils.
&
pastels
pastel "painting."
colored pencils 35
'<
i4
j>
1
1
<
:i
*
'
y
,/
k
V
56
Color index
isual reference
the ones
common
artists' colors,
painting media
and gouache -
to provide a
is
oils,
watercolor, acrylics
in the
is
you get
to
know your
same basic
in
name and
As
far as
possible within the Color index, colors have been grouped for example, into Neutrals, Reds, Yellows, Blues, Greens,
may
most
color or variation of color (see Glossary of terms).
colors
contain the
appearance.
Color behavior. The Color index has used flat colors for
sampling and most of the colors have been shown in what is
known as top or mass tone. In short this means they have been
applied thickly as
if
pigments, particularly
at the
The
true character of
many
tint to
reveal
making and
In the
is
is
in
hue.
process, bear in
mind
pigments but are made up from printing inks (see pages 20-2
so there will be variations between the colors shown and the
actual manufacturers'
).
pigment colors.
-Note
The following manufacturers have
kindly supplied colors for use in the
in
lache or acrylic.
All major
mon
pad
be I"
index
e
yi
It
on the tube or
Mils, the pigment declaration can usually
maker's color chart or catalog. In the Color
to see this information printed
olors of the
same name
that are
composed
COLOR INDEX
Naples Yellow 2
PW4/PW6/PY1/PR9/PY42
Rowney Artists' Oi
Naples Yellow 3
PW4/PW6/PY1/PR9/PY42
Rowney Artists' Oi
Naples Yellow Light
PW4/PY35
TalensVan Gogh
Oil
Naples Yellow
PBr24/PW6
Winsor & Newton Finity Acrylic
Naples Yellow Light
PW5/PY1/PY42/PR101
Lukas Studio
Oil
Oil
Artisti Oil
PW4/PW6/PY42
Old Holland Classic Oil
Winsor
& Newton
Finity Acrylic
Artisti Oil
Artists' Oil
Lemon Yellow
PY4/PY3/PW6
Sennelier Etude Art Student
Oil
Primary Yellow
PY74/PW6
Tri-Art Acrylic
Primary Yellow
PY97
Maimeri Puro
Oil
Primary Yellow
PY3
Lukas Studio
Oil
Process Yellow
PY74/PY3
Daler-Rowney System 3 Acrylic
Titanate Yellow
PY53
Golden Acrylic
Artistr Oil
Rowney Primrose
PY184/PW4
Rowney Artists' Oil
'
57
58
Yellows Azo
to Brilliant
COLOR INDEX
Finity Acrylic
Hansa Yellow
Light
PY3
Golden Acrylic
Artists' Oil
Oil
Rowney
Artists' Oil
Oil
Cadmium Yellow
PY35
Rowney
C.P.
Artists' Oil
PY35
Tri-Art Acrylic
Artisti Oil
PY35
Golden Acrylic
Cadmium Yellow
Light
PW4/PY1
Lukas Studio
Oil
Cadmium Yellow
Light
PY35
Golden Acrylic
Cadmium Yellow
Light
PY35
Talens Van Gogh
Brilliant
Oil
Yellow
PY83/PY97/PW6
Maimeri Brera Acrylic
Yellow
PY83/PW6/PW4
Brilliant
Sennelier Artists'
Oil
Yellow Deep
PW4/PY83/P043
Brilliant
Maimeri Classico
Oil
Yellow Light
PW4/PW5/PY1
Brilliant
Lukas Studio
Oil
COLOR INDEX
Chromes
to
Ochres Yellows
59
o
cz
PY34
Ki
^5
Maimeri
Artisti Oil
Artists' Oil
Zinc Yellow
E
o
PW5/PY3/PY42
Lukas Studio
Oil
Aureolin
PY40
Rowney
Artists' Oil
Aureolin
PY40
Maimeri
Artisti Oil
Aureolin
o
CD
PY40
Winsor & Newton
Artists' Oil
Transparent Yellow
PY17
Maimeri
Artisti Oil
Indian Yellow
PY100/PBk11/PR9
Rowney
Artists' Oil
Indian Yellow
PY139/PR101
Artists'
OH
Indian Yellow
PY74/PR8.
Lukas Studio
Oil
Indian Yellow
PY110
Talens Van Gogh
Oil
PY153/PY129
Old Holland Classic
Indian Yellow
Brown Lake
Oil
cz
Extra
PY153/PY42
Old Holland Classic
Oil
PY153/PR260
Old Holland Classic
Oil
Indian Yellow
PY1:1/P013
Rowney
Designers' Gouache
Italian
Pink
PY100/PR83:1/PBk9
Rowney
Artists' Oil
Rowney
CD
O)
O
-O
E
CO
CD
Artists' Oil
(Hue)
cz
CD
PY17/PY83
;o
Gamboge
Maimeri
Artisti Oil
Gamboge Lake
Extra
CD
PY153/PY3
Old Holland Classic Oil
Oil
Yellow Ochre
PY42
Talens Van Gogh
Oil
co
Oo
60
Flesh Tints
&
Reddish Yellows
COLOR INDEX
Flesh Color
PW5/PY35/P020
Lukas Studio
Oil
Flesh Color 2
PW5/PR108/PO20
Lukas Sorte
Oil
Flesh Color 4
PW5/PR108/PO20
Lukas Sorte
Oil
Flesh Tint
PW4/PY42/PR101
Schmincke Mussini
Oil
Flesh Tint
PW6/PW4/PY42/PR101
Schmincke Norma Oil
Flesh Tint
PW4/PR101/PY42
Rowney
Artists' Oil
Flesh Tint
PY42/PR101/PW6
Daler-Rowney Cryla Acrylic
Flesh Tint
PW4/PY42/PV19
Winsor & Newton
Artists' Oil
Flesh Tint
PW4/PW6/PY119/PR214
Old Holland Classic Oil
PR188/P036/PW6
Liquitex Acrylic
Flesh Ochre
PR102/PY43/PW4
Sennelier Artists'
Oil
Flesh Ochre
in
Titanium White
tint
Flesh Ochre
PY42/PR188/PR102
Old Holland Classic
Oil
Flesh Ochre
in Titanium White tint
Naples Yellow Reddish
PW5/PY3/PY42/P034
Lukas Studio
Oil
Titanium White
tint
Oil
PW4/PW6/P043
Mairnen Classico
Oil
Artisti Oil
Yellow Reddish
PW4/PW6/PY53/P069/P043
Brilliant
Oil
Yellow Light
PW4/PW6/PY83/P069
Brilliant
Jaune
Oil
Brillant
PY1 38/PY42/PR1
88/PW6
Artists' Oil
Sandstone
R101/PY11/PW6
Daler-Rowney Designers' Gouache
COLOR INDEX
Deep
P062/P034/PY1
Lukas Sorte
Oi
Tangerine
PR4
Daler-Rowney Designers' Gouache
Benzimidazolone Orange
P062
Winsor & Newton
Finity Acrylic
Azo Orange
PY74/P034
Talens Van Gogh Acrylic
Cadmium Orange
PO20
Schmincke Horadam Gouache
C.P.
Cadmium Orange
PO20
Golden Acrylic
Cadmium Orange
P020
Old Holland Classic Oi
Naphthol Orange
PY65/PR112
Tri-Art Acrylic
P062/P013
Lukas Sorte
Oil
Pyrrole Orange
P073
Tri-Art Acrylic
Chrome Orange
PW5/P036
Lukas Studio
Oil
Oil
Coral Orange
P067
Old Holland Classic Oi
Translucent Orange
P071
Schmincke Mussini
Oil
Winsor Orange
P073
Winsor
P020
Maimen
Artisti Oil
Red Orange
PR4/P013/PW6/PY42
Daler-Rowney Designers' Gouache
P034
Lukas Studio
Oil
Vermilion
P034/PR57:1
Talens Van Gogh
Oil
Vermilion Red
PR4/PR9
Daler-Rowney Designers' Gouache
Scarlet Lake
PR255
Winsor & Newton
Artists' Oi
PR168/PR209
Old Holland Classic
Oil
PR255
Golden Acrylic
Light
Reds
& Oranges I
61
16"
Reds: Mediunr
COLOR INDEX
Cadmium Red
Lightest
PR 108
Lukas Sorte
Oil
Cadmium Red
Light
PR 108
Finity Acrylic
Cadmium Red
C. P.
Light
PR 108
Tri-Art Acrylic
Cadmium Red
Light
PR108
Old Holland Classic
Oil
PR9/P035
Lukas Sorte
Oil
Oil
Bright Red
PR254
Winsor & Newton
Artists' Oil
Winsor Red
PR255/PR254
Winsor
& Newton
Artists' Oil
Quinacridone Red
PR209
Winsor & Newton
Finity Acrylic
Lukas Red
PR9
Lukas Sorte
Pyrrole Red
Oil
Medium
PR254
Tri-Art Acrylic
Cadmium Red
PR 108
Daler-Rowney Cryla
Artists' Acrylic
Maimeri
Artisti Oil
Oil
Oil
Permanent Red
PR112
TalensVan Gogh
Oil
Perylene Red
PR149
Winsor & Newton
Finity Acrylic
Oil
Artisti Oil
PR 108
Golden Acrylic
hiniiiili'
Mir, miii
Oil
COLOR INDFX
Dark
to
Denp Reds
163
PY153/PV19R
Old Holland Classic
Oil
Chinese Vermilion
PR108/PR242
Sennelier Artists'
Oil
Scarlet Lake
PR9/PR5
Rowney
Artists' Oil
Scarlet Alizarin
PR4/PR83:1
Rowney
Artists' Oil
Geranium Lake
PR8/PY74
CO
Q.
<D
CD
J*.
1_
CT3
Lukas Studio
Oil
Ruby Red
PV19/PR48:2
Sennelier Gouache Extra-Fine
Oil
Alizarin
Oil
Carmine
PV19/PR206
Maimeri ClassicoOil
cc
Madder Lake
PR83:1
Artists' Oil
Artisti Oil
CD
-o
03
PR101/PR176/PBk11
Lukas Berlin Water-Mixable
Oil
Oil
Carmine
PV19/PR83:1
CD
Oil
cc
Permanent Carmine
Quinacridone/Pyrrol
Artists' Oil
Maroon
PR12/BV10:BR2/PV1
Daler-Rowney Designer's Gouache
Permanent Maroon
_CD
Q-
PV19/PR101/PB15:3
Tri-Art Acrylic
a.
Caeser Purple
PV19
Schmincke Mussini
Oil
Purple Lake
PR83:1/PR88
Rowney
Artists' Oi
Reds:
Pinks
&
Roses
to
Magentas
Pink
PR4/PV2
Lukas Designer Gouache
Deep Pink
BV10:BR2/PR3
Daler-Rowney Designers' Gouache
Rose Pink
BV10BR2/PR3/PW6
Daler-Rowney Designers' Gouache
Pink
Brilliant
PW4/PW6/PR188
Old Holland Classic
Oil
Antique Extra)
PR175/PR168/PR83
Old Holland Classic
Oil
Quinacridone Rose
PV19
Maimeri
Artisti Oil
Permanent Rose
PV19/PR122
Daler-Rowney Cryla
Artists' Acrylic
Oil
Permanent Rose
PR122/PV19
Talens Van Gogh
Oil
Permanent Rose
PR122
Lukascryl Artists' Acrylic
Brilliant
Rose Light
PR4/PV2
Lukas Designer Gouache
Brilliant
Rose
PR112/PR176/PV2
Lukas Designer Gouache
Light
Magenta
PR112/PW6/PR207
Golden Acrylic
Magenta
Light
PR122/PW6
Tri-Art Acrylic
Medium Magenta
PR122/PW6
Liquitex Acrylic
Primary Red
PR 122
Maimeri Classico
Oil
Primary Magenta
PV19
Golden Acrylic
Process Magenta
PV19/PR122
Daler-Rowney System 3 Acrylic
Process Magenta
BV10BR2/PR3/PR9
Daler-Rowney Designers' Gouache
ACRA Magenta
PR122
Liquitex Acrylic
Deep Magenta
PR122/PV19DL/PW6
Liquitex Acrylic
Magenta
BV10BR2/PR3/PR9
Daler-Rowney Designers' Gouache
Magenta
PV23/PR122
Winsor
PV19/PR81
Maimeri
Artisti Oil
Oil
COLOR INDEX
Red
to Blue
Violets
165
Quinacridone Violet
PV19
Tri-Art Acrylic
Verzino Violet
PV19
Maimen
Puro
Oil
Indanthrene Violet
PR88/PR122
CC
PR122/PV19DL
Liquitex Acrylic
Brilliant Lilac
PV2/PV23
Lukas Designer Gouache
PV14
Maimeri Puro
Oil
Cobalt Violet
PV14
Rowney
Artists' Oil
-O
PV14
Old Holland Classic Oil
Purple
PV2
Lukas Designer Gouache
Purple Lake
PV3/BV10:BR2/PVl
Daler-Rowney Designers' Gouache
Brilliant Purple
PV15/PV19/PV23
Tri-Art Acrylic
Purple Lake
PV23/PBr25
& Newton
Winsor
Manganese
Artists' Oil
Violet Reddish
PV16
Old Holland Classic
Manganese
Oil
Violet
PV16
Sennelier Artists'
Oil
Prism Violet
PV23/PW6/PR122
Liquitex Acrylic
PV23/PW6
Golden Acrylic
PV15/PV19R/PV23:1R
Old Holland Classic
Oil
Dioxazine Violet
PV23
Tri-Art Acrylic
Violet
PV23
Schmincke Horadam Gouache
TalensVan Gogh
Oil
Permanent Mauve
PV16
Mauve
Artists' Oil
(Blue Shade)
PV19/PV23/PB15
Winsor
i_
Q_
& Newton
Artists' Oil
Ultramarine Violet
PV15
Winsor & Newton
Artists' Oil
6G
Blues Blue
Violet to Ultramarine
COLOR
INI
Oil
Faience Blue
PB60
Maimeri Puro
Oil
Indanthrene Blue
PB60
Daler-Rowney Cryla
Artists' Acrylic
PB29/PB60/PBk7
Old Holland Classic
Oil
Indigo
PG7/PBk7/PB29
Rowney Artists'
Paris Blue
Oil
PB27
Lukas Studio
Oil
Prussian Blue
PB27
Rowney
Artists' Oil
Prussian Blue
PB27
Liquitex Acrylic
TalensVan Gogh
Acrylic
PB15
Old Holland Classic
Oil
& Newton
Winsor
Artists' Oil
PB151
Tri-Art Acrylic
PB151
Winsor
Acrylic
PB15
Old Holland Classic
Oil
Phthalo Blue
PB15
TalensVan Gogh
Acrylic
PB15
Daler-Rowney Cryla
Artists' Acrylic
Rowney Blue
"'B29/PB15
Genuine Blue
15 3
Lukascryl Artists' Acrylic
Helio Blue
B15.3
Ultramarine Deep
B29
Maimeri Puro
Oil
Ultramarine Deep
B29
I,
ilun:; Hi.miiIiuikII
(III
Ultramarine Deep
29
Schmincke Horadam Gouache
French Ultramarine
B29
Winsor & Newton
Artists' Oil
COLOR INDEX
Mid Blues]
Ultramarine
PB29/PB15
Daler-Rowney Designers' Gouache
Ultramarine Blue
PB29
Golden Acrylic
Ultramarine Middle
PW5/PB29
Lukas Designer Gouache
Ultramarine Light
PB29
Lukas Designer Gouache
Permanent Blue
PB29
PB29/PB16
Lukas Studio
Oil
PB74
Winsor & Newton
Artists' Oil
PB28
Maimeri
Artisti Oil
Cobalt Blue
PB28
Talens Van Gogh
Oil
Cobalt Blue
PB28
Rowney
Artists' Oil
Cobalt Blue
PB28
Golden Acrylic
PB29/PW6
Liquitex Acrylic
PB28
Schmincke Mussini
Oil
PB28
Maimeri
Artisti Oil
PB28
Schmincke Horadam Gouache
Delft Blue
PB29/PB15/PW6
Blue
PB29
Cerulean Blue
PB36:1
Tri-Art Acrylic
Cerulean Blue
PB35
Talens Van Gogh
Oil
Cerulean Blue
PB35
Winsor & Newton
Artists' Oil
Cerulean Blue
PW4/PB15/PB16.
Lukas Studio
Oil
PB36
Old Holland Classic Oil
167
61
Blues Manganese
to Turq uoise
COLOR INDEX
Manganese Blue
PB33
Old Holland Classic
Oil
Azure Blue
PB15:4/PG7
Sennelier Artists'
Oil
Scheveningen Blue
PB15/PW4/PW6
Old Holland Classic
Light
Oil
Powder Blue
PB29/PW6
Daler-Bowney Designers' Gouache
PB29/PW4/PW6
Old Holland Classic
Oil
PB29/PW6
Golden Acrylic
PB29/PW5
Lukas Sorte
Oil
Sky Blue
PB29/PB151/PW4
Lukas Berlin Water-Mixable
Oil
Sky Blue
PW4/PB15
Talens Van Gogh
Oil
Sky Blue
PB15:3/PW4
Maimeri Classico Acqua
Oil
Primary Blue
PB15:1/PBk7
Lukas Designer Gouache
Primary Blue
PB153
Lukas Berlin Water-Mixable
Oil
Primary Cyan
PB15:3/PW6
Tri-Art Acrylic
Process Cyan
FB2:1
Primary Blue-Cyan
PB15:3/PB16
Maimeri Classico
Brilliant
Oil
Blue
PG15/PG7/PW6
Talens Van Gogh Acrylic
Caribbean Blue
PB16
Old Holland Classic
Oil
Turquoise Deep
PB153/PG7
Liquitex Acrylic
Phthalo Turquoise
PB15 3/PG7
Tri-Art Acrylic
PW6/PG7/PB15.3
Tri-Art Acrylic
Turquoise
PB15/PG7
Daler-Rowney Designers' Gouache
Turquoise Blue
PW4/PB15/PG7
Talens Van Gogh Oil
Permanent Light Blue
PB15 3/PG7/PW6
Maimeri Brera Acrylic
Turquoise Blue
PW4/PG7/PB16
Maimeri Classico
Oil
COLOR INDEX
PB36
Old Holland Classic
Oil
PB15/PW4/PG7
Daler-Rowney Cryla
Artists' Acrylic
Cobalt Turquoise
PB36
Golden Acrylic
Brilliant
Green Blue
PB16
Cobalt Turquoise
PB36
Liquitex Acrylic
PG50
Old Holland Classic Oi
Ultramarine Green
PG29/PG7
Maimeri
Artisti Oil
Cobalt Teal
PG50
Tri-Art Acrylic
Aqua Green
PG7/PB15/PW6
Bright
Liquitex Acrylic
PB15:4/PW6/PG7
Golden Acrylic
Winsor Green
PG7
Winsor
& Newton
Artists' Oil
Emerald Green
PW5/PG7
Lukas Studio Oi
Emerald Green
PG7/PY74/PW4
Winsor & Newton Winton
Oil
Emerald Green
PY3/PB15/PW4
Maimeri
Artisti Oil
Rowney Emerald
PW4/PG7/PY3/PY53
Rowney
Artists' Oil
Barite Green
PG7/PY3/PW6
Sennelier Artists'
Oil
Viridian
PG7
Sennelier Etude Art Student
Oil
Rowney
Artists' Oil
Viridian
PG18
Rowney
Artists' Oil
Viridian
PG7/PY43
Talens Van Gogh
Oil
PG50
Maimeri PuroOil
Cobalt Green
PG26/PG50
Winsor & Newton
Artists' Oil
Cobalt Green
PG50
Liquitex Acrylic
PG26
Old Holland Classic
Oil
Turquoise to
69
70
Greens
illiant
to
Cinnabar
Brilliant
Green
PG7/PY3
Daler-Rowney Designers' Gouache
Helio Green Yellowish
PG36
Schmincke Horadam Gouache
Artists' Oil
Phthalo Green
PG7
TalensVan Gogh
Oil
CD
Acrylic
Permanent Green
PW4/PW6/PY151/PB15
Old Holland Classic
Oil
CD
Q_
TalensVan Gogh
Acrylic
Oil
Artists' Oil
Cadmium Green
PG18/PY37
Maimeri
Artisti Oil
Cadmium Green
PY35/PG18
Winsor & Newton
Artists' Oil
Oil
Saffron Green
PG7/PY3
Daler-Rowney Designers' Gouache
Vivid Lime Green
0>
PY97/PG7/PW6
Liquitex Acrylic
Bright Green
PG7/PY3
Daler-Rowney Cryla
Artists' Acrylic
Golden Acrylic
Light
Green
PG7/PY3
Daler-Rowney Designers' Gouache
Yellow Green
PG7/PY3/PW6/PY42
Daler-Rowney Designers' Gouache
Yellowish Green
PG7/PY74/PW4
TalensVan Gogh Oil
Yellowish Green
PG7/PY74
Talens Rembrandt Acrylic
Oil
PY1/PB16
Lukas Designer Gouache
COLOR INDEX
Opaque Oxide
Chromium
of
PG17
Daler-Rowney Designers' Gouache
Oil
& Newton
Artists' Oil
Sap Green
Light
PY42/PG7
Tri-Art Acrylic
Sap Green
PB60/PY150
Schmincke Mussini
Oi
Stil
Oil
De Grain Yellow
PY1/PG10
Maimeri
Artisti Oil
Green Gold
PY150/PG36/PY3
Golden Acrylic
PY129
Old Holland Classic
Oil
PY129/PG36
Old Holland Classic
Oil
Green Earth
PG23
Old Holland Classic
Bohemian Green
Oil
Earth
PY42/PG17
Lukas Designer Gouache
Terre Verte
PY43/PBr7/PB15,
Talens Van Gogh
Bohemian Green
Oil
Earth
Rowney
Oil
Olive
PY153/PG7
Rowney
Artists' Oil
Olive Green
PG7/PY17
Talens Van Gogh
Oil
Olive Green
PG7/PY3/P013
Daler-Rowney Designers' Gouache
Olive Green
PB60/PO49
Winsor & Newton
Finity Acrylic
PY129/PB60/PG7/PBr7
Old Holland Classic Oi
Greenish Umber
PY42/PBk1
Talens Rembrandt
Oil
Green Umber
PY42/P8k11/PG17
Lukascryl Artists' Acrylic
Green Umber
PY42/PR1
01 /PBk1
/PG7
Lukas Studio
Oil
Oxides to Olives
72
to
Raw
Siennas
COLOR INDEX
Yellow Ochre
PY43
Winsor & Newton
Artists' Oil
Yellow Ochre
PY43
Finity Acrylic
Yellow Ochre
PY43/PW4/PY42
Maimeri ClassicoOil
Yellow Ochre
PY42
Talens Van Gogh Acrylic
Oil
Attish Light
Ochre
PY42
Schmincke Mussini
Oil
Artisti Oil
Gold Ochre
PY43
Old Holland Classic
Oil
Gold Ochre
PY42/PR101/PBk11
Lukas Studio
Oil
Gold Ochre
PY42
Winsor & Newton
Finity Acrylic
Golden Ochre
PY53/PFI101
Mars Yellow
PY42
Rowney Artists'
Gold Ochre
Oil
PY42
Winsor
& Newton
Artists' Oil
Mars Yellow
PBr6
Golden Acrylic
Mars Yellow
PY42
Old Holland Classic
Oil
Bronze Yellow
PY42/PBr7
Liquitex Acrylic
Bronze Yellow
PY42/PBr7
Yellow Oxide
PY42
Liquitex Acrylic
Yellow Oxide
PY42
Golden Acrylic
Raw
Sienna
PY43
Talens Van Gogh
Raw
Oil
Sienna
PY42
Lukas Studio
Raw
Oil
Sienna
PY42/PR101 Trans/PBk9
Daler-Rowney Cryla Acrylic
Raw
Sienna
PY42
II
OR INDEX
Brown Ochres
to
173
Red Ochre
PR 102
Old Holland Classic
CD
Oil
.c:
Red Ochre
PR101
Maimeri Puro
Brown Ochre
Oil
Light
D
CC
PBr7
Old Holland Classic
Oil
Brown Ochre
PR101/PBk11
CO
Talens Rembrandt
Oil
Deep Ochre
PR102
Old Holland Classic
Oil
Terra Rosa
CD
PR101
Winsor
& Newton
Artists' Oil
03
Mars Orange
PY42
Maimeri
Artisti Oil
Id
en
Pouzzoles Red
PR101/PY154
Sennelier Artists'
Oil
Quinacridone Gold
Winsor
P049
Newton Finity Acrylic
Quinacridone Gold
P048/P049
^5
Golden Acrylic
ACRA
Gold
P048/PY83
Liquitex Acrylic
Chinese Orange
PR83/PY13
Sennelier Artists'
CQ
Oil
Finity Acrylic
Schmincke Mussini
CD
a
OX
o
CD
CC
Id
c:
CC
Oil
Transparent Brown
PBr25
Tri-Art Acrylic
Italian
CO
PR101/PY83
Oil
Q_
PR101
Maimeri Puro
Oil
CQ
PR101
Old Holland Classic Oil
Light
Red Oxide
PR101
Oil
Red Oxide
CC
PR101
UJ
Liquitex Acrylic
Red Oxide
PR101
Golden Acrylic
Red Earth
PR5/PR8/PR101
Daler-Rowney Designers' Gouache
74 1 Earths English
Reds
to Burnt
)R
Siennas
INDEX
PY42/PR101
Lukas Designer Gouache
English Red
PR 102
Maimeri
Artisti Oil
English Red
PR101
Old Holland Classic
English Red
Oil
Deep
PY42/PR101
Lukascryl Artists' Acrylic
Indian Red
PY101/PY43
Maimeri
Artisti Oil
Indian Red
PR101
Indian Red
PR101
Artists' Oil
Venetian Red
PR101
Artisti Oil
Mars Red
PR101
Oil
Violet Oxide
PR101
Golden Acrylic
Mars
Violet
PR101
Maimeri PuroOil
Mars
Violet
PR101
Rowney
Artists' Oil
Mars Brown
PR 101
Old Holland Classic Oil
Burnt Sienna
PR101/PR206
Daler-Rowney Cryla
Artists' Acrylic
Burnt Sienna
PR101
Finity Acrylic
Burnt Sienna
PBr7
Maimeri ClassicoOil
Burnt Sienna
PBr7
Oil
Burnt Sienna
PY42/PR101
Lukas Designer Gouache
Burnt Sienna
PBr7/PR101/PBk11
Burnt Sienna
PR101
ukascryl Artists' Acrylic
Burnt Sienna
PBr7
I
iquitex Acrylic
Brown Madder
Brown Madder
(Alizarin)
PBr7/PR83
Rowney
Artists' Oil
Burnt
Umber
PR101/PBM1
TalensVan Gogh Acrylic
Burnt
Umber
PY42/PRl01/PBk7
Lukascryl Artists' Acrylic
Burnt
Umber
Light
PBr7
Golden Acrylic
Red Umber
PBr7
Old Holland Classic
Burnt
Oil
Umber
PBr7
Liquitex Acrylic
Burnt
Umber
PBk11/PBr6
Burnt
Umber
PBr7
Maimeri Puro
Oil
Vandyke Brown
PBk1 1/PR101
TalensVan Gogh
Acrylic
Vandyke Brown
PY42/PR101/PBk11
Lukascryl Artists' Acrylic
Vandyke Brown
NBr8/PBr7
WinsorS Newton
Artists' Oil
Cassel Earth
PR176/PY74/PBk7
Lukas Studio
Oil
Cassel Earth
PBr7/PBk7
Maimeri
Artisti Oil
Bitumen
Bk6
Maimeri
Artisti Oil
Sepia
PR101/PG7
Tri-Art Acrylic
Sepia
Warm
Extra
PBk7/PR102/PBr7
Old Holland Classic
Oil
Sepia
PY42/PR101/PBk11
Talens Rembrandt
Oil
Raw Umber
PY42/PBr7
Raw Umber
PY42/PR101/PBk11
Lukascryl Artists' Acrylic
Raw Umber
PY42/PBk1
TalensVan Gogh
Acrylic
Raw Umber
PBr7/P.G17
Maimeri
Artisti Oil
Raw Umber
PBr7
Artists' Oil
Neutral Tint
PB15/PV19B/PBr7
Old Holland Classic
Oil
to Neuti
Earth*
175
76 1 Blacks Vine to
COLOR INDEX
Davy's Gray
Note
Vine Black
PBk7
? Lukas
Sorte
Vine Black
Oil
Titanium White
in
tint
Mars Black
>-PBk11
Maimeri Puro
Mars Black
Oil
in
Titanium White
tint
Ivory Black
j,PBk9
alens Van Gogh
Oil
tint
Lamp Black
CO
PBk7
K
Rowney
Artists' Oil
Lamp Black
Titanium White
in
tint
Payne's Gray
PBk1 1/PB15/PV19
Talens Van Gogh
Payne's Gray
Oil
in
Titanium White
tint
in
Titanium White
tint
Payne's Gray
PB29/PBk7
Golden Acrylic
Payne's Gray
CO
Blue Black
CO
PB29
Winsor
& Newton
Blue Black
in
Artists' Oil
Titanium White
tint
Graphite Gray
PBklO
Tri-Art Acrylic
Graphite Gray
in
Titanium White
Atrament Black
PBk31
Schmincke Mussini
Oil
Atrament Black
in Titanium White
tint
Davy's Gray
PG23/PW4/PBk9/PBr7
Old Holland Classic Oil
Davy's Gray
in Titanium White
tint
Davy's Gray
PBk19/PY42/PBk7
Artists' Oil
Davy's Gray
in Titanium White
tint
Davy's Gray
PBk19/PY42/
Finity Acrylic
Davy's Gray
in Titanium White
tint
tint
COLOR INDEX
Titan Buff
PW6
Golden Acrylic
Unbleached Titanium
PBr7/PY42/PW6
Liquitex Acrylic
Buff Titanium
PY42/PW6
Winsor & Newton
Old Holland
Finity Acrylic
Warm
Gray Light
PW4/PW6/PBk7/PBr7
Old Holland Classic Oi
Warm
Gray
PBr7/PBk9/PW6
Daler-Rowney Designers' Gouache
Warm
Gray 2
PBr7/PBk9/PW6
Daler-Rowney Designers' Gouache
Warm
Gray 3
PBr7/PBk9/PW6
Daler-Rowney Designers' Gouache
Gray
(Warm
Gray)
PW5/PBk7/PY42
Lukas Sorte
Oil
Scheveningen
Oil
Warm Gray in
Titanium White
Warm
tint
Gray
PW4/PR101/PBr9
Talens Rembrandt
Warm Gray in
Titanium White
Oil
tint
Middle Gray
PW6/PBk9/PBr7
Daler-Rowney Cryla Acrylic
N5 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylic
N4 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylic
Neutral Gray
PBk7/PW6
Daler-Rowney Designers' Gouache
N8 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylics
N6 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylics
PW5/PBk9/PY42
Lukas Sorte
Oil
PW4/PW6/PBk7/PB29
Old Holland Classic
Oil
Cold Gray 3
PW6/PG7/PBk7
Lukas Gouache
Gray
PW6/PBk9
Lukas Gouach
Cool Gray
PB29/PBk9/PWI
Daler-Rowney Designers' Gouache
Cool Gray 3
PG7/PBk9/PW6
Daler-Rowney Designers' Gouache
Titan to Cool
Grays
177
73
Metallic
COLOR INDEX
Rich Gold
Mica-coated titanium dioxide/Iron oxide
Liquitex Acrylic
Iridescent Gold
Deep
Renaissance Gold
Titanium dioxide-coated mica/Iron oxide
Finity Acrylic
Pale Gold
(Mixed pigment/vehicle content)
Liquitex Acrylic
Golden Acrylic
Antique Bronze
Mica-coated titanium dioxide /Iron oxide/P8k9
Liquitex Acrylic
Bronze (Imitation)
(Mixed pigment/vehicle content)
Copper
(Mixed pigment/vehicle content)
Copper
(Imitation)
Daler-Rowney Cryla
Acrylic
Golden Acrylic
Iridescent Copper
steel
Liquitex Acrylic
Silver
Dark Silver
Titanium dioxidecoated mica/Iron oxide
Finity Acrylic
Golden Acrylic
Interference Violet (Fine)
(Mixed pigment/vehicle content)
Golden Acrylic
Interference Red (Coarse)
(Mixed pigment/vehicle content)
Golden Acrylic
Interference Blue (Coarse)
(Mixed pigment/vehicle content)
Golden Acrylic
Interference Green (Fine)
(Mixed pigment/vehicle content)
Golden Acrylic
Spectral Fuchsia
(Mixed pigment/vehicle content)
Tri-Art Acrylic
An
Acrylic
An
Ai
COLOR INDEX
179
Whites
SAMPLE WHITES
(From
bottom!
Cremnitz White
PW1
Old Holland Classic
Oil
Flake White
PW1/PW4
Old Holland Classic Oil
Zinc White
PW6
Wmsor & Newton
Artists' Oil
Titanium White
PW6/PW4
Rowney
Artists' Oil
Mixed White
PW6/PW4
TalensVan Gogh
Oil
"Note
Whites given the same
consistency,
Underpainting White
PW6/PW4
Wmsor & Newton
Artists' Oil
Mixing White
PW6
Rowney
seen
in
manufacturers' color
Artists' Oil
Opaque White
PW4
Lukas Studio
Oil
Warm White
charts.
and
acrylics. In
come
PW6
Tri-Art Acrylic
Iridescent White
Mica-coaled titanium dioxide
Liquitex Acrylic
many artists'-quality
oil-color ranges,
you
will
Iridescent Pearl
Mica-coated titanium dioxide
Tri-Art Acrylic
Many products
are labeled
Golden Acrylic
and
in
acrylic
ranges pearl
86-87
and special-effect
shown against
impossible to
variation,
it
show the
true light-scattering
is
Refer to manufacturers'
pages 88-89.
See pages
for details
80
Winsor
P.O.
Lukas
Avenue
11 Constitution
Lukas
Box 1396
Liquitex
was founded
Schoenfeld
NJ 08855
1862 by
in
The
Dr. Franz
in
water-borne
first
we
acrylic color
and launched
and supplier
words
www.winsornewton.com
Piscataway,
of colors
named
Van Gogh
Royal Talens
Talens, founded
producer of
name
that
in
artists'
is
1899,
a prestigious
is
materials and
known throughout
Royal Talens
based
is
in
the world.
The Netherlands
in his
is
brand
is
into
being
the
Schoenfeld. Lukas
and Amsterdam.
USA
Canson
Lukas
South Hadley,
record
was
artists'
by Henry Levinson
a family-owned business
in
a firm
in
and lightfastness
enjoy an
in
pigments. Liquitex
Artarama
medium.
Liquitex
MA 01075
an
USA
Jerry's
Inc.
21 Industrial Drive
artists'
Royal Talens
was developed
USA
early 1930s,
Fr.
in
and
Liquitex. Liquitex as
material
in
was developed
in
all
now
liquid
the type of
acrylic,
use today,
Raleigh,
Avenue
Constitution
1 1
NC 27616
P.O.
Box 1396
Piscataway,
www.talens.com
www.lukas-online.com
Golden
Schmincke
NJ 08855
www.liquitex.com
The company
producing
colors and
who
in jars
mediums.
and sold
Manhattan
In
As they gained
heavy-body
acrylic colors in
years. Turner
company
comprehensive range
offers a
of high-quality art
benchmark
for
manufacturing
Golden
of quality
and
Road
artists.
Schmincke
13411
USA
USA
Savoir Faire
www.goldenpaints.com
Novato,
Stowe, VT 05672
Telephone:
www.savoir-fair.com
www.schmincke.de
www.max-sauer.com
Maimeri was an
own
colors. His
brother, a chemist,
Maimeri
to
in
artist
who
1923 he and
Old Holland
his
art colors in
later,
Maimeri
is still
a family
into a
company
major player
in
in
Oil
Color Association
1664 and
USA
was
continuing
is still
(41 5)
884-8090
in
the oldest
Tri-Art
is
modern Canadian-based
company established
in
acrylic paints in
manufactured
still
according to seventeenth-century
Maimeri
CA 94949
Tri-Art
40 Leveroni Court
methods were
produce fine
combining
twenty-first-century innovations.
his
for
Sennelier
NY
Berlin,
reliability
Bell
New
became
his palette
of Florence,
tints.
so satisfactory that
and Constable
resin-oil
and soon
shades and
Painter Gianni
now
colors,
ground
dates back
to store
a chemist
meticulous process
among
Daler-Rowney
art materials
who
Maimeri
Daler-Rowney's reputation as a
tubes for a
which before
France since
in
was
established, particularly
have been
materials
supplying samples.
manufacturer of
manufacture
of Sennelier
artists'
188
to
was
artists' colors.
in
popularity.
Golden started
produce hiqh-quality
reputation
directly to professional
artists.
Sennelier
In
produce traditional
ground on stone
oils
and pigments
exporting to 10 countries.
liquid acrylics
92 colors
and
In
addition to
inks, Tri-Art
in artist-quality,
produce
high-viscosity
Daler-Rowney
2 Corporate Drive
Schiller Park
acrylic paint to
Cranbury.NJ 08512
Chicago,
IL
601 76
classic
oil
www.daler-rowney com
wwwmaimeri.it/index_enasp
to over
56 countries.
Winsor
& Newton
r
t)
was founded
in
London
ofreli.;
in
names
USA
&
Armadillo Arts
Building 2, Unit
Belle
more expensive
their
Old Holland
little
acrylic colors.
that
mimic the
of older lake
rich,
transparent hues
pigments.
Tn-Art
Crafts
,
Homestead Road
Mead, NJ 08502
Inc.
Toronto, Ontario
M6J
1J4
have become
wwwarmadilloart.com
wwwoldholland.com
wwwwoolfitts.com
me art materials
Canada
Guide
_;<
^IWliBliiilkiWiliilillllliiiliiiliiiiilillllillilliillllliiilllllWfi
to
fj
'
main suppliers
1 81
82 Glossary of terms
ASTM
paint
iat
Acronym
for the
American Society
for
Chiaroscuro
that
The use
of light
painting
where strong
plasticky film.
major manufacturers.
can be
used
Azo
Additive mixing
When
light.
the
word pertaining
Descriptive
to
for "diazotized
A term
move toward
used mainly
an
blotch that
may
is
watercolor
in
unwanted
irregular,
occur
when wet
environments.
arrangement and
overall
tones
in
CMYK
Acronym
Sometimes
known as "atmospheric
also
perspective."
oils or acrylics.
Body color
paint,
Cockling
or puckering
when
too heavy a
of a paper support
of other colors
maximum
wash
show through
Bice
The
word
carbonates with
pertaining to colors
silver.
Used
in
the
Alkyd resin
or green colors
in
to as "ashes."
were also
referred
Used
made
to describe a painting
in
Aniline pigment
dye synthesized from coal
Aniline dyes
1850s were
first
produced
drawing material.
In
oil
acrylics
is
it
paints
is
gum
and
is oil,
it
in
the
in
Bleeding
color
moving past
its
it
may
will not
pH
yellow
also be
layer
Blending
permanence.
of
two adjacent
smooth
quality colors
.
ith
Blocking
contain
md
initial
picture
the best-quality
maximum
binders.
it
may be used
for the
of stretched
canvas
on a frame.
color
in
when
in
paper that
is
not
Collage
in
Color
visual sensation
and attributes
wavelengths
refracted or reflected
A full-size
of
light.
final
is
which pieces
of distinguishable
Renaissance
Colorcast
Mainly a printing term referring
particular bias of color
Charcoal
in
to a
an image.
Carbonized, burned
available
sizes.
wood
in
specially
Charcoal sticks
different grades
The best
quality
nongritty, often
is
process
is,
Artwork composition
The
painting a
also available
is
soft
made from
The
canvas,
(that
required
another color,
The term
prepared
Not paper
slightly
known as CP
fresco works.
fresco or tapestry
Archive-quality
that
oil
particularly applies to
that an artist
Cartoon
acrylic resin.
way
watercolor
the
Canvas
whole support
to form a painting
tar.
in
or
when
hot pressed).
or calico, or
powdered pigment
liquid
characteristic
such as
particularly
It
optical effect.
may
Binder
first")
painted on.
for
most solvents.
the
is
Cold-pressed paper
the
Brushwork
Alia prima
in
process.)
Alizarin
in
magenta, yellow
for a painting.
are soluble
for cyan,
Base coat
Descriptive
chroma
Broken color
little
and
a painting.
Saturation.)
artists'
particularly
The
in
tonal contrasts
painting.
Chroma
A term used
of a color. A
also used as a
Opaque water-based
Balance
lighter colors
in
paint
colors.)
Aerial perspective
is
is
measure
Prepared
to describe
This
now
wool scale
oil
and shade
Board
Advancing colors
Receding
is
contains
Backrun
reds, yellows
dye
amines."
light.
in
of
in
.i
and
and
willow,
wood. Charcoal
such as
large areas of
seemed
to
go
pencil form.
This
Color swatch
183
may be
described as "warm"
hue may
warm
also be described as
in
relation to
Warm
colors
Encaustic
Cyan
Color temperature
Colors
or cool
and Cool
is
used
in
the
wax
CMYK
or support.
underpainted colors
to refer to the
in
to enlarge the
a basic device to
A
oil
liquid
of tone
paint. For
The plate
is
of green, yellow of
of orange. Similarly,
separate color
to describe the
does
the four-color
of red-violet.
CMYK
Dry brush
amount
of subject matter
It
involves the
is
brushed
lightly
Can be used
A coloring
little
Genre
on top of lean,
The type
and
of difference
or painting.
Low
between
a
drawing
medium
pigment
It
to
and primer
painting.
in
tempera and
The term
is
Flocculation
An
enables the
adhere
Gilding
fully
The application of
many
now
pigments,
appearance
to give a
high sheen.
in
Glaze
pigment settle
oil
also used to
particles of
Pink.)
in
size
is
oxides, ochres,
is
of being real.
to the support.
in
subject
Earth colors
The degree
its
landscape
or portrait.
charcoal or graphite.
Contrast
still life,
Faux
in
powder
can be categorized as by
A thin
Conte crayons
to
and Permanence.)
traditionally applied
is
fade with
Modern methods
Gesso
Dye
liable to
light.
of
Fixative
plaster.
it
kept dry.
is literally
are sticks
takes
exposure to
matter, such as
the brush
has not
it
which a minimum
of
in
of paint
in
so.
oil
when
content of
A technique
Composition
oil
each
within a picture.
full-
and
been thinned.
The arrangement
CMYK
Used
in
into acid.
Fat
paint, particularly
and yellow-green
magenta and
Fresco
Fugitive
is
cyan,
Dot screens
orange
black to produce a
and blue
- and
A method
violet,
metal plate.
used; for
Complementary colors
the
produced from a
into a
complementary
yellow
print or impression
Areas
Diluent
and mineral
is
drawing scratched
a painting.
Used as
melted the
Dot screens.)
Sometimes used
circle.
When
is
Etching
Color wheel
may be added
colors.)
colors
Four-color process
in
Dead color
secondary colors
technique
in
A transparent
groups. The
or semitransparent
is
color to modify or
Gouache
enhance
its
effect.
dark shadows.
Egg tempera
Form
Contre-jour
distilled
painting or drawing
light is
in
which the
was
applied to
Cool colors
Colors
in
binder,
its
shape.
wooden panels
it
of
and
for other
it
is
bound
also
refers to
sometimes used
paints, such as
also
In
Format
The
size
also
known as poster
paint.
or drawing.
traditionally
portrait,
Granulation
An
in
when
made
Found colors
Colors that may be obtained from
subject
of the color
gouache, or "body"
color.
described as cool.
En plein
Crosshatching
A method
of indicating tone
and
Used
to describe a painting
in
dry.
air
the landscape.
materials, liquids
and foodstuffs.
Graphite
form of carbon used
available
in
in
solid stick or
pencils,
as powdei
84
Glossary of terms
Gridding up
s of
isition to
rawing a
Landscape format
Icon
transferring a drawing or
another support. By
stylized
Mary
or a saint, particularly as
and
painted
new
used
image
in
Now also
Byzantine style.
who
to describe a figure
become symbolic
reduced
size.
where the
in oils
Ground color
A color applied
to
enhance the
paint
is
applied
to the paint
effect.
prepared
in
the 1870s.
background
whom were
perceived
when working
to describe thinned
outdoors.
Imprimatura
Medium
The type
its
watercolor or pastel
damp
can be used to
It
Medium
is
Silicates
in
liable to
light.
to a particular choice
of colors that
an
artist
known as
of a
in
is
Interference colors
Hatching
in
use
in
such
used
in
paint
is
no added effects of
light or
known
wing
to describe the
a color, such as
also be used
comparative character
.'ithetic
pigment has
no the color of a
Monochrome
using different
Munsell scale
three-dimensional scale used
in
shown
in
where
watercolor,
Key
Key may also
when
the
painting
made
directly
on a wall,
as with fresco.
named
in
Italy.
is
one
in
Negative shapes
main objects
in
CMYK
and Four-
in
or
between the
a drawing or painting.
color process.)
Not paper
mural painting,
of
colors used
of a painting,
is
Mural
It
in
show through
for
ink.
of reflecting light,
Interference colors.)
such as
different
Luminosity
Magenta
more
The quality
Hue may
or
describing reflected
light or dark.
two
a painting, such as
particularly
shade
or reflected color.
whether
of
in
or a single color.
Hue
Mixed media
The use
an object with
of
when viewed.
An image made
Highlights
control over
a "restricted" palette.
The
paper.
a picture. Also
Iridescent colors
known as HP
its
"mediums").
(plural
media
of
Hot-pressed paper
may
light.
to
Local color
chooses
number
and
Term applied
Intensity
of indicating tone
acrylic,
oil,
(plural "media").
Lightfast
traditiM
drawing or painting
of
Lifting out
way
the fingers.
oil
Limited palette
red or green.
away with
peeled
dry, the
is
is
Mica
painting
if
paint,
oil
the underlayers of an
in
the paint
often
is
Harmonious colors
surface. Also
When
protective coat
of
and transparency.
A method
watercolor a rubbery
In
a varying effect
water-soluble
for
in
for further
arabic
It
interested
all
of brilliant white.
Gum
Among
a painting
in
it
brush or a tissue.
were Monet,
France
an area
of
or reserve
it
applications.
Impressionism
A movement in painting
that developed
to a
to protect
applied
or
subsequent painting.
This
is
Used
technique of painting
acrylics
height
is
The covering
highlights.
Impasto
priming or preparation
Masking
where the
painting or drawing
Lean
may be
or representational
squaring up.
Ground
A layer of
has
Maquette
Initial
layer of plaster.
or sculpture.
Lake
Mars colors
Oil
alchemical
Oilbars
or chalk with
name
was
for iron.
the
colors
in solid stick
form,
made
oil
with
sticks.
oil
worked
into
185
Glossary of terms
Opacity
The degree
which a medium
to
what
or
is
them vary
colors within
in
Phthalocyanine
Primer
A base
in
the
their
covering power.
930s.
number
of
It
modern blue
and
Rough paper
coat, usually required for
oil
colors,
traditionally
Picture plane
The technique
The
are
each other so
drawing or painting
when viewed
composition
the method
used
in
is
four-color printing
where
Four-color process.)
is
in
is
The
which colors
Pigment
Receding colors
in
powder form.
Pantone
A proprietary
plants.
Many
each color
"pink"
in
in
and
system of color
terms of
its
composition
was used
to describe
Pointillism
specified color.
style of painting in
mix optically
made from
a hardened
distance.
into the
opaque media.
colors.)
Secco
Recession
The impression
of depth
in
a picture.
and
use.
is
fade on exposure
lightfast or liable to
Reflected color
light reflected
from a colored
23).
own
Series no.
local
A number that
color.)
is
painting or drawing
taller
where the
manufacturers
name
suggests, this
shape
is
its
the traditional
(See
of
its
depth
in
of establishing
space and
a painting or drawing by
describing objects
in
in
Negative shapes.)
the distance as
converge to a vanishing
Primary colors
The three primary colors -
point as they
level).
in
which
this
is
to
may
the foreground.
all
In
or "misty")
light to
dark
Sgraffito
(Italian for
period of history
color
"scratched")
in
Europe that
is
was
arts,
much
of
master
Italian painters.
are so-called
theory, however,
Shade
A color that
Shaped canvas
A canvas that is not
rectangular.
Resist
is
Subtractive mixing.)
"smoked"
A
of the objects
Parallel lines
Renaissance
Positive shapes
A method
relief,
(Italian for
A technique where
Perspective
Sfumato
in
is
two
produced
Relief
height
is
The
The nineteenth-century
Poliment
dampened.
which dots of
Portrait format
dry plaster
slightly
Permanence
made on
is
and
painting
in
A wall
or plaster that
aerial
Reduction
color.
made
oil
consists of dragging
It
Advancing
Scumbling
A technique originally applied to
painting, but now used with all
dryish paint over the surface of a
fat
Chroma
Intensity.)
saturated or
These tend
from pigments,
"net fully
ti
Secondary colors
Sticks of color
move
of
is
purity of
may be
CMYK.)
them.
Pastels
and
the four-color
in
synthetic.
and
of vividness
Pink
regarded as
drawing and
in
The degree
a color.
Process colors
The colors used
and
Saturation
pure color
placed.
oil
acrylic paints.
tray or surface on
which the
now
a rough,
Optical mixing
used effectively
in
watercolors for
Sinopia
Renaissance
artists to
make
as the sinopia.
186
Trompe
Thinner
Size
ke liquid that
.invas support to
applied
is
make
it
added
liquid
it
Many
The
required.
paint
oil
the consistency
or
a drawing or
in
viewer
is
is
medium
that thins or
Spectrum
The arrangement
of colors
when white
passes through a
light
produced
distinguished
been lightened by
complementary of a
complementaries
Underpaying
Water-soluble pencils
The degree
to
color mixtures.
in
Wet-in-wet
may
colors are
made
may be
In
Tone
in
an
or darkness of
vanishing points
called value.
its
local color.
is
particularly in
oil
surplus paint by
when
may be
held.
Top tone
Support
Torchon
wood
panel.
tightly rolled
The degree
to
which
light
in
the painting.
allow transparency.
may
dry.
such as ox
liquid,
gall,
added
it
to
to flow
White
light
This effect
is
produced when
red,
in
Whiting
liquid, including
suspension so that
it
in
Vignette
gesso.
Yellowing of paint
An effect of yellow discoloration on
too
oil paintings that may occur
much linseed oil is added to the
paint. Some varnishes may cause a
if
fade away,
in
can be applied
become
by an element
The space
filled
object
drawing
in
oi
in
may
yellowish look.
or painting
Warm
Colors
Yellowing
colors
in
the red/orange/yellow
also
of
paper
especially noticeable
such as those
can pass
is
completely
is
for
for detail.
and specific
Volume
film.
matte
such as
Transparency
tiary colors
which
in
often
of a color,
watercolor
in
medium used
the
in
is
canvas, board or
is
additives,
wash
Subtractive mixing
technique
more
Vehicle
painting.
or glossy finishes,
is
which
in
wet.
first is still
Varnish
to another.
Tooth
Term used
When
while the
watercolor
in
Wetting agent
a picture.
in
one tone
in oils or acrylics.
of pigments.
is
several
The mixing
may be
required
wash
Also
a drawing or painting,
Stretcher
Study
technique
tone.)
relief carving.
Wet-on-dry
Tonking
A means of removing
reddish or
Top
Vanishing point
which
of a color,
instance, a blue
irrespective of
produce
to
watercolor effects.
Undertone
The underlying tone
Tinting strength
The lightness
Staining colors
Some
down.
laid
element
watercolors.
of a painting
parallel lines
rs
color,
such as chalk,
painting
"body"
or
fillers,
Tondo
complementaries
to the true
which contain
a surface or
which
when
when
dominate
is
arabic,
known as gouache
gum
Split
substance, such as
pigment
to
prism.
painting that
Underdrawing
A drawing made on
Three-dimensional
Solvent
turpentine.
is
Watercolor
I'oeil
made as
a preliminary to a composition
Agent
and
it
make
gesso or primer.
Sketch
to paint to dilute
Wash
A
built
in
broad
up by
in
is
acidic papers,
pulp.
Bibliography
Much
and
further reading
87
in
Advice to Artists
Leonardo da Vinci
How
to
Do
It
Hans Schwarz
German
& Meaning
John Gage
from Antiquity
Practice
Van Nostrand/Reinhold,
(Original
Mauve
How One Man
New
Edition,
York, 1961
to
Abstraction
Faber
Garfield
&
Faber, London,
2000
Studienausgabe, 1961)
The
Simon
Artist's
of Painting
Sir
John Gage
Thames and Hudson, London, 1999
New
Dover Publications,
York, 2001
Artists'
Materials
Which,
Emma
Pearce
A&C
in
Art
Wassily Kandinsky
Dover,
New
York, 1977
of Artists' Colors
Winsor
Artists'
Pigments
The Elements
F.W.Webber
Van Nostrand,
New
of Color
A Treatise Based on
Johannes Ittens
York, 1923
John Wiley
&
Sons
Inc.,
2001
First
Translation: Daniel V.
Thompson
Inc.
(paperback),
New
York, 1960
Roy Osbourne
Painting Materials
Short Encyclopedia
Rutherford
Art and Design
Anderson Feisner
Translated by Sophie
Hawkes
Color
Travels Through the Paintbox
Victoria Finlay
Gettens
Dover Publications,
(Original edition, D.
& George
New
L.
Stout
York, 1966
Van Nostrand
Co. Inc.
New York,
1942)
J.
Living Colors
Color
Francois Delamare
1993
Guptill,
Color
Edith
963
Jr.
in
1997
Josef Albers
Use Color
Ltd,
Interaction of Color
How to
Graphics
Philip Ball
Viking, London, 2001
Dover Publications
&
Bright Earth
& Newton
The Materials
of the Artist
in
Painting
Alexander Theroux
Picador,
Max Doerner
(Original edition,
Harcourt Brace
London 1995
& Co
What
about Paint
(Original
Henry Holt
Inc.,
&
Know
Colors
David Pyle
Krause Publications, Wisconsin, 2000
New
York, 1994)
88 Index
charcoal 82
Breuil 12
Expressionism 59
let
5,
1962
Indigofera tinctorum 51
CMYK
industrial technology
21
cadmium
52
coal tar 81
Isatis tinctoria
50
calico 138
50-52
canvas123, 148
Elephant Black 77
lazurite 51
experimenting with 78
Leyden Blue
Flame Black 77
Manganese Blue 53
carbon black 84
brushmarks 33
Gilsonite 75
Middle Ages
Cardinal Grapes
diluents 33
granulation 80
Monastral Blue
Reinhardt) 79
acrylics
156-79
artists' colors
Caravaggio,
Michelangelo Merisi da 79
51
50, 51
14, 15
Douglas Wilson 38
Grape Black 77
Mountain Blue 50
carmine
drying times 33
gray scale 81
obsessions 53
Carnevale di Venezia
flow improvers 37
history
impasto 33
industrial
development 33
mediums
33.
Paris Blue 52
30,32,77,78
Ivory Black
33
liquid
77
37
58
15,
Simmonds) 38
136-39
(Jackie
Carr, Jessie
pigments 50-53
cars 14
Kernel Black 77
Lamp
Black 77, 78
mistakes 33
London colors 82
Renaissance 50, 51
palettes 40
making 76
Romans
Celadonite 67
permanence 33
manipulating 105
Smalt
portable 147
Mars Black
resin
33
Sue
77, 78
Fitzgerald
versatility
33
118-23
50, 51
51
woad 50
mixing 82
starter palette
Oil
72,73,77,112
ceramics 30, 35
nearly black 83
33
chalk 35, 56
Blue Horse
Black 77
1,
1911
(Franz Marc) 53
charcoal pencils 35
pigments 76-83
blue jeans 51
ready-made darks 83
chiaroscuro 79
Check Headband
staining
additives 36
BookofKellsbQ
Bowering Nick 104-05
Sea 74
Adriatic
power 80
145
powder 144
transparency 80
brick dust
Afghanistan 51
undertone 78
British
alkyd oils
variations 80
Britons 50
chlorophyll 68
chrocoite 69
watercolor 32
bronze 88
31
alkyd resin 36
alia
prima
30, 31
American Society
chili
Chinese
Standards Institute 17
for Testing
brown
Black Suprematist Square,
12, 56,
68
64,
69
Winston 74
Bistre 75
Churchill,
bitumen 75
Cinabrese 112
blackberry 145
blancfixe 34
applique 148
aquarelle pencils 35
bleeding 16
CMYK
Armenian stone 50
Blind
Cologne Earth 74
cobalt 51. 54
crocus mart is 74
cobalt aluminate 52
masking
fluid
Girl,
The
blood 144
156-79
ash 144
clay 72
(cyan/magenta/yellow/black) 21
Burnt
32
blue
Asia 68
Alexandrian Blue 50
history
Asia Minor 67
Antwerp Blue 52
Kassel Earth 74
asphaltum 75, 83
atmosphere 42, 43, 98
coffee 144
Berlin Blue 52
azo dyes 64
Blue Bice 55
Mars Black 74
Mars Brown 72, 74
Mars colors 74
Mars Violet 74
Mars Yellow 74
Mummy Brown 75
pigments 72-75
azzurro della
Aztecs 54, 58
68
magna 50
68
chemical blues 53
cobalt 51
Color index
backdrops 136
core 53
/ill.
Ray
38,
98-101
ten 75,
166-69
71,50,53
Egyptian Blue 12, 50
83
I
'|/|iti,m\
!)()
al
Black 77
in
83
64
Caesar, Julius 50
dark hues 83
Ad
(After
indigo 51
chiaroscuro 79
72-73
cobalt oxide 13
cola 144
Coldstream,
William 102
color
additive color mixing 25
Rubens' Brown 74
atmosphere
Rubens' Madder 75
bias 16, 26
Sepia 74
bleeding 16
artists'
156-79
43
42,
Spanish Brown 72
blending 96
Vandyke Brown
broken 132-35
cadmium 12, 59,
72, 74
Violet Oxide 74
50
Sir
collages 143
60, 64
clean 123
fugitive 51
148-49
Greeks 50-51
cloth
history 50
code 42-43
communication 42-43
51
51
Index 189
Bates, Joan
102-03
Elliott
three-dimensional 43
embroidery 148
top tone 27
en plein
contained 128-131
traditional 14
complementary
complementary
26,
27
primaries 110
air
146
poster paints 34
36,37,124-27
control 21
Graebe, Carl 58
cool 27
twelve-color division 26
creative directions 96
undertone 27
dry 152
warm
wheel
148-49
fabric paints
Graves,
148-49
work 108-09
flesh 90-93, 106-09
fast
felt tips
Color samples
ferric
ferrocyanide 52
Field,
George
wheel
26-27
25,
ground 131
harmony
columbine 67
27, 128
Field's
Roben
36
gray
35
15,
Cool Gray 85
Davy's Gray 84
58
Gerhard Richter 85
Sue 118-23
graphite 84
grisaille
flesh colors
communication 42, 43
76-77
Color inch
Chromatography^
Fitzgerald,
2021
luction
grass 145
fabric 35,
color
'16,32
i
144
fat
144-45
148-49
work 108-09
fast
26-27
experimenting 26, 45
graphic
27
25,
144-45
diagrammatic 26
for free
gumarabic 37
84
guazzo 84
history 84
combination pigments
information 42-43
Green Earth 67
homage
inspiration 118
Jaune
Neutral Gray 84
intensity 130
conte sticks 34
mixing 92
Payne's Gray 84
interference 88
pigments 84-85
veneda 84
Warm Gray 84-85
identification
26
Brillant
90
iridescent 25, 88
copper phosphate 54
prepared 93
juxtaposition 133
copper silicates 50
language 42-43
corrosion 74
crimson 15, 58
ready-made 90
Renaissance
skin tones 112-13
light-scattering 88
cuttlefish
limited range
luminosity
110-11
124-27
93
74
Unbleached Titanium 90
Cyprus 67
warm
neutrals 90
156-79
flint
media 96
floral artists
33
Daler-Rowney156, 180
flow improvers 37
dammar
four-color printing
resin 31
Freud, Lucian 82
da Vinci, Leonardo 76
Friedlander,
frit
nonart 136-39
Dead Sea 75
Delacroix, Eugene 72
Delftware 51
43
natural 146
23
P.
Diesbach
88-89
portable 14, 146-47
digital
prehistoric primary 62
20-21
13,
Creta
Max 20
experimenting 71
Gauguin, Paul 70
drawing 152-53
Germany 74
Green Umber 67
Dresden 74
gesso 34
history
media 34-35
Renaissance
112-13
reproduction 20-21
Dunsterville, Lucy
selection 96
Dust
to
gilding
136-39
45
26
172-75
spectrum 24
subdued 102-03
subtractive
27
texture 130
Hungarian Green 68
Gilsonite 75
1965-66
malachite 68
Mineral Green 68
(Sigmar Polke) 23
glass painting 30, 35, 104
mixing 71
Glauconite 67
Mountain Green 68
Munich Green 70
special-effect 88
(Joan
Elliott
Bates) 103
68-69
Hooker's Green 70
88-89
Girlfriends,
smooth 150-51
tertiary
67
dry painting
six-color division
viridis
scanning 150
Doerner,
71
copper green 68
58
52
process 20-21, 23
skin tones
complementary
copper 69, 70
42
organizing 122
practical use of
Cinnabar Green 70
50
fuchsin 58
pearlizing
cinnabar 69
12
Derain, Andre 59
techniques 96
green
chrysocolla 68
fresco 72
mood
printing
(Tim Riddihough)109
Chromium Green 69
Chromium
20-21
France 66, 72
(George Hardie) 24
modern 14
optical mixing
57
Cadmium Green 70
Chrome Green 70
37
mediums 36
42,
Green-outlined figure
manufacturers'
color charts
Greeks
85
to
glycerine 37
Olive Green 70
Paris
gouache
Green 70
Permanent Green 70
Phthalo Green 68, 70
pigments 66-71
artists' colors
body color 34
Royal Green 69
design studios 34
Sap Green
El
Greco 144
30,156-79
69, 70
90 Index
Scheele's Green 68
alkyd 36
Schweinfurt Green 70
Kandinsky, Wassily 51
vegetable greens 69
kermes insect
verdigris
53, 60, 61
65
58
56,
(Giotto
Joan
linseed
gloss 37
Klee, Paul 9
Vienna Green 70
Klein,
Viridian 68, 71
gum
Yves 53
38,
114-17
Bates 102-03
oil
40
gouache 37
Vert-antique 69
Elliott
37
flow improvers 37
Bondone)57
di
George Rowlett
drying 37
flint
69
drying times 30
color 36
arabic 37
interference 37
mediums 36-37
NickBowering 104-05
Winsor Green 15
iridescent 37
oil
Yellowish Green 70
marble dust 37
lac insect
matte 37
lake
oils
Zmnober Green 69
Gries, Patrick
impasto 37
Green 70
Viridian
56
making 12-13, 56
landscapes 102-03, 131
25
15,50,51,52
36
palettes 30, 40
oxgall 37
resin
paint characteristics 36
saff lower
pearlescent 37
solvents 31
colors 31
oil
gum
layering 104
retarding 37
starter palette
LeChahut, 1889-90
sand 37
students'-quality 30
arabic 37
;ypsum 56
(Georges-Pierre Seurat) 23
H
Hand of Nature, The (Patrick
Gries)
25
sunflower
thinners 36
texture gels 37
walnut
texture pastes 37
water-mixable 31
watercolor 37
white 31
Libri
Hardie, George 24
Lichtenstein,
life
Helios 63
hematite 72-73
lightfastness
Homage
Homage
to
64
146
149
linseed
oil
mica 86, 88
optical illusions
Micaceous
152-53
40
Iron
Oxide 88
Michelangelo Buonarroti
Millais,
30,
37
37
yellowing 36, 37
13-15,16-17,35,66,70,84,180
15.
oil
oil
Mesopotamia 56
Roy 22
painting 106-08
limonite 66, 73
Hoechst
30
texture 36
Liebermann, Carl 58
Damien43
37
special-effects 37
hardboard 34
Hirst,
31,
lead chromate 69
hard pastels 34
highlighting 31, 32
oil
12,
12
John Everett 24
20
23
optical mixing
orange
minerals 66, 72
Benzimidazolone
Liquin 31
mistakes 30, 33
Hooker, William 70
Hbpfner 52
London colors 84
106,119,125-26,152
Hopi mdians 54
molding 37
Monet, Claude 55
cadmium 60
Cadmium Orange 60
Chrome Orange 60
chromium 60
monochrome
mood 42, 98
Hunt, William
Hymn [Damen
luminosity 124-27
Holman 58
Hirst)
M
madder 15, 58. 74, 75
Madonna, Child and St. John
with Angels (Michelangelo
ICI14
illustrators 33,
34
67
Indigo 51
industrial paints
125-26
Italian Girl,
i6,
74
67
Pyrrole
magnetite 73
Navajo Indians 54
oxgall 37
malachite 12, 68
Newton and
(Peter
(After
the Prism
George Romney) 24
Marc, Franz 53
Mars
acrylics 33,
eel
colors 14, 74
Matisse, Henri 59
145, 151
enamel 151
fabric 148-49
fat 31
81
flow 36
oils
39,
45
generic
alkyri 31
name 137
cracking 36, 37
gouache 34
household 136-39
industrial
;irlrlitives36
diluents 31
long 115
artists' colors
>,,
118-23
150
mauvine 13
media 30-35,
"Judas hair" 57
junkmail 140. 14?
paint
characteristics 36
(Roy Lichtenstein) 22
mauve
Jennif
Orange 60
realgar 60, 61
Masterpiece 1 962
88
pigments 60-61
massicot 62
iridescence 25. 88
Perinone Orange 60
marble dust 37
Ingres paper 35
Napoleon Bonaparte 13
Graham) 29
manufacturers' color charts 1 56-79
42-43
Mars Orange 74
38
magenta 14,21,58
Manhattan
136
Industrial Revolution 13
information
history 60
Balkwill)
Naples 75
mpasto gel 37
India 51. 56. 66.
painting 104
43
Orange 60
mediums
156
136
Index 191
oil
30-31
short 115
trade
name 137
poliment 89
Polke,
Henry
Perkin, William
13, 58, 81
watercolor 32
palette
Perylene Red 59
Pompeii 12, 67
pigment 56-59
oil
Portrait
37
primary color 58
Fragments
Woman (Anon)
realgar 56
perspective 132
Portrait of a
color range 41
pewter 88
poster paints 34
photography 150
Post-Impressionists 70
red ochre 72
homemade
phthalocyanine 54
potash 13, 52
Renaissance 56
Ro
57
41
linseed
oil
40
Scarlet La
arylide 14
projected light 25
symbolism 56-57
pumice 37
toxicity 56,
76-83
mahogany 40
management 41
black
mixing area 40
blue
"mud" 27
muffin-tin style 40
brown 72-75
cadmium 14
characteristics
plastic
40
50-53
wavelength 57
WinsorRed57
16-17
red earth
Alizarin
chrome 13
cobalt 13
color bias
seven-color 110-11
drying rate 16
spectrum order 41
Burnt
16
Egyptians 12
Stay-Wet Palette 40
tear-off paper 40
flesh
thumbhole40
gray 84-85
90-93
rainbow 24
realgar 60-61
Italian Earth
Reay.John 96,132-35
recycling 140-43
Mars Red 74
pigments 74-75
iron ores
travelling 147
green 67-71
watercolor 40
Hansa yellows 14
history 2-14
white porcelain 41
inorganic 14
Crimson
14, 15,
reddish browns 73
Rubens' Madder 75
aniline 58, 81
Sinopia 73
Terra
58,
di
lake
paperworks 140-43
lightfastness 13-15,16-17,
Cardinal Red 56
parsley 67
35,66,70,84,180
madder 58
natural 144-45
carmine
red lake 13
natural organic 14
Chinese Red 58
pastels
buying 35
58
chemical pigments 59
China 56
Chrome Red 58
cochineal 15, 58
red poliment 89
Red
perylene 14
crimson 15, 58
hard pastels 34
pyrrole 14
Daemonorops draco 57
red
Ingres paper 35
quinacridones 14
Dragon's Blood 57
reflected light 25
dye 58
Reinhardt,
conte sticks 34
fixing
35
Jackie
Simmonds 38
linear techniques
oil
red
153
35
paper 34-35
34-35
34
starter palette
35
tooth 34, 35
[Hem
Edelman) 150
Emma
Renaissance
Egyptians 56
Romans
pastel pencils
pastel sticks
56-59
73-75
wine 144
Ad 79
Rembrandt,
Harmensz van
fuchsin 58
resin
standards 16-17
fugitive 56, 58
retarding
Richter, Gerhard
synthetic organic 14
Greeks 56, 57
transparency 16
history
turquoise 54
India
55
white 86-87
12
Tulips
Renaissance
violet
yellow 62-66
107
Fauves 59
12
zinc 14
pencils
aquarelle 35
Pissarro, Camille 23
charcoal 35
Pliny 57,
graphite 152
pointillism
62
23
leaning back
cinnabar 57
35
color mixing 35
ink
15,
orange 60-61
color choice
Siena 75
59
opacity 16
charcoal pencils 35
pen and
12-13,56
75
73
Pozzuoli 75
Alizarin
warm
75
72,
hematite 73
red
Greeks 12
Umber
rabbit-skin size 34
granulation 16
to cool colors 41
Crimson 75
Chinese 12
40
59
Vermilion 57, 59
priming 40
traditional
20
bleeding 16
40
oils
aniline 58, 81
pigment
limited 104
'I
printing
dark colors 41
red lake 13
prism 24
12
71,84
kidney-shaped 40
Pearce,
Red 59
Pyrrole
Persian Gulf 72
40
Permanent Madder 57
Permanent Rose 14
Sigmar 23
polychrome sculpture 43
poppy
149
Perry, Chris
acrylics
pastel 34, 35
56-57
56
oil
colors 31
mediums 37
Riley, Bridget
Romans
85
85
lightfastness 59
Romney, George 24
Rothko,
148
56,75,84
74
Mark 59
192 Index
(lilWlllllUll
3,9889:03952 63611
Bathers and CraD boat,
-aff lower oil 31.
99 /-98
JSf^Wte^ property
37
saliva 144
sand 37
sandstone 145
material
Sardinia 75
100
of theJo Lowrie
Library^,tazmg
Dr. Franz
180
(Winsor& Newton) 15
secondary colors 25-27
Self-portrait aged 34 (Rembrandt) 79
Self-portrait with Yellow Waistcoat
128-31
yellow
32
Antimony Yellow 64
Arsenic Yellow 62
Aureolin 64
beneffldt|s;#ry
Schoenfeld,
boxes 32
eld
mediums 37
boxes 32
azo dyes 64
tea 144
mood 98
terra-cotta 145
tertiary colors
27
Chrome Lemon 64
Chrome Yellow 13,
Cobalt Yellow 13
permanence 32
Ray Balkwill 38, 98-101
pans 32
23.
30.
148-49
50,
53
tints 27,
tonalism 102-03
sticks
31,32
Crocus sativus 62
Egyptians 62
staining 32
four-color printing 21
35
SeMsK/e|HelenDougall)148
top tone 27
texture 100
Seurat, Georges-Pierre 23
trade 13, 51
Gamboge 63
Gamboge Genuine 65
transparency
wet-in-wet 100
gold 63
shades 27
Tri-Art 156,
(Ray Balkwill) 99
Trinidad 75
Shoreline, 2001
75
73
Greeks 62
wax
Hansa14, 64
crayons 35
Helios 63
whelks 12
history
artists'
turquoise 54
baryta white 87
paints 33, 35
120-21
silver leaf
Simmonds, Jackie 38
Sinope 73
underpainting
84,104,110,112-13,132
six-color division
- see
13. 86,
Mars Yellow
massicot 62
Dutch White 86
Mineral Yellow 62
Flake
flesh colors
glazing 86
USA 66
ground work 86
Oxford Ochre 66
history 86
Paris
South Africa 66
van Dyck,
Spain 72
vanilla
White
Iridescent
soot 145
Sir
Anthony
74,
75
12,
86
White 86
"pinks" 64
prehistoric primary 62
Permanent White 87
pigments 86
spectrum 24
verdaccio 112
reserved white 87
resists
stained glass 84
Verona 67
44-45, 128-30
with Bottles
Vesuvius,
Mount 64
violet 55.
165-66
Virgin
Mary
Vladimli
51, 83,
Madonna,
Friedrich 13,
/jr.
-ictive color
59
mixing 25, 26
89
c
Pier.
1996
<
sunligl
Sunlit
white
Underpainting White 86
yellowing 36, 37
light
White
12,
86
31, 86
(Joustra/Humbrol Ltd) 43
24
washes 152
waste-paper collages 143
watercolor
artists' colors
14,
156-79
atmosphere 98
64
Wilson, Douglas 38
37
'(38.115
(Geoi
sunflower
Winsor Yellow
watercolor 32
white lead
125 (Anon) 89
w
oil
turmeric 62
underpainting 86
Zinc
walnut
Stone Age 62
symbolism 62
van Gogh 65
87
67,86
realgar 63
saffron 62
oils 31
vegetable dyes 12
mediums 37
Yellow 64
lead white 13
Mixing White 86
144
146
pigments 62-65
mica 86
Still Life
13, 64,
ochre 72
undertone 27
"smike"(CMYK)21
still life
62, 74
Naples Yellow
Egyptians 86
51,52
special-effects
62-63
87
26
manuscript illumination
Chinese White
123
skin tones
87
China 86
123
silver 88,
14
blanc fixe
Tynan Purple 12
14, 15,
63,65
King's Yellow 62
Leipzig Yellow 64
Lemon Yellow 14, 65
bismuth white 87
26
Fitzgerald)
62-63
63
Indian Yellow
India
white
twelve-color division
Sienna 72, 75
Smalt
Turkey 54
51,180
silk
149
wavelength 24
Siblings. 2001
siderite
180
T-shirt designs
Sicily
Golden Yellow 65
16,31,32,36,37,124-27
Sheltered Moorings.
65
Earth Yellow 62
Sepia 74
64,
woad 50
Wnvnn Basket \knon) 42
zinc oxide 14
Zuni Indians 54
*, fc
I
trained as a graphic
artist
and
is
New
many
author of
art
and design
Artist's
titles,
ALSO AVAILABLE:
mm
BSE
Bf
Julie
Vermeer
is
the
including
by Chronicle Books.
COVER DESIGN
He
arts
to the
is
artist, yet
'
>*
Color
A*.
r
artists
Manual
is
I
*i
in using color in a
1'W,
variety of applications.
illustrations,
comprehensive sourcebook
is
work of
this
art in itself.
*te
ISBN 0-8118-4U3-X
rM'65
H5" 10351
lllllipii!
780811
16"
7 K
841436
II
fl
1 II
Hi.
I.
WWW.CHRONICLCBOOKS.COI
mi
'
'
'
'