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Practical, inspiring

book

is

and informative,

the artist's bible

at painters in particular

on

color.

and

this

Aimed

visually

creative people in general, Artist's Color

Manual

is

an important resource for

artists, designers, art

alike. It

looks at

all

students and educators

the crucial aspects of

color in four absorbing sections:

Information on paints and pigments, plus

some

straight-

forward science and a concise buyer's

guide to materials. '"

•'

-^4

-

mi^P

A guide

to mixing

V,

*&jj^j^^^^A

Iflfef'-^c

.

!V~~"!

^1

and working with the various color groups.

mMguMi imor\

details)/Daphne Jo Lowrie.

Headband/l\m Riddihough, cols 3-4,

Jennings, p.81 col.4, pigments/P\oya\

Lowestoft Beach/ John Reay (photo Dean

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.

Czestochowa/PoWsh National Tourist

col.4, oof./Daler-

and bot./VM'msor & fop/Winsor

&

col. 4,

col.4, color

p.43

bof./Schmincke.

&

p. 42

sketches/Simon Jennings.

Hymn, photograph/ Science, On the

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

White lead stacking/G. Dodd,

Color sample/ Judith Chestnutt.

col.

7

Rowney.

& Newton; & Newton; co/4/Daler-

p. 87 col. 2,

Jennings,

p. 88

Resists/Simon

p. 89

Framed Madonna

(facsimile)/Simon Jennings Archive, col. p. 92

7,

p. 90

Flesh experiments/Simon Jennings,

Vincent van Gogh, Italian

Girl/Musee d'Orsay,

Paris.

top

and middle/'Judith

col.

7,

cols.

Antique Bronze/S\mon

Jennings Archive,

p.

col. 1,

p.

141

Shoreline/ Jud'Wh Chestnutt. p 142 col.4,

bof./Winsor

co/J/Winsor

135

131 preparatory sketch/'Jessie

Carr and Lucy Dunsterville.

British

p.

main image/John Reay (photo Dean

(facsimile)/Simon Jennings, p.86 col.1,

Manufacturers 1844;

pa/effes/from Art

C/ass/HarperCollins; col.4, fop/Winsor

Newton,

Our Lady of

p. 40

col. 4,

p.

Chestnutt.

p.

143

Color samples/Judith Chestnutt,

3-4, H/asfepapef co//ages/Simon

Jennings, pp.144— 1 45

all

images/S\mor\

Jennings, pp. 146-1 47 main image and

defa//s/Simon Jennings,

p.1

48

col.

I

and

cols.3-4, l/esse/s/Helen Banzhaf; foot of

page, Set Aside/He\en Dougall. all

images Chris

Perry, p.1 50, all

p.

149,

images

Heinz Edelman/TVC, King Features. p.1 51

p.1

52

Building Fasc/as/S imon Jennings. col. 2,

centre /mages/Carolynn

Cooke, pp.1 52-1 53

all

other

/mages/Simon Jennings.

!

•:S

,..

J

color! CHAPTER

«

ffl

«!S^"

1

i

z figments "Today's artists work

with colors produced by an industry which has spent two centuries getting better and better

and

while most

better,

people in this world

have

to

work with

things that have got

worse and worse."

in nisiory

The first colors More than 15,000 cavemen began

to use color to

"Whai Everi

abolt Paint

B\

David

red earth (ochre) and white chalk.

well

artists are

including paper. Pigments

from burning animal colors

were

that

all

These

fats.

were needed

to

produce the sensitive and exquisite

we

drawings and stencils that still

are

able to see today.

years the finest quality ranges

have improved from around 30 percent permanent to

99-100 percent, as well as providing two or three times the number of colors. Although many early pigments are now replaced by

many are romantics may

reliable ones,

find

it

pleasing that the

The Egyptians There

is

most

whelk. Huge quantities of whelks

is

prepared from a

small color-producing cyst within a

producing an extremely opaque,

were required -

strong red pigment that had almost

1908. collected just

entirely replaced Cinnabar by the

pure dye from 12,000 molluscs.

eighteenth century. By the end of

Huge

the twentieth century, Vermilion

still

was

which provide

Friedlander,

in

J^ooz (1 .4g) of

piles of discarded shells

can

be seen at the sites of ancient

dye works

replaced by a range of colors,

P.

in

the Mediterranean.

Its

high price ensured that Tyrian Purple

greater permanence.

was reserved as a dye for of Roman dignitaries, and

The Greeks

a symbol of

power and

the togas it

became

status.

to the artist's

completely

first

or Cremnitz White).

The earth colors were

months and involved stacking lead strips in a confined

cleaned by washing, which increased their strength and purity,

method (with

was used

derived from minerals. Perhaps the is

Egyptian Blue,

first

produced around 3000bc. This was a blue glass

made from sand and was then ground into was replaced in the

a

until

few refinements) the 1960s and

produced arguably the finest

pigment of

all

for the artist's palette.

The physical structure and reaction with

oil

give a superbly flexible and

copper, which

permanent paint

a powder.

also

It

finally in

superseded by Cobalt Blue

Cinnabar

known

was

when for

utilized

prized as the

first

Vegetable dyes were also

found a

way

of "fixing" the

powder

a transparent white

who dye onto to

produce a pigment. This process called lake making, and

used today

to

it

is

is still

also ivati

d

al

Hawara

in

1888

Woman, ad100-120

Encaustic on

The Greeks

metal

until

lead pigments

was used

the 1990s,

were banned

use by the general public.

The Renaissance Little changed in the

first

to

was the rebirth of artistry that fueled new pigment colors,

and

it

development from the fourteenth century. The Italians further developed the range of earth pigments by roasting siennas and umbers to make the deep rich red of Burnt Sienna and the rich brown of Burnt Umber. Earth colors featured heavily in their

produce rare colors.

Portrait of a

film.

red lead, which

millennium ad with regard

bright red

developed by the Egyptians,

made

for priming

the early nineteenth century.

The Egyptians also

space with

vinegar and animal dung. This

and new pigments were being

most famous

The

manufacturing process took several

were manufacturing

the Egyptians

White

Flake

evidence that by 4000bc

crushing and washing each mineral.

35

of the

heating mercury and sulfur,

The color

opaque white (known today as

malachite, azurite and cinnabar by

1118-19

which was also one

most

Tyrian Purple,

costly.

white lead, the

first

finest available to the artist.

of the

was

palette, notably by manufacturing

sixteenth century by Smalt, itself

pigments remain some of the

on many Pompeiian

One

important colors

it

The Greeks also added

colors.

not. Incurable

was

1948

with pigments that are more permanent and offer an everwidening choice of handling properties. In less than 200

is

historical sources,

was used by the Romans. Vermilion was made by

itself

in

identified

wall paintings.

China around 2,000

in

years before

cadmium

being constantly provided

more

developed

been

were

no exception and Vermilion

Egyptians and Greeks. Pompeii

one of the main

dating to ad79, and Vermilion has

of the rest of the

(Lamp Black) by collecting the soot

Breuil

lucky

advance

world with many inventions,

Young Bison

Today's

in

with other

addition they used carbon black

(Altamira, N. Spain)

From a watercolor by the Abbe

Chinese

ancient societies, the Chinese were

P-iLE)

Prehistoric Painting/Brodric/Avalon Press

inherited the palette of the

of the

civilization ran parallel

Pearc e Artist Neei>- to Know

& COLORS"

For the

knowledge

earth pigments, yellow earth (ochre), In

most part the Romans

Although the discoveries and

decorate cave walls. These were

Emma

(in

The Romans

The Chinese years ago

painting technique, Terre Verte (Green Earth) being the principal

underpainting color for flesh.

hmewood Michelangelo Buonarroti (1475 15G4)

36-152 Color Index

1!

Madonna, Child and Oil

John

St.

with Angels,

c.

1506

on wood panel

(detail)

National Galler)

London

Pigments Renaissance developments The

Cadmium pigments

improved the lake-

Italians

making processes

In

of the Egyptians

not until 1846 that

another opaque lead-based pigment.

and use

was

it

the development

genuine Ultramarine that

of

were introduced The

great permanence, range of hues,

Industrial Revolution at the

the Renaissance.

produced both

was

first

used as a it,

but

even the best stone can have up 90 percent impurities and discovery of

how

it

was

palette.

The

including artists' pigments.

the

Scientists

to extract the blue

bright,

possibilities

for trade in every quarter of

deep blue

demand

were

produced had excellent lightfastness

many

of the spectrum.

was

the reasoning behind

Madonna

gracing the

in

blue.

not available

were able

of the colors that

we

think

documented in

the

Cobalt pigments

deposits of chrome

was discovered in 1802 by Thenard. It was a wonderful

facilitated the

part

Cobalt Blue

transparent, granulating mid-blue of

great permanence.

It

is

used widely

ceramics and loved by

moderate

as for

artists for

tinting strength, as well

fast-drying and watercolor

its

Cobalt Green, although

usage

in

common

Cobalt Violet

first

new

providing

colors.

the

in

1820

a highly

low-cost color available

opaque, in

a variety

Although chrome colors

1862. The color Cerulean Blue

also a type of cobalt and

is

was

available as early as 1805.

By combining cobalt oxide with

until

the 1990s,

good covering

it

was

also beginning to see

modern scientific 1704 a German

fell

color

maker named Diesbach

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

1856 William Henry Perkin a student at the Royal In his

new

was

when he unexpectedly produced a purplish dye from oxidizing

impure aniline with potassium bichromate. Mauvine, the

first

organic color (based on carbon chemistry)

was

born. This led to

produced a huge range of new pigments over the decades to come. Mauvine as a dye was an instant success and became the most fashionable dress color for

type of zinc oxide

called Chinese White.

Victorian ladies.

as French Ultramarine is

first

its

at

genuine Ultramarine, but

The

the distillation of coal

kilogram. Both the French and

Known

released.

of

300 francs per

impurities of the lapis rock.

is

it

to

physically finer

for its novel ability to

as an artists'

opacity. This

Blue, had been produced!

known

was used

preference to lead white,

was

synthesized color, Prussian

color to this day and

in

a

ever since, the pigment

Prussian Blue remains a popular

century. This

white

was offered in France anyone who discovered a method

1828.

Instead of

color, but, unfortunately,

conditions arsenical fumes

Greenford, Middlesex, he

when Winsor &

making red he made purple and then blue - the first chemically

damp

St Helena.

very popular

attempting to synthesize quinine

Newton developed

Germans competed, but it was J.-B. Guimet who succeeded in

home on was a

1721 eventually led to the use of

opacity until 1834,

ran out of his supply and used

thought

zinc oxide by the late eighteenth

expensive dark blue

a cost of less than

It

its

organic pigments

for the artist's palette.

pigments, which required the use of potash as an alkali. He

his prison

improvised laboratory at

because

produced. The cobalt

of artificially

red lake

in

Similarly, the isolation of zinc in

6,000 francs

chemistry. In

is

College of Chemistry.

heating the oxide to increase

In

It

for

arsenic poisoning from the wallpaper

In

the 1820s a national prize of

the benefits of

the 1960s.

Zinc pigments

for a less

but

until

potentially fatal effects.

was

industry than previous centuries,

pigment

copper aceto-

most famous, however,

were

of the legislation against lead

watercolor. However,

zinc or

of other metals, a variety is

first

1822 and was highly

that Napoleon died as a result of

in

price.

chromes, and, as such, they

expensive and the search continued

of colors

tin,

emerald color

wallpaper

their

more permanent,

number

1910.

provided a bright clean

remained popular

because of

pigments have always been

a

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,

had a tendency to darken, they

Yellow (Aureolin) becoming available in

in

toxic. Consisting of

is

easy manufacture of

Chrome Yellow, of hues.

In

USA

pigments at that time.

1860, with Cobalt

in

area

Chemically, the colors are lead

first

1780, did not enter

until after

appeared

in

power and economical

characteristics.

made

until after

Genuine Emerald Green was

Chrome pigments The isolation of new elements

of today as "traditional."

its

in this

Cadmium Red was

Genuine Emerald

new

to utilize

late eighteenth century also played a

in

and high

driven by the

pigment known to man. This high value

the mainstay for artists

life,

minerals and chemistry to invent

and was the most expensive

tinting strength

Cadmium Yellow remains

opacity,

new, more permanent,

for

colors and

Immediately popular for their

moderate

new processing and new opportunities

to

that enlightened the Renaissance

to the artist's

palette.

beginning of the nineteenth century

Lapis lazuli

it was cadmium yellows

Early nineteenth century

perhaps personifies the paintings of

pigment by simply grinding

1817 the metal cadmium was

discovered by Strohmeyer, but

and developed Naples Yellow,

However,

13

history

in

WM

tar,

which

1

4

gments

in

history The twentieth century Pigment development continued apace into the new century.

The Science

Monastral Blue In

1935 Monastral Blue was

introduced by

ICI.

Known

In

also as

Phthalocyanine Blue, this offered a

"Hansa" yellows During the

first

decade

of the

tinting strength, yet

Prized for

company brought out the first of the "Hansa®" yellows. Here was

also a

synthetic organic pigment of good

permanence, clear bright hue and

The explosion

new pigments

of

during the

known as Lemon Yellow, Hansa group quickly

led to darker

yellows, and this pigment type

metal tube and the

still

combined

arrival of

the railways

to facilitate the rise of the

Impressionist movement. Bright colors

in

portable, stable tubes

new

and

this

a In

method

of

easy traveling

of painting that

Alizarin Alizarin

in

the history of

arguably the most

in

Germany

in

It

was

introduced

1868, providing a blue-

shade crimson of strong

and

until

the 1960s,

However,

in

pale

it

still

was

No

they be called a basic

A

relating

such as cadmium or

cobalt. Instead,

we

see trade names,

in

the 1950s. The

Inorganic pigments Earth, mineral (for

quinacridones were introduced to

cobalt).

Rose and Permanent Magenta. Until

Natural organic pigments

then the pink and mauve

Rose Madder

it

the next 50 years

became

the most

new pigments

artists' materials.

Titanium White

is

susceptible to fading and modern

quinacridones are more lightfast.

The most important pigment century

in

terms of volume

of the

was

fading. Over

many more

The nineteenth century also saw the development of the

Mars

colors.

These "earth" colors are produced in

a

wide range

of

browns, reds,

yellows and black, according to the levels of moisture Originally, they

and heat used.

tended to be opaque,

and they are much stronger than the natural earths.

it

was

in

not until 1920 that an

this category.

available, ranging from

deep crimson

to gold. This

is

achieved by juggling the chemicals

Can

it

It is

a quinacridone that

get any better?

990s more pigment types

1

is

used as Permanent Alizarin Crimson.

of synthetic organic origin

metal oxide

was

established.

A

pigments today An average palette today

new

Artists'

of only

12 colors contains a selection of

pigments from every historical era, as well as every pigment type. Broadly defined, there are three pigment types. Earth colors Ochres, siennas, umbers and

Mars

come into use. In some cases new hues are available, further extending the possibilities

a perfect gap

in

watercolor or

in

portraiture, or providing

filling

even

greater transparency for mixing or In

other cases

some good

pigments were replaced

by pigments that were even more

we

replace colors

colors.

that last for a

Traditional colors

few hundred years

Cobalts, cadmiums, titanium and

and hundreds

most opaque white available,

ultramarines for example.

Titanium quickly became the most

Modern colors

popular white for

Phthalocyanines, quinacridones,

many hundreds

of years! Today's

artists are certainly fortunate to

be artists.

Hansa

arylides (for example,

yellows) have

with colors that last

nonhazardous, and the strongest,

were

appearing. Perylenes, pyrroles and

lightfast. So,

economical method of purifying the

fall into

colors

lightfast

1795,

in

Synthetic organic pigments

The quinacridone colors

glazing.

element had been identified

an example

crystal-clear hues

Titanium White. Although the

Synthetic iron oxides

is

this category.

were

available.

washes

now

example,

cinnabar), synthetic (for example,

the artist's palette as Permanent

involved.

similarly developed, and, from the

1920s onward, these

more accurate,

first

By the

such as "Winsor" Yellow, or

were offered as

technical, but

very important group of pigments

originated

color area had suffered from poor

longer can

name

more

definition of possible types.

Quinacridones

lightfastness;

derivatives!

in

offer a strong color.

were available without

its

Chemically, pigments are

they contain carbon. This results

groups with acetoacetanilide or one

as Azo Yellow Medium. Reds in

palette At that time,

permanent crimson

can

It

immediately became a core color

common

made

sometimes shortened names, such

tinting

strength and high transparency.

the

it

categorized by whether or not

be reduced considerably and

containing nitroso and/or halide

to their origin,

important organic pigment of the

nineteenth century.

is

by coupling diazotized amines

of

is

immensely complex.

few words, Hansa

has

many

student-range blues, because

art.

Crimson

Crimson

and other synthetic organic is

basis of

cost. it

led to a period

has become one of the

most recognized

a

is

important. The chemistry of

pigments

become the

moderate abilities,

is

but the

nineteenth century, the invention of the

all

mixing

striking microscopic

photographs of pigment sources.

a

high transparency. The color

Impressionism and portable colors

its

& Newton

the 1990s Winsor

commissioned these

deep transparent blue of enormous

twentieth century, the Hoechst

of Art

(opposite)

living

and painting

in

the

twenty-first century.

perylenes and pyrroles for example.

They have become

important to artists of today,

because the deposits earths have

become

of

good natural

depleted.

Thanks

automobile!

to the

The car has

to

permanently endure the

elements, whether

rain, hail or

and pigments used

for

sunshine,

automobiles

must withstand snowbound

or desert

conditions. Artists have everything to be

thankful for that such lightfast pigments

had

to

be developed. Without the car

would not have the purples that

wi

we

reds, yellows

enjoy today.

and

we

Winsor Green, magnified x 240 Winsor Green, which

found

is

ife-t*

most

in

Winsor & Newton color ranges,

is

made

from a single pigment. Despite the

M

higher cost, single pigments give cleaner, brighter mixtures, better

AV

when

handling, and greater brilliance

they are diluted. Microscopic photography by Florida State University

Lapis lazuli, magnified x 150 Lapis

the semiprecious stone

lazuli,

from the

hills of

Afghanistan,

the

is

secret of the blue used by the old

Modern pigments used

masters.

for

Ultramarine Blue are chemically indistinguishable from lapis

lazuli,

resulting in a beautiful blue with the

characteristics of lapis lazuli at an

affordable price. Microscopic photography by The Natural History Museum, London

Cochineal beetle shell, magnified x 150 The

rich

pigment of Carmine

is

created

from the cochineal beetle, yielding a unique crimson that lightfast. In

beautiful, but not

is

996 Winsor

1

scientists finally

& Newton

succeeded

in

formulating Permanent Carmine, a

pigment that enables

artists to

new

enjoy this ^^'..T!

unique color with superior permanence.

rm

Microscopic photography by Florida State University

Madder

root,

magnified x 240

The unique pigment

Madder in

of

Genuine Rose

impossible to match precisely

is

hue, strength and texture with

& Newton's

pigments. Winsor for

fjM

modern

formula

Genuine Rose Madder pigment,

developed by George Field

Madder

in

1806,

still

most permanent Genuine Rose

yields the

color available today.

Microscopic photography by Florida State University

Indian Yellow, magnified x 240

Used this

in

India

warm

from the fifteenth century,

transparent yellow of great

depth and beauty

was

made

said to be

from the urine of cows fed solely on a diet of

mango

leaves. Production of the

color halted in the

1

920s due

to

over the religious status of the

concern

cows and

the rise of improved, more easily

manufactured colors. Microscopic photography by Florida State University

Alizarin Crimson, magnified x 150 Alizarin

Crimson has been one of the

most popular colors through the ages. However,

it

can fade

in thin

layers or

&

washes.

In

recent years Winsor

Newton,

in

the pursuit of improved

lightfastness, developed

Permanent

,r

Alizarin

and introduced

Crimson

into

its

ranges wherever possible. Microscopic photography by Florida State University

s>-

m

1

6 Pigment standards

There are s\

a

number of universal Colors are not the

stems and standards that help

artists to identify

know ledge

in

r

and build

key areas of

same

Just as loaves of white bread from different bakers will differ, so will artists' colors

from different

manufacturers. The formulation or

eoneern. Most importantly,

artists

are interested in the specific

recipe of the color

of

characteristics of pigments, so that they

their

can use them to achieve

own

creative ends.

Next, they need information regarding the permanence of

pigments. The characteristics of a color - such as granulation, staining, bleeding, transparency

or opacity, color bias, drying rate. etc.

-

are to be found in

both reference books and manufacturers' color charts.

Permanence

ratings are also

provided by manufacturers.

There are no set standards pigment characteristics. After all. it is the diversity and individuality of each material that painters want to exploit. for

Generally, good-quality

products are offered by the

whole

art

materials industry,

and for most literature

supplied

artists the

and information is

sufficient for their

needs. However, you

may

want to know more about the media you are using, and to do this, pigments need to be clearly identified.

The Color Index International Since the development of modern organic pigments, pigment

names

are no longer sufficient to identify the actual pigment being used For instance, there are dozens of naphthol reds with varying

characteristics I

and different

iightfastness.

The Color

ational identifies

each

pages 18-19),

-now what they 'materials

jlors.

in

conjunction with

the manufacturing method and choice

raw materials produce variations

between

colors with the

from different suppliers.

same name

17

Pigment standards ASTM The

ASTM

abbreviation stands for the American Society for

Testing and Materials. (The Institute.)

The

ASTM

UK

equivalent

has set standards

materials and this includes lightfastness. ratings with

which

most

artists are

reduction with white

in

both

desert sunshine. Ratings

I

and

a similar way, and,

means

ASTM.

where no

that the pigment In

is

II

are

the British Standards

is

It

familiar.

artificially

for artists' use." Art materials

is

for the

performance

of art

the lightfastness

Pigments are tested

recommended as "Permanent

manufacturers rate their colors

ASTM

new and

in

accelerated conditions and

rating

is

in

given, this usually

has not yet been tested by

these cases the manufacturer's rating will be available.

Do

not take color

for granted!

With are

one color there

just

many

factors that affect

what you see on the paper or canvas; these include thickness of color,

medium

used, surface used, strength

of pigment, use in mixtures, juxtaposition, transparency,

color bias and more. This variation

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

a joy and there

more

colors

available than any one artist

can use

in a lifetime.

course,

it

is

Of

important to

remember

that each artist is aiming for self-expression, and this means that what is right for one painter is not

Some may never need opaque suitable for another.

some will never use more than six hues, for example. The important colors;

point

is

that the widest

variety of characteristics is

available to

all artists.

*~See also CI International

18-19

Colors of the spectrum

24-25

The basic color wheel 26-27 Creative directions

96-153

Color index 156-179

8

1

Color Index International

!olor Index International 1 1

is

the standard

compiled and

shed by the American Association of Textile Chemists and

Colorists and

The Society of Dyers and

Colourists.

The Color

Index classifies pigments by their chemical composition. This

CI is

an excellent identification method for lightfastness, because the

Index separates variations of pigment types, such as Naphthol,

you can see if the permanent versions are being used. However, the physical characteristics, as well as the chemical ones, affect the actual color of the pigment. For example, all Cadmium Reds are PR108, yet hues exist from scarlet to maroon. Most ait materials makers print the abbreviations and often the chemical description on the tube label and in their literature. so that

•"See opposite page

PY: CI

for explanation of tables

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

Quinaci idone Gold

Quinacridone deep gold

P062

Benzimidazolone Orange

Benzimidazolone

P065

Golden Barok Red

Methine

P067

Coral Orange

Pyrazoloquinazolone

P069

Isoindoline Orange

Isoindolme

P071

Translucent Orange

Diketo-pyrrolo pyrrole orange

P073

Pyrrole

Orange

selenosulfide

nickel

complex

Diketo-pyrrolo pyrrole orange

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

Chlorinated Para Red

Chloriated para red

Naphthol Red

Naphthol

Naphthol Red

Naphthol

Naphthol Red

Naphthol

Naphthol Red

Naphthol

Lake of natural madder

Naphthol Red

Naphthol

Scarlet Lake

Beta oxynaphtholic acid Strontium salt

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

Basic Dye Toner (Red)

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

Calcined synthetic red iron oxide

PY41

Naples Yellow

Lead antimoniate

PR 102

Red/Burnt Ochre/Mars

Calcined natural red iron oxide

PR 104

Molybdate Orange

Lead molibdate

PR 106

Vermilion (genuine)

Mercuric sulfide

Cadmium Red

Cadmium

Naphthol Red

Naphthol AS-D red

Quinacridone Red/Magenta

Quinacridone

Red

Lithol

Rhodamine Dihydroxyanthraquinone lake

Crimson

PY42

Yellow Oxide

Synthetic yellow iron oxide

PY43

Yellow Ochre

Natural yellow iron oxide

PY53

Nickel Titanate Yellow

Nickel titanium oxide

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

Azo Condensation Red

Azo condensation red

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

Basic Dye Toner (Red)

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

Zinc iron oxide

PR178

Perylene Red

PY120

Benzimidazolone Yellow

Benzimidazolone

PR179

Perylene

PY128

Azo Condensation Yellow

Azo condensation

PR 188

Scarlet/Naphthol

Naphthol/Arylamide

PY129

Green Gold

Azomethine copper complex

PR 190

Perylene Red

Perylene

PY137

Isoindolinone Yellow

Isoindolme

PR202

Quinacridone Crimson

Quinacridone

PY138

Isoindolinone Yellow

Isoindolme

PR206

Quinacridone Burnt Orange

Quinacridone burnt orange

PY139

Isoindolinone Yellow

Isoindolme

PR207

Quinacridone Red

Quinacridone

PY150

Nickel Azo Yellow

Nickel azomethine

PR209

Quinacridone Red

Quinacridone

Benzimidazolone Yellow

Benzimidazolone

PR214

Deep Red

Disazo condensation red

Nickel Dioxine Yellow

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

Diketo-pyrrolo pyrrole scarlet

Benzimidazolone Yellow

Benzimidazolone

PR260

Vermilion Extra

Isoindolme scarlet

Bismuth Vanadium

Bismuth vanadate

PR2B4

Pyrrole

Red

Diketo-pyrrolo pyrrole red

PR270

Pyrrole

Red

Diketo-pyrrolo pyrrole red

PY184

Scarlet

Alizarin

Crimson

Maroon

Red

lake

Benzimidazolone Anthraquinonoid red Perylene Perylene

Diketo-pyrrolo pyrrole red

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

Pigment Red 108, abbreviated

Pigment Blue, and so

forth.

PBr

is

to

PR108; PG

is

Pigment Brown and PBk

CI

PIGMENT BROWN

Name

Color/Pigment

Name

Chemical Description

NBr8

Vandyke Brown

Bituminous earth

PBr6

Mars Brown

Calcinated synthetic iron oxide

is

Pigment Black.

PBr7

Raw &

PBr23

Azo Condensation Brown

2.

CI Number - Color Index Number

Azo condensation brown

PBr24

Naples Yellow Deep

Chrome titanium oxide

PBr25

Benzimidazolone Brown

Benzimidazolone brown

PBr33

Mineral Brown

Zinc iron chromite

Pigments can also be identified by their number. For example:

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

Natural iron oxide

PBk: PIGMENT BLACK

PIGMENT VIOLET

Name

Burnt Sienna/Umber

Name

Name

Chemical Description

CI

PV1

Basic Dye Toner (Violet)

Rhodamme

NBk6

Bitumen

Gilsonite

PV2

Basic Dye Toner (Violet)

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

Basic Dye Toner (Violet)

PV4

PTMA

PV14

Cobalt Violet

Cobalt phosphate

PV15

Ultramarine Violet

Sodium aluminum

PV16

Manganese

Manganese ammonium pyrophosphate

PBk10

Graphite

Powdered graphite

PV19

Quinacridone

Quinacridone

PBk11

Mars Black

Ferrite black iron oxide

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

Cobalt aluminum phosphate

PBk31

Perylene

Perylene

Chemical Description

CI

Violet

Violet

sulfosilicate

Name

Color/Pigment

Name

Carbon black

Black

charcoal

Powdered slate/Hydrated aluminum

PB: PIGMENT BLUE CI

silicate

PW: PIGMENT WHITE Name

Color/Pigment

Name

Chemical Description

PB15

Hhthalo Blue

Copper phthalocyanine

PW1

Flake

PB15:1

Phthalo Blue

Alpha copper phthalocyanine

PW4 PW5

Zinc

Lithophone

Coprecipitated zinc sulfide/

PW6 PW18 PW19 PW20

Titanium White

Titanium dioxide

Whiting

Calcium carbonate

PB15:3

Phthalo Blue

Beta copper phthalocyanine

PB15:4

Phthalo Blue

Beta copper phthalocyanine

PB15:6

Phthalo/Blue

Epsilon copper phthalocyanine

PB16

Phthalo Blue/Turquoise Green

Metal-free phthalocyanine

PB27

Prussian Blue

Hydrous ferriammonium ferrocyanide

PB28

Cobalt Blue

Cobalt aluminum oxide

PB29 PB33 PB35

Ultramarine Blue

Manganese Blue

Sodium aluminum sulfosilicate Barium manganate

Cerulean Blue

Cobalt

PB36 PB60 PB72

Cobalt Turquoise

Cobalt chromium oxide

PB73 PB74

tin

oxide

Indanthrene Blue

Indanthrone

Cobalt Deep

Cobalt zinc aluminate

Cobalt Deep

Cobalt silicate

Cobalt Deep

Cobalt zinc silicate

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

Nitroso iron complex

Green Gold/Nickel Azo Yellow

Azomethine

PG12

Naphthol Green

Ferrous nitroso-beta naphthol lake

PG17

Chromium Oxide Green

Anhydrous chromium sesquioxide

PG18

Viridian

Hydrous chromium sesquioxide

PG19

Cobalt Green

Cobalt zinc oxide

Ochres/Earth colors 66-67

PG23

Terre Verte

Green earth

Green 68-71

PG24

Ultramarine Green

Polysulfide of sodium alumino-

Brown/Earth colors 70-75

silicate

PG26

Cobalt Green

Deep

Red 56-59

Orange 60-61 Yellow 62-65

Black 76-83

Cobalt chrome oxide

PG36

Phthalo Green

Brominated copper phthalocyanine

PG50

Cobalt/Teal/Light/Oxide Green

Cobalt titanium oxide

silicate

Barium Sulfate

PG10

complex

silicate

Aluminum Hydrate

PG8

nickel

Basic lead carbonate Zinc oxide

Barium sulfate

PG: PIGMENT GREEN CI

19

White 86-87 Color index 156-179

silicate

20 Optical

illusions The

"...it is

no more

possible to learn to

paint from books than it is

to learn to

swim

on a sofa."

M\\ DOERNER(1870-iy3 » l

subject of color

is

so vast and the ranges of

pigments and materials available wide, variable and subtle, best

it

inevitable that the

is

means of finding out how

really look In this

and handle

book

there

about color and

is

is

particular colors

by actually using them.

a great deal of information

value to the

its

to the artist so

artist.

of colors are mentioned and shown

media

in

in the

various

numerous combinations, mixtures and

applications.

To

comment holds that the

Hundreds

a certain extent, Doerner's true

and most

only effective

confidence

is

to

way

to

artists will

admit

knowledge and

experiment with the actual colors

and different media yourself. Four-color enlargement

Four colors make It is

hoped

that this

all

colors

White

book can provide

a springboard into the

world of color for the artist. Unfortunately, there is one obvious drawback to it. This is that when it comes to the subtlety of reproducing color, all of the colors shown in this

book

are printed, not painted.

They

is

crucial to the four-color

printing process.

Without a white

background, the full-color

illusion

does not work properly.

are not the actual colors

but are reproduced by the four-color printing process, using

only four ink colors. Process colors

Modern

Artists' paint colors that

resemble

the process ink colors used by printers are available.

Some

manufacturers, particularly

in

acrylic ranges, offer colors that are

specifically identified as process colors,

and these,

too, are very

versatile for mixing

and

experimentation.

for color

printing technology and the skills of graphic

reproduction have brought us very close to the reality of seeing real, pure pigment color on the printed page. Although 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,

or even 25 years ago,

it

those technologies that, in the right hands, improves

is

among

in

quality year by year.

Billboard detail, actual size

The four-color dots that create color

image can be

clearly

a

full-

seen on

outdoor advertisements that are

designed to be viewed from a distance.

^

#«

*ss*v PROCESS CYAN 120

OCESS

MAGENTA

412

'•

C

tSSYEU-0\N 675

The

21

four-color process

CMYK r.smike") Every color you see

book

is printed by using the fourand shade is made up of a combination of only four colors. These are: cyan - a bright, greenish blue; magenta - a bluish-shade red; yellow - a

in this

color process. Every hue,

tint

middle yellow, neither reddish nor greenish; and black. White is provided by the white of the paper on which these

Color control At the foot of every page proofed, a control strip

printer to judge the

four colors are printed.

weight, density and

In printing terms these colors are

colors and are designated as

is

printed. This enables the

known

as the process

accuracy of the four

CMYK - C for cyan, M for

colors used to create a

magenta, Y for yellow and K for black. The last letter K is used for black, because, if the initial B were used, this might lead to B being misinterpreted as meaning blue. The acronym for the four process colors is "smike." This was previously only a term that was heard within the confines of the printing industry, but, with the advent of computers, scanners, desktop publishing and digital photography, it is becoming more

full-color image.

familiar to the general public.

PROCESS CYAN

PROCESS MAGENTA

BLEU CYAN

MAGENTA NORMAL MAGENTA MAGENTA MAGENTA

NORMAL BLAU AZUL CYAN

CYAAN BLAUW

en

10%

m

-^

50%

en

70%

4ro

en

o SS

CO I

"O CD "^

CMYK

CD

Cyan, magenta,

CD

yellow and black are the four process colors from all

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

l

mediums.

page and opposite outlines the commonly available painting mediums and gives a briel description ol what the\ can do to bring an extra dimension to the color and texture of I

he

list

on

youi paintin

this

Each

oil.

characteristics

and you should read the manufacturers' labels to

considerably accelerate

its

check which type for

is

suitable

your purpose. Generally,

durable glazing and can be

linseed

thinned with mineral

flow, transparency and

spirits.

risk of cracking,

oil

increases the

gloss of the paint. The

care should be taken not to

various types tend to have

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

and gels have

been developed

to

minimize

Mineral spirits

yellowing of colors and to dry

Artists'-quality mineral

to a durable, flexible film.

a purified form,

Generally, these products

spirits,

provides an alternative diluent to turpentine and,

while

it

smell,

has a characteristic odor

its

A

is

less

completely

odorless formulation

is

also

available that evaporates

more

slowly. Mineral spirits

dissolve the paint a

little

less

than turpentine, however, and,

like

turpentine,

only be used for the

it

should

first

layers of painting. Oily thinners,

which are a mixture

of solvent

and linseed

oil,

are used to reduce the

consistency of later layers its

oil

paint

in

without affecting

richness; however, they

may yellow

it.

One

disadvantage of linseed that

it

is

tends to yellow the

colors Linseed Artists' painting

improve strength

pronounced.

will finally alter paint

own

its

Products such as these

same

in

may

different drying rates, but

distilled to

a

It

use alkyd mediums over slow

further processed

color of the paint. Exactly

linseed, available

Alkyd mediums

turpentine, but have been

also affect the

used as

drying underlayers. Alkyd

or "distilled

enjoy the

mediums can

oil

later layers of

turpentine," for example.

essence"

addition of

an additive for

mineral

To avoid the

across

"rectified turpentine

oil

traditional

slowly than turpentine or

drying time. They provide

types of turpentine available:

you

Linseed The

is oil

transparency, but can

tends to create a matte finish.

avoids the smell of

paint, increasing

is

evaporation

dry.

turpentine

to watercolor, so

is

turpentine

However, specific

liquid thinner that

lavender, but this dries

Turpentine

and,

The

are formulated for

products are also available

and washes of

to create special effects.

to

and

formulated low-odor or

fairly

change the paint's characteristics of flow, transparency and drying rate. They include a wide variety of additives such as gloss mediums, matte mediums and various oils and drying agents. Pastes and gels can be added to build textures that the paint alone, if used undiluted from the tube, cannot provide, and certain other mediums may be used

effect

prevent the possibility of the

it

to

They also tend

enhance the gloss

glazing.

painting.

Mediums can be used

detail work.

hazardous, commercially

oil

solvent-thinner used

surface appearance.

the flow of paint, so they are

situations,

that

to color to

improve transparency and

Because turpentine has flammable,

paint further layers.

it.

Low-odor thinners a strong odor and

you are intending

to apply several layers of

stage

"medium"

and pastes

These mediums can be added alter paint's

in a

also used to refer

to the various liquids, gels

The

to

termed a "mixed-media

However,

mediums

Oil painting

oil

can be

thinned with mineral or turpentine.

spirits

Acrylic painting

Poppy

Gloss mediums

oil

Liquid gloss

"purified" or "bleached,"

a gloss finish to acrylic paint,

from poppy

this oil extracted

seeds has less tendency

and

turn colors yellow

more suitable light colors

linseed.

It

to

also enhances the

gloss effect, but the surface

when

dry

is

generally

oil

takes longer to dry than linseed

oil,

version

is

also available.

Thin with mineral spirits

Walnut Walnut

oil

extracted from

oil,

walnut kernels,

color,

and pastes on the market

a pale solution

in

look

it

fluidity

it

is

work with, as

can also be used as a

it

water.

to color,

gloss and

its

Gum

impasto and molding effects

transparency.

with acrylics. These are

may

available

gouache paint

a variety of

in

more

light,

flexible

brush marks are retained,

choose depending on exactly

Oxgall

while dense or heavy gel

what

This

to cracking

hard, or fine,

painting.

it

arabic

to

make

it

and less prone

when

The thicker

is

additive for watercolor. Only

few drops are needed

formulations are more

a

particularly for painting

suited to knife painting.

improve the wetting and

Some

i

another traditional

even thicker paint and

with a knife.

D.li mm.

dry.

coarse, so

required for your

is

nirS

also be used with

medium and medium and

are available for

in

increases

easier for

it

thicknesses, such as

thicken

available as

is

When added

make

the paint slightly so that

mediums

It

you to achieve textured,

that will

and they also

well as more translucent.

mediums

or turpentine.

the traditional

is

binder for watercolor paint,

medium.

improve the flow and

Gel gloss

but a "drying"

arabic

and

of the paint, so that

easier to

slightly less

durable. Poppy

brighter,

arabic

Gum

There are many texture gels

sometimes making

use with

for

and white than

Gum

Texture gels and pastes

when

They maintain the

is

are required.

dry.

forming a flexible film the painting

where hard edges

painting

mediums impart

Variously described as

to

increase the flow of color.

pastes contain

Gouache medium

texture materials, such as

Oxgall also helps the

Matte mediums These mediums decrease the

sand, pumice, marble dust

adhesion of the paint on

Special

the ground and helps to

gouache

enhances color brightness

gloss effect of acrylic paint

experiment to discover any

and dries well.

and produce a matte

small changes

in

similar

is

use to linseed

oil,

but

does not store as well.

it

It

finish.

They can also be mixed with

Safflower/sunflower These

oils

oil

have properties

gloss

mediums

that are similar to those of

liquid

poppy seed

oil,

flow of color, while gel

are used by

some makers.

and they

Because they do not have

In

form they improve the

Special-effects For

more unusual

mediums

specific

find

it

you

color try

some

helpful to use an

in

a

way. Pearlescent or

iridescent

may

mediums produce

mediums

chosen color

paint, but they

associated with

increase brightness of color.

change according

Sometimes, however, you

These mediums are useful

direction of light

may want

you wish to work "wet-in-

angle from which the

wet," and they also slow

painting

down

viewed.

mediums are

available for

mediums

with a slightly glossy sheen.

consist of

formulations of

gum

water. This

in

the rate of drying on

enhance the brightness

Impasto techniques are not of

the color and increases the

in

colors,

little

usually associated with

watercolor, but the addition

and improves

the solubility of the paint.

and

into

Larger amounts

the transparency of the color.

provide the

means

may

each other. They give

watercolor the effect of impasto.

will result in

**See also Choosing media 30-35

to the

and the

Color by color

bulk and texture without

Flow improvers

using greatly increased

Various commercially

amounts

formulated products are

paint.

They

are ideal for impasto

work

and

for

of

oil

designed to increase the

more expressive

painting,

where you want

retain the brush

and knife

is

Color index

marks on the surface.

"^1

MsM

that large flat areas can

be applied evenly and

still

retain richness of color.

The

addition of a flow enhancer is

96-153

156-179

flow of acrylic paint, so to

48-93

Creative directions

increase

of adding

washes

and not flow

generally be used sparingly.

Special gels and pastes

its

also dries

Impasto gel

the palette. They should

Impasto mediums

it

arabic

a surface that appears to

if

reduce

time a

with transparent

affect the consistency of the

that purpose.

coverage, and

when used

speed the slow drying times

drying time and retarding

paint, they

These specially formulated

of this gel enables

and gels may be added to

to increase the

from peeling

to stay put

using one of these with your

painting.

it

By thinning the

Glycerine extends the drying

are available

oil

dry.

pearlized surface, particularly

are available that do not

slightly

help adhesion of the paint

and prevent

transparency of the paint.

drying rate. Translucent gels

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.

they are used.

additive that changes the

Drying

in

of the additives that alter

Since acrylic paint dries

These proprietary

prevent change available

the effect of the color

Retarding

increase fluidity.

when

color

in

to

formulations are more useful

especially useful for light

and

need

will

for thick painting.

colors and white.

to soften the paint

and you

changes, you could

a yellowing effect, they are

They tend

or flint,

to control the

degree of shine required.

37

Watercolor painting mediums

mediums

particularly useful for

"4¥H

38

Media

in

action

w

***>»-' ,.

(Left,

clockwise from the top)

George Rowlett

Sudden Storm Over Thames, Rotherhithe Pier, 1996 Oil

on board

24

x

40in (61 x 101.5cm)

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)

robustly applied for bold color and texture

(Right,

clockwise from the top)

Simmonds Venezia (detail)

Jackie

Carnevale

di

Pastel on paper

17 x 18in(43 x 46cm)

Douglas Wilson

Lemon

(detail)

Acrylic on board

8 x 6in (20.3 x 15.3cm)

Tim Riddihough

Watercolor, a classic medium for a classic subject

Check Headband Reed pen and

ink,

and mixed media on tinted paper 19 /xmin(50x35cm) 3

-m.i— 'ng

1

i

wry

*~See also Choosing media 30-35 Mediums 36-37 Choosing palettes 40-41

+ Creative directions 96-153 -

a»s*B*|

*

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uN

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U3t) wa*s

Ir9

'

mJsHm SCAM*

ouiwH

emir

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LAJ

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//A

COLOR

I

BY COLOR

?-o

CHAPTER

2

^' B«»~_feiiaroo

™ i

THcno

5^_

^_ "toim

HI*

5b-

'C

gm :

w* ffjp^

air- "vial

^

*? it

ijyl

W ft' i

T-mh-h'i r\v

i

'M

mm

^S"^ T?1

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.

'

'IT

r//

i

48

Color by color

Blue *- 50*^1 *-52

53

•"Blue*" Turquoise *-54*-

*-Red*^ 56*-57*-58*-59*-

•-Blue*- Violet*-55«-

Hpy

Brown/Red Earth *72*^ 73*^

•Brown/Red

Earth *74*75*^

Black*- 76*- 77^78 Darks

m

80, 81,82. 83

79

•-Gray*- 84*-85*^

Color by color 49

On the following we explore many

pages of the

most popular "core" colors that are currently available to artists.

We

learn about the history,

composition and attributes of these

colors, and

••Red*- 0range*-60*^1«-

Yellow*- 62*-63*-64*-65*-66 Yellow Ochre 66

-67 Green *-68*-69*-70*-71 Green Earth 67

how

they

have been developed

and refined into the artists'

pigments

we

are familiar with today.

.

""*?! Wtittm

^P*S

SB 1

- ..

•Jk ..

>m ^«* ^

L—^"*^

^

^m

1

fr tor

^%w>^

EvT

*P ^i

jM

nb Metallic colors,

:

r

Iridescent colors,

Fluorescent colors, Interference colors, and Mica formulations. Due to the limitations of the four-color

^

printing process,

W£r -^•^

•White*- 86 *-87*~

it

is

not possible to

reproduce these special-effect colors

BP^nr^B

with any degree of accuracy. See page

'ffiS^'

w

for further details

^^~

•-Metallic*- 88*-89*and special-effect colors

and refer

to

manufacturers' color charts.

1

Flesh*- 90*-91*-92*-93' and reddish yellow

tints

See also Optical illusions 20-21

Colors of the spectrum

24-25

The basic color wheel 26-27 Choosing media 30-35 Creative directions

96-153

Color Index 156-179

50 Blue "In music a light blue like a flute, a

a

'eel la;

is

darker blue

a still darker a

thunderous double bass;

ami

the darkest blue of all

\\

-an

organ."

\ssm K.WDINSItt (1866-1944)

Blue

is

overwhelmingly present

because

it

in

our

lives,

the color of the sky, providing an ever-

is

changing backdrop

that

is

echoed and reflected

in

the sea, rivers and lakes. In relation to the spectrum

and the color wheel, the term "blue" applies

to all

those colors that are between violet and turquoise.

Blue retains the

distinct character

its

two other primary

white or black

is

more

clearly than

when

colors, red and yellow,

added.

From space our

planet looks blue.

Described by Kandinsky as the "typical heavenly color," blue carries a sense of the spiritual. It suggests calmness and serenity in its lighter tones and mystery as it

it

may

approaches black. In some situations convey sadness and melancholy,

hence to have "the blues." Used in mid-bright clarity it is an ethereal, expansive color, while deeper, richer blues have velvety depths that evoke opulence and mystique.

The growth of blue Respect for blue increased with the discovery of the extraction of Ultramarine

from lapis lazuli during Middle Ages. It was not

the

until the sixteenth century,

however,

that blue

was

properly recognized as

Early blues

When

Though blue was known

blue pigment powder, a color later

and used by the ancient

referred to by the

civilizations,

it

ground

produced a soft

this

Romans as

Egyptian Blue or Alexandrian Blue.

was

The Greeks had no separate word for blue, instead classifying individual blue

colors with such terms as

Azurite

was categorized

Another color found paintings

was

The ancient Egyptians used several

silicates

among them

a color

synthesized from copper

and calcium oxide. These

ingredients

were

fired

with sand to

^^ blue? between green the color "Of inlet in the spectrum, is

olored like the sky or deep |

things etc.,

I

brui qualifyii

much ;is

smoke.

moonlight, a lified

by or

Antwerp Blue Berlin Blue

Blue Ashes Blue Bice

also used by the Greeks,

obtained

its

Blue Verditer

source mineral it

Bremen Blue

as

known as

was

It

still in

artists,

the

more

Indian Blue

who tended

use azurite as an underpainting costly Ultramarine.

Blue

Egyptian Blue

the fifteenth century by

in

Renaissance

to

Leyden Blue

Mountain Blue for

Paris Blue

The

was also known as azzurro della magna or sometimes as

color

Pozzuoli Blue

Sky Blue Smalt Smalt Blue Thenard's Blue Vestorian Blue

"frit."

Woad Woad

What

Alexandrian Blue

was who

Mountain Blue.

produce a ceramic glaze and a glasslike substance

gave a deep blue

that veered toward green. Azurite

use

was

the following:

Delft

Frit

that

Egyptian wall

a copper carbonate mineral related

"Armenian stone."

of blue,

in

derived from azurite,

from Armenia, referring to

as a black or dark.

may see

historical references to

to malachite. This

kuanos, from which we derive the word "cyan." Blue as an

shades

Naming blues Many old names have been superseded, but you

considered a lesser color.

overall term

an essential basic color.

had been used

northern

in

Europe since the time of the ancient Britons, in

who dyed

their faces blue

an effort to strike fear

into the

invading army of Julius Caesar 55bc.

It

was obtained from

in

the

leaves of the Isatis tinctoria shrub

and was a color similar

•"See also CI International

18-19

The four-color process 21

to indigo.

monks used woad for blue to illuminate the Book of Kelts in the

Turquoise 54

Artist

irs... i"

eighth century.

Violet 55

Color index/Blues

165-169

Blue

in

Oriental blues

While

Greeks and, particularly, the Romans had brought

the

Ages saw

eolors and dyes from the East, the Middle

nourishing trade routes reestablished. Two colors were especially important - Ultramarine and Indigo.

Indigo Indigo, as

name

its

was imported from

implies, India.

Fermented from the leaves of the Iridigofera tinctorwn plant, it produced a deep purple-blue dye that was 30 times stronger than woad.

For painters

it

was

available

in

the

form of a lake pigment produced by dyeing. Indigo

Ultramarine The name Ultramarine meaning "from beyond the sea" - gives some indication of the color's exotic standing.

was sometimes used

by Renaissance artists as an

underpainting to azurite to give

depth and to

warm

its

effect.

This pigment, rich royal-topurple blue in color and more

expensive than gold, was obtained from a semiprecious

gemstone called

lapis lazuli

("blue stone"). Still rare, lapis lazuli is chiefly

found

in

Afghanistan. Smalt The cost

of Ultramarine

reflected

in its

use,

was

Smalt was one of the

and master

were

painters of the Renaissance

Indigo dye

instructed to use the color to

In

A deep

the nineteenth century, under

denote their patron's status and

the Raj, the British turned Indigo

wealth. These artists were even

production

contractually required not to

industry.

economize on Ultramarine by

was used

substituting a cheaper blue, such

uniforms. Although

India into a major

in

As a all

textile dye, the color

over the world for

as azurite. Artists tended to use

fugitive, Indigo

the color symbolically for the most

to fading.

important areas

commercial scale

in

a painting, such

is

It is still

all

blues are

particularly prone

for

work

advent of

been synthesized since the early

paint, Ultramarine

color lost favor a

twentieth century. Perhaps

the

popular and obvious use

little.

coloring of

was used

eighteenth century and superseded azurite.

It

was ground from

a glass

frit

produced from cobalt oxide and J.

M. W.Turner (1775-1 850)

to

have used great quantities of

is

said

"smalts of various intensities."

Iznik tiles

During the sixteenth century, the potters of Iznik in

Turkey created beautiful glazed

based on geometric and

appeared less saturated unless

was added, and

blue color, Smalt

widely from the sixteenth to the

clothes,

such as overalls, but the color has

lead white

useful

used on a large

as the Virgin Mary's robe. With the oil

first

blues that had cobalt as an ingredient.

its

most

for the

is

blue

was used

first

floral motifs.

tiles

Cobalt

as a single color, but later

colors such as turquoise, copper greens and a

manganese

denim blue jeans.

red-purple

were

incorporated.

The stone's main coloring

component but other

pigment if it

is

is

the mineral lazurite,

Blue Bice Leyden Blue

components cause the

to take

on a grayish tinge

ground, so another method

The process involves mixing the

washed washes

A

from combining copper

used as the glaze

is

required to extract the brilliant blue.

stone into a kind of dough that

Light blue could be obtained

is

carbonates with the precious

type of cobalt blue called Leyden Blue

in India.

in silver

Used

mines

in the

to leave a sediment. Further

seventeenth century, these

give varying intensities.

colors were descriptively referred to as "ashes."

imitating the

In their

Ming Blue

was

Dutch seventeenth-

century earthenware that Delftware.

metal found

for the

became known as were

turn the Dutch

(also cobalt oxide)

and

white porcelain from China.

*

history

51

52 Blue The quest

saw

nineteenth century

in the

familar names, such as

Prussian Blue, Cobalt Blue,

artists

today.

in

maker

artificially

by accident.

In

1704 a

called Diesbach, working

the Prussian city of Berlin, added

some impure potash animal

was

oil

making. The result

ferrocyanide, and

was

he

was

color

Prussian Blue

and as

was

it

fine

lapis lazuli and grind on a porphyry stone.

fairly in

artists' color.

a

inexpensive

is

also

Berlin Blue or Paris Blue. is

a lighter version.

Cobalt Blue

Its

one of spike or linseed and half an ounce of

aluminate, and

in

1802 by a French scientist

chemical composition

is

warm

is

available

neither in

filter

product

in

and mix

it

and gather the cold water. Stir well with the

powdered for a

lei sit

longer

it

week

or so.

The

rests, the better

and

finer the blue will be. Next,

knead the paste with the hands, sprinkling

it

w

ith

warm water; the blue will come OUl « ith the water. The second and

first,

colors and variations

tradition to these colors, they

sometimes bear the maker's name or a descriptive name. the manufacturers'

descriptions.

was sourced lazuli, it was In

1824 the

French Societe d'Encouragement pour

Nationale offered a prize

I'lndustrie

any chemist who how to manufacture an

nor cool and light to

also used to describe

Ultramarine. Four years later

the French color maker

came up with

J. -B.

Guimet

a winning recipe that

included aluminosilicate, sodium

carbonate,

silica

and

sulfur.

Heating

and washing processes resulted

in

an ultramarine color that could be

changed

slightly

by simply adapting

the ingredient amounts. The color

became known as French reflecting

its

provenance.

other colors derived from the metal,

cheapness ensured that

including violet and green.

a core color for

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

took over from

blue that

deep. Cobalt

then

it

Blue.

was

Smalt. Cobalt Blue

is

a

own

of them. With no historical

charts for accurate chemical

prohibitively expensive.

artificial

was

synthesized Cobalt Blue

first

was

to boil

is

French Ultramarine

could discover

known as Thenard's

all

their

of 6,000 francs to

also

it

It

blues

Manufacturers have developed

it

greenish blue, particularly

from the rare lapis

called Thenard; thus the color

pot until almost melted,

as Coeruleum.

Other chemists

pound of lapis, 6 ounces of Greek pitch, two of mastic,

in a

1870

when the maker George Rowney

Since Ultramarine

of the following ingredients:

turpentine; bring

In

artists' color

dyeing textiles

versions. Prussian Blue

known as

The

scientist,

through heating

new

such as Phthalo. Monastral and Indanthrene Blue.

Check

created

oil,

it

in

suited to painting watercolor skies.

Then make a mass or paste for a

became an

bright,

Europe were soon making their

Antwerp Blue

"Take

it

there are several

for

discovered

powerful, staining color,

to produce for use

in

was

1802 by Hbpfner, a German

who produced

marketed

deep, slightly greenish blue.

own

from caeruleus (Latin

"blue"), this color

English paint

a

ferric

its

Named

cobalt and tin oxides.

containing

into a cochineal lake

chemical mixture of

A

French Ultramarine and Cerulean Blue. In addition

Cerulean Blue

made

color to be

first

paint

make an

blues that artists use have

by

was produced

to

technology

new ways of

the discovery of

Prussian Blue

How

in industrial

synthesizing blues that were the forerunners of colors used

The

excellent Ultramarine Blue

Modern blues Many of the core modern

for blue

Chemical experiments and advances

third rinsing

phthalocyanine, PB73 Cobalt silicate

and PB27

PB15

is

Ferric ferrocyanide.

an ingredient

Manganese Blue

in

Indigo,

(Hue), Neutral Tint,

Payne's Gray and Mauve, as well as the colors

named

Phthalo.

used as a single pigment

PB73 in

Blue Deep.

Blue pigments

should be done separately.

PB1 5 Copper phthalocyanine

When you

PB27

fall

see the blue

bottom

to the

ol the

container, throu out the

and keep the

i

blue.'"

Ferric ferrocyanide

PB28 Cobalt aluminum oxide PB29 Complex sodium aluminum

PB35 Cobalt LlBRI C'>l OKI

M IRS) I

nil

i

'

silicate

oxide

PB36 Cobalt chromium oxide

'

if

tin

i

c.i

PB60 Indanthrone 01

I

PB73 Cobalt

silicate

is

Cobalt

Mode Core blues The most common

Blue obsessions blues are Phthalocyanine,

One of the most well-known

Cyan or

examples of a blue obsession

Primary. Cerulean, Ultramarine and Cobalt. The pigment

maker medium.

contents are usually the same, but hues vary from one to another,

53

n blue

depending on the formulation and the

is

probably Picasso's blue

period artists

(

90 -04). Many other

1

1

and movements

in art

have also become known for their association with blue.

Homage to

blue

French

Yves Klein (1928-62)

artist

produced

vivid single-hue paintings in

the 1950s. the

full

In

Chemical blues The twentieth century saw

developed a

new

Blue

patenting

synthetic chemical

pigments and dyes

mimicked

that

in

natural colors.

new

he

Ultramarine,

as International Klein

it

Suspending pure pigment

(1KB).

clear resin allowed the particles of

color to be displayed with startling

These colors have considerably expanded the choice available to

his desire to celebrate

intensity of pigment,

vibrancy. 1KB

trademark

became

Klein's

color.

artists. Phthalocyanine Blue

Cyan and Primary Blue

Phthalo Blue This powerful color

is

made from

copper phthalocyanine, synthesized

in

Basic blues

Many manufacturers offer -ones

first

basic mixing blues

the early 1930s. As a

that are

deep, intense blue

named

sometimes

(it is

Intense Blue),

has replaced

it

MUSSINT (77

blue shades that are mostly slightly

® ..—

sometimes have

Primary Blue. Cyan

is

Lasur-Cyan translucent cyan

-

Among

these you will often

see Cyan Blue and/or

"

Phthalocyanine provides a variety of

reddish tinge

for creating

secondary colors.

Prussian Blue to a great extent.

greenish, but

recommended as

good mixers

a

traditionally a highly

saturated green-blue that rfenie

for instance,

Winsor

is

the complementary of

International Klein Blue

^•^^ ^^^M^^L^

magenta. Cyan Blue and

Blue (Green Shade) and Winsor Blue

magenta, along with

(Red Shade). Other blues with

phthalocyanine as their base are

ei5ml

primary colors that are well

Hortensia Blue, Monastral Blue,

known within

21).

Blue.

m^

the

printing industry (see

Monestial Blue, Old Holland Blue,

Rembrandt Blue and Thalo

^^11

yellow, form a set of

The word "cyan"

page

wr*

is

from the Greek kuanos,

meaning "dark

flu

blue."

1

\ji

Manganese Blue This color, developed

in

the early

was made from

twentieth century,

barium manganate. Described as having "an ice-blue undertone,"

was

i

j

%.' Idfc

a bright greenish blue, similar

to Cerulean, but

weaker

in

h

tinting

now

Jb

I

mL

w"

power. Unfortunately, the pigment is

(

it

unavailable.

Franz Marc, Blue Horse

Indanthrene Blue This violet blue, similar to Indigo,

The Blue Rider Known in German

was developed

Reiter, this

in

1

901

.

Some

1,

1911

(detail)

as der Blaue

group of Expressionist

manufacturers market this color

artists

instead of Prussian Blue, and

almanac founded by Kandinsky and

it

creates good dark colors

when

mixed with umbers.

more

lightfast than the

blues, especially It

is

It

is

Marc both liked the color blue and were interested in painting horses

in tints.

also called Indanthrone Blue.

art

Franz Marc (1880-1916). The name was chosen because Kandinsky and

phthalocyanine

when used

were associated with an

Cobalt Blue

Ultramarine Blue

and

their riders.

54 Turquoise The color Frequently, "turquoise" is

to

used as an adjective

describe blue or green,

depending on

its

particular bias.

turquoise replicates the hue of the same-

named semiprecious stone. Europeans gave the mineral its name in the thirteenth century, because they imported turquoise through Turkey, although

Prepared turquoise colors Manufacturers offer several colors named turquoise, but you can mix these hues.

its (From

source was probably Persia. Turquoise was also found in the

American continent, where

Hopi Indians crafted

artifacts

the Navajo, Zuni and

and jewelry, working

left to right,

top to bottom)

Phthalo Turquoise Light, Phthalo Turquoise,

Turquoise Blue, Turquoise Deep, Turquoise Blue Deep, Phthalo Turquoise, Cobalt Teal, Cobalt Turquoise, Cobalt

Green

Turquoise, Cobalt Blue Turquoise Light,

turquoise with silver.

Cobalt Turquoise (Hue).

Turquoise pigments Natural turquoise varies

in

color from a bright greenish

Its components are hydrated aluminum and copper phosphate. A pale turquoise green ceramic glaze can be produced from roasting aluminum, chromium and cobalt oxides.

blue to a pale bluish green.

There

is

no single synthetic organic turquoise.

Artists

can simply mix turquoise from blue and green pigments, thereby controlling the precise color of the turquoise Blue or green In

ancient Mexico the Aztecs used

turquoise mosaics to decorate :-tures

and precious objects,

combining the stone with jade This position of the

two minerals

perhaps led naturally to the use of rtean both blue t's

and

point of

because turquoise sits

betwe

spectrum, altho

as a separate hue.

•

.vo colors in the ot

named

required. There arc also thai novv

bear the

name

many prepared

artists'

colors

turquoise. Manufacturers create

turquoise by combining blue (PB) and green (PG) pigment ingredients.

These

arc mainly based on phthalocyanines; these

synthesized substances produce

toward red

at

a

range of blues that can veer

one end, but generally tend

of

turquoise using chosen blue and green

pigments, which allows precise control

to be greenish. Single

pigmenl cobalt turquoises arc also available. They produce and both bright and duller colors in oils and acrylics thai arc said to more closely resemble the Opaque, matte appearance of the natural stone. clear, bright colors in ftatercolor,

Experiment with turquoise is easy to mix numerous varieties

It

of the required bias of the color

•'See also Blue 50-53

Green 68-71 Color index/Turquoise Color index/Violet

168-169

165-166

Violet Violet

is

a secondary color and

is

the

complementary "/

of yellow. The term violet

is

derived from the Old

genus Viola, whose flower

one end of the

have finally discovered

the color of the

French "violete" or "violette," a plant or flower of the

at

55

is

of

this color. Violet lies

atmosphere. CLAUDI

Mom

It is violet.

(1840-1926)

i

visible spectrum, next to blue.

Together with mauve and purple, violet describes colors ranging from reddish blues to bluish reds and also violet-tinged reddish

:

,:.

..-•-.

browns (Mars

violets).

:

,

B '£'-•

;:.:-,•--•

-gtytytf*^V4*^

the blackish blue-green, Hooker's.

berries,

is

from unripe buckthorn

now

synthesized from

Phthalo or Naphthol Green.

Even the popular Viridian Green

.rftp^%^&**^f$$tt$*4 is

this initiative.

today often

Hooker's Green William Hooker painted pottery and

may be

the source of this name.

Hooker's Green

is

made from Phthalo. Olive made from fugitive

Green, originally

a mid-green with

lakes, uses Phthalo

a base,

Green pigment as

mixed with a variety of

red,

yellow, orange, blue or violet.

a blackish undertone. Originally a

mixture of

Gamboge and

Prussian

Blue and considered an unreliable

pigment,

it

is

now based on more

modern pigments, such as Phthalo Green and Cadmium Yellow.

Exceptions to the extensive Phthalo

usage

is

the grayish green

Oxide, consistently

made from

to

brownish yellow-green,

often derived from

Raw

offered by several manufacturers.

may be mixed by the toning down a bright leaf

is

by

green with a

charts.

made from

Some

of

in

them are

color

single

(From top to bottom,

left to right)

Cadmium Green

or

(right)

(PG18

Chromium Oxide Green Cinnabar

(PG7

PG36

or

or

PG7

+ PY35/PY37)

(PG17)

PG18

+ PY1/3/35/42)

list

Cobalt Green

(PGI 9 sometimes PG26 or PG50)

gives an average guide to

formulations, which will vary from

manufacturer to manufacturer.

Emerald Green

(PG7 or PG36 + pyi/3/97/154)

Hooker's Green (PG7 Olive Green (PG7

+

or

PG36

+

PY3

or

PY42)

PY42/PRioi/PBr7)

a

cobalt oxide and Green Earth (Terre

Permanent Green

[PG7 +py 1/3/35/1 28)

Verte or Green Umber), a blue-gray

Phthalo Green (PG7

green, which usually consists of the

Sap Green

natural inorganic pigment (see Green

Viridian

similar color

artist

see various names

pigments and others are

Yellow. Cobalt Green, a bluish version of Emerald,

will

combinations of pigments. The

Chrome Green made

Sienna,

You

its

from Prussian Blue and Chrome

Olive Green

A

Chromium

oxide of chromium pigment,

compared

a dull

Prepared greens

Exceptions

or

PG36)

|PG7 or PG8 or PG36 + PY1/42/73/83)

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

canvas example below the range of ready-made

increased by simply adding

white to create a

tint.

" VV7/v

do two colors, put one

next to the other, sing?

one really explain this? No. Just as one can never learn

how (From top to bottom,

left to right)

Can

to paint."

Pablo Picasso (1881-1973)

Cobalt Green Deep (Winsor & Newton) Phthalo Green Yellow Shade

Ireen is a secondary color, and the opposite to red. This complementary color combination has contributed (

to the vibrant

design of

energy

many

in the

paintings.

(Golden)

Viridian (Lukas)

Emerald Green

(Winsor

Hooker's Green Hue

& Newton)

(Ligmtex)

Bohemian Green Earth Permanent Green

Light

Chrome Oxide Green Sap Green

(Lukas) (Tn-Art)

(Golden)

(Lukas)

Olive Green (Rowney)

Permanent Green

(Winsor

& Newton)

Viridian

A

transparent variety of chromium

oxide,

now known

created

in

Paris

a stable, very dark,

As

a glaze or

appears as a

wash

this

rrw

pigment

with a slight blue undertone. it

is

deep pure green.

emerald color

vivid

applied thickly

was

as Viridian,

1838. Viridian

in

When

takes on a duller

blackish-green appearance. The

pigment

is

popular with artists

because of

its

excellent tinting

strength and stability It

is

in all

mediums.

invaluable not only for use as a

Green sketch

green, but also for cooling reds, pinks

and browns.

Portrait

and

life

Ready-made

painters

tints.

When

mixed with Mars

Cadmium Yellow,

this color

acrylics

were used

create this green sketch

find Viridian a useful color in flesh

green for the

or

hills,

-

to

light leaf

pale olive for the

mid-ground, opaque oxide of chrome

produces

for the foreground,

a rich scale of brilliant greens.

and

finally a light

green again. The details are Viridian.

"1 tried to express through

red and green the terrible passions of humanity." Van Gogh on

his painting

The Night Cafe

Mixing greens

Many ready-made greens difficult to replicate.

are very clean and bright and are

However, at

its

simplest, green

is

a

combination of blue and yellow, and many manufacturers

recommend the best blues and yellows

to

buy for the purest

mixtures. Experimentation with different types and proportions of blue

and yellow can lead

to interesting results.

Vincent van Gogh (1853-90)

The Night Cafe, 1888 Oil

on canvas

(detail)

27Mx35in(70x89cm) Yale University Art Gallery

72 Brown and Red Earth Raw "Give

and

me mud

you the skin of Venus." will paint

I

and Burnt Sienna,

Raw

and Burnt Umber, the

red-brown oxide colors, such as Venetian and Indian Red, and Yellow Ochre, Red Ochre and Terre Verte (Green Earth), are

all

earth colors.

EUGENl DEI uuoi'x (1798-1863)

known

the oldest pigments

to

They

are

some of

man. Burnt Sienna

produced by roasting the raw pigment, named the Italian city near

Burnt

Umber

which

made

is

it

was

first

in a similar

is

after

found, and

Red Ochre and

iron oxides

These natural pigments range in color from dull yellow (see page 66) to red and brown. Ochres and oxides in art have a long history.

Red Ochre

warm red-brown

a

is

earth color and

is

based on

deposits of hematite (see opposite).

way. Earth

Traditonally, Spain and the Persian

pigments come from clay and other substances the ground.

Cennino Cennini described

the

in

wonder

Gulf

were excellent sources

names used

of seeing these colors of the earth:

of this

and the large variety

iron oxide

of

for the color relate to

its

Red Ochre

original source locations.

can also be produced from calcined

"And upon reaching a

little

valley,

scraping the steep with a spade, color: ochre, dark

and

the

....

beheld seams of many kinds of

light sinoper, blue,

and white; and

this I

world - that white could exist in And these colors showed up in this earth just

held the greatest wonder

a seam of earth

I

a very wild steep place,

way a wrinkle shows

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

(roasted) Yellow Ochre.

was used

medieval times for

in

fresco and oil-painting grounds,

because of

quick drying time

its

and low oil-absorption

Some

qualities.

other reddish ochre hues are:

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

brown, but the

much as the other

is

not used

ochres. The

natural iron-oxide pigment

is

and

in

it

widely used today

is

PBr7,

the

manufacture of siennas and umbers. In

seventeenth-century England, this

was sometimes described as It was prepared by heating Red Ochre, the name

color

Spanish Brown.

relating to

natural

its

similarity to the

Red Ochre from Spain.

However, there are references

for

Vandyke Brown. Mars Brown

(PBr6)

the modern synthetic version.

is

••See also Pigments in history 12-15 CI International

to

Spanish Brown as a synonym

••

18-19

•

Yellow Ochre 66

67

n Earth

1-145

Coil

It

of

tew Siennas 172

Brown

3d Oxides

English Reds

Browi

Mad

iii

Ancient earth pigments

172 175

173

jiennas 174

iM75

r.

thought

ih.it

o/ido', of

non woo;

doo, light out

lumps that were rich were derived from charcoal and ashes The raw

tho ground in the form of

in clay,

and

thai the blacks

manganese ores, pigments were ground with

various ingredients,

such as blood, urine, animal fat, saliva and bone marrow, to make a paintlike paste

Spanish Brown In

the frequent mentions of

under

this

name

is

Brown Ochre

the charge that

it

was coarse and gritty. The best ochres traditionally come from France and range from

light

yellow to deep red.

Brown and

Earth

73

Iron ores and reddish browns Iron oxide is a principal coloring agent derived

from four main types of iron ore: hematite, limonite,

magnetite and siderite. Hematite

Most

come from

iron oxides

hematite and limonite ores.

Hematite

a name derived from hema (meaning "blood").

is

the Greek

Hematite means "bloodlike" and refers to natural red earth.

A

hard,

compact and pure natural variety anhydrous

ferric

oxide

is

used

in

of

the

production of dark red pigments.

Sinopia This

name for natural More particularly, an obsolete name for the red the old Latin

is

red earth pigment. it

is

iron-oxide pigment derived from

Sinope, the Turkish Black Sea

was an

where

town on the

it is

mined. This

important classical source of

red oxide (see also Renaissance skin

tones, page 112).

In

the fifteenth

century Cennini recorded "a natural color known as sinoper," which when mixed with lime white was

"very perfect for doing flesh, or

making flesh colors of figures on a wall."

The color was often used

the underdrawing on plaster

in

mural painting and the drawing itself

was

for

Browns are generally considered

when viewing

documented usage from

called the "sinopia." reliability

to be drab colors, but this

is

clearly untrue

the variety of brownish hues and earth pigments available. Their prehistoric times to the present

day indicates the

and popularity of these easily obtainable and permanent

colors.

74 "I

Brown and Red

cannot pretend

Earth

to feel

impartial about colors. rejoice

I

with the

and

brilliant ones,

am

genuinely sorry for the poor browns.

Winston S. Churchill Thoughts and Ad\ ntures (1932) i

Mars colors Mars

colors are artificial iron oxides.

Used as substitutes

for natural earth

pigments, they are often more brilliant

and opaque with higher

tinting strengths. Like the natural

oxides, they are highly permanent.

Mars Brown

is

a mid-chocolate

shade, generally

made from

pigments PR101 and black. Mars Violet contains synthetic red oxide

(PR1 01

)

and

is

a chocolate purple-

brown, also known as Caput

Mortuum and Violet Oxide Mars Black is a dense

55).

(see page neutral

black (see pages 77-78).

Natural iron-oxide pigments are in

still

use today and are considered

among

the most permanent colors

available.

Most

The descriptive "Mars" may have

Vandyke Brown

Synthetic oxides

are not affected by

This

originated from the

brown ranges from pale

to black in color.

original

Its

was

composition

humus

of

or

vegetable earth ingredients

in

the

atmospheric conditions and most of

form of peat or

the pigments are nonhazardous. Iron-

The color was popular with Flemish

oxide paints resist corrosion and the distinctive

red-brown hue

eighteenth century, a synthetic

Mars Red

(PR101), has been

used as a substitute

for the natural

red earth pigments, because

it

similar properties of durability

has

and

permanence Most red oxides today are

made from

painters such as Rubens, Rembrandt

whom

and van Dyck, after

is

commonly seen as a base coat protection on raw steel. From the product,

lignite, plus iron.

the synthetic pigment

found.

It is

original formulation,

the pigment it

fades.

artists

found

and wood is

is

Owing it

not permanent and to its transparency,

useful for shading

staining.

Vandyke Brown

often substituted by Umber. The

natural pigment bituminous earth

(NBr8)

is still

available and used.

However, most modern ingredients for this color consist of synthetic red

•"See also

oxide (PR101) or natural iron oxide

1/2-175 l aw

Siennas 172

Brown Ochres-Red Oxides 173

(PBr7) plus black. Other

names

are

Cassel Earth, Cologne Earth, and

sometimes Ruben's Brown, although

English Reds-Burnt Siennas 174

this

Brown Madder-Neutral 175

with Brown Madder, too.

name

is

seen

in

Sepia This organic pigment originates from

ochre-colored pigment formed

the ink-sacs of cuttlefish (Sepia

through oxidization of iron crocus martis, of which the translation

is

in air,

literal

simply Mars Yellow.

Other frequently seen colors

officinalis),

Sea.

It

by the

is

found

in

the Adriatic

reputed to have been used

Romans as an ink, but its was marked after 1780

popularity

by

its

introduction by Prof. Jacob C.

is

also

In its

given by

bearing the prefix are: Mars Yellow, it

known as Kassel Earth, from the place in Germany where the natural ingredients were named.

name

alchemists for iron or to the yellow

association

similar to Yellow Ochre;

Mars

Seydelmann

in

Dresden.

It

was used

Orange, a cross between Red and

mainly as a watercolor or

Yellow Ochre; and Mars Red, similar

Today's colors named Sepia are

to the red ochres,

which can range

from scarlet to maroon.

synthesized, using black,

red-oxide pigments.

ink.

brown

or

Brown and Red

75

Earth

Brown Madder A

brownish-orange

color,

from

originally derived

madder (see page this

was

also

58),

known as

Now

Ruben's Madder.

based on

Alizarin

Crimson (PR83), it

is

a transparent

permanent

lake,

current formulations

and

may

contain red, brown,

yellow and green pigments.

-1

Mummy Brown A brown pigment made from asphaltum used this

was

Egyptian tombs.

as an art color until

embalming,

for

originally obtained from

recorded usage

Its

was from

the

800s

1

the 1920s.

Asphaltum Also called Bitumen (see page

composed matter,

color,

produced from

manganese, the and were in

and

finest variety of earth,

mined near Siena

originally

Tuscany,

iron

Italy.

greenish-brown earth

Umber

a natural yellow-brown earth oxide.

The natural clays contain

A

often sourced from Trinidad or the

Raw

Dead Sea, which

van Dyck, and, because of

thought to originate from the

instability,

umbra (meaning "shadow"),

because the pigment was often used

shadows and shading other

for

pigment has been superseded by other

It is

a highly permanent, transparent

and

lightfast pigment.

and

particularly Sardinia

in Italy,

Sicily.

Raw

Sienna

is

one of the

indicate

most permanent pigments. Current

synthetic yellow (PY42) or red oxides

Some

producers

natural oxides, also

Earth and Terra

di

still

known as

of synthetic oxides

a mixture

(PY42 and PR1 01

).

It

Italian

is

also

Umber

Produced by calcining

this is a darker reddish

red-brown, produced by

calcining (roasting)

Raw Sienna,

this

is

an extremely permanent pigment,

yellow, red, green, violet and black.

Pozzuoli Earth

However, a natural black

A

NBkB

(trade

name

but

more transparent. Current pigments

Gilsonite),

available as an

oil

is

a

yellowish-brown pigment boiling the soot

nineteenth centuries

in

natural iron oxide (PBr7).

are also manufactured. Old

Burnt

Umber

names

in

the

was

is now Raw Umber. It

its

color produces a clean, bright it is

renowned

for

for

unique property of setting as hard

as cement.

Some makers

still

offer a

synthetic red oxide pigment that

bears the

name

Pozzuoli Earth or

Pozzuoli Red, and there are

many

similar hues available, too, such as

Terra Rosa and Venetian Red.

include Chestnut Brown,

Euchrome and Jacaranta Brown.

It

watercolor

wash drawings.

oxides (PY42 and PR1 01) and black

or the

produced

used from the fourteenth to the

although combinations of synthetic

)

the

is

brown-red used

traditional

paint.

This

Raw

synthetic red oxide (PR1 01

native red earth pigment from

Pozzuoli near Naples, this

reddish hue, and

perfect for

Sienna, modern production uses either

is

The

replaced with Burnt or

mixtures of dark colors. Like

and

Bistre

or in tonal

its

exists,

through burning beechwood.

brown with

Raw Umber,

and today's asphaltum

mainly use natural iron oxide (PBr7),

clean and transparent. Because of it is

similar properties to

has

it

uses combinations of modern

made from

Raw Umber,

Burnt Sienna

It

and wrinkles.

frescoes of the Italian Renaissance.

Siena.

A warm

its

thinly.

Since the nineteenth century,

still

known as Cyprus Umber, Turkey Brown and Sicilian Brown.

employ

Burnt

lack of chalkiness,

of natural

some use

dries badly, cracks

tar dyestuffs,

use since the 1600s. Most

oxide (PBr7), but

was used

it

been replaced with synthetic coal-

Records

modern umbers consist

manufacturers of the color often use

(PR101).

its

colors.

It

in oil

popular with

name

depleted and the source of the

regions

dissolved

is

was

or turpentine.

is

is

It

asphalt, a natural resin

containing iron and manganese. The

Latin

The deposits are now

color,

obtained from oxides

is

of modified organic

not a true pigment.

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

Without which no color can be seen;

neither black nor white

descriptive

names

has any color. However,

of black

books on

for the purposes of

in

yellow the earth; green, water; blue, air; red, fire;

and black

black,

-

for total darkness.

this

book,

we

(1452-1519)

describe black and

Dominator

white as colors.

Black can easily overpower and

deaden

"Of the color of jet or carbon, having no hue due to the absorption of nearly all the

an

its

it

So,

is is

often giving different

spontaneous brush drawing and for attaining a tremendous range of gray tints

to

unnecessary

rarely appears at

- perhaps

the nearest there

when mixed with

is.

black a color that

could easily be disposed of

and has a

and omitted from the

every studio, but

palette?

It is

common

It is

know

rightful place in its

strength

and power should never be

knowledge that you can readily mix successful deep, solid blacks from the primary

many of the too. You can

colors, and from

secondaries,

white.

a color worth getting to

artist's

underestimated. Respect black

and handle Black as a

it

with caution.

tinting color

Creates a multitude of gray

are old-fashioned

convenient color, ideal for

black velvet seen on a dull

day

names

and may refer to obsolete brands or original, naturally occurring pigment sources that are now manufactured synthetically. Other names are manufacturers'

often said that

purest in nature

and

descriptive brand names,

artist's palette,

because

art

Respect black Black in its own right, however, is a useful and fluid,

Collins English Dictionary

in

colors.

Defining black

completely dark."

is

for types

manufacturers* catalogs

the

incident light. Without light,

It is

in

and color charts. Several of

will

is

Leonardo da Vinci

black

Naming blacks You will come across many

Technically speaking,

tints.

names

what is essentially the same product. Some of the names you may see are: Animal Black Black Lake Blue Black Bone Black Carbon Black Coke Black Deep Black Drop Black Elephant Black Flame Black Grape Black Iron-Oxide Black Ivory Black Jet Black Kernel Black Lamp Black Magnetic Black Marc Black Mars Black Mineral Black Mummy Black Oil Black Oxide Black Paris Black Process Black Velvet Black Vine Black

also use these mixtures to

Black pigment disclosure

darken other colors and whites as required.

These are the references

tint

for black

pigments, the coloring ingredient of black paint. You will see these

in

small print on tubes and packaging.

Making black It

is

easy

to

mix black

Note that the product name, more in all

media

particularly from the primaries.

often than not,

is

different from the

Black as a darkener

name

Creates a multitude of shades.

constitutes the product.

of the

pigment that

•"See also rnational

18-19

nenting with blacks 78 jns .

in

blacks 80

and shading 81

Aniline Black,

Bone

PBk1

(50440)

PBk9 (77267) Black, PBk6/PBk7

Black,

Carbon

Synthetic Iron Oxide,

(77266)

PBkll

(77499)

Mixing bib "Note:

Working without black 104 Color index/Black 176

some

listings

show Carbon

Black as either PBk6 or PBk7

77

Choosing black Taken black

at is

black, and

Originally

all

stalks

blacks look the same.

Once you

and other vegetable matter at

was considered a lowerquality pigment to Lamp Black due to its inferior intensity. was also found

Black

Ivory is

name

across the media ranges in

suggests, Ivory Black

When you

look

in

manufacturers' catalogs and their color charts

you

at

will

is

a perfect black

made

is

take a lamp

oil. ..and light

manner:

in this

of linseed

full

As

Ivory Black.

the lamp.

Then

name was originally

smoke which comes

badly with the minerals of the

the flame will strike the

have a bluish

when mixed with

whites, produce cool-gray

tints.

and blue pigments. Grape

obtained by roasting elephant tusks,

of black

Black and Kernel Black are

intense pigment. Happily, this

the old-fashioned

why

Ivory Black

also

is

known as Elephant

is

names

among

finer grade of

later

in this

this

black for half

as

that if

Cennino Cennini The Craftsman's Handbook (Fifteenth Century)

paint.

Bone Black was

developed and manufactured It

dish

you please; but you were to grind it for a year it would be blacker and better..."

Its

under the name of Ivory Black.

some

a very fine color, and

make as much of it way as you need."

much know

Black and Animal Black and were

A

it is

"Grind

its

in

this color

the soot into

an hour or an hour, or as

predecessors were known as Bone

often impure and unreliable

for

is

for this

a pigment

derived from charred bones.

that

type of black pigment.

sometimes

Black. At

simplest, Ivory Black

is

Vine

out of

bottom of the dish and condense. Sweep

Blacks offered today are composites

a process that produced a pure and

practice no longer exists, but that

so lighted, under a

content of the pigment would react

undertone and,

its

it,

clean baking dish. ..and the

where the vegetable

plaster. Vine Blacks

Bone Black sold under the

A variety of blacks is available watercolor, gouache, acrylic,

"...there

which

put

be unreliable for fresco

to

painting,

This

oil,

black

It

individual characters evident.

make lamp

to

by roasting vine

Black

are familiar

however, their subtle and

pastel, etc.

made

high temperatures (calcining), Vine

with the different blacks,

become

How

Vine Black

face value,

is

an intense black pigment, being

permanent and

stable. Ivory Black

has a brown undertone compared to the bluish

Lamp

with white

tends to produce

warmish

it

Black.

In tints

grays.

Payne's Gray

Among

the blacks

in artists'

charts, you will nearly this color listed.

color

always see

Payne's Gray

is

not a pure black but a composite

pigment containing more than

one basic ingredient, commonly

see

many

Ultramarine Blue (sodium polysulfide

of the descriptive

aluminosilicate) and

names seen opposite, particularly in less-expensive

sometimes crimson pigments are

student and craft color ranges.

Among the

Mars Black

(synthetic iron oxide), and

included, too.

quality blacks

Lamp, Vine and Mars Black, and Payne's Gray,

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

for glazes. In the oil

and

-

acrylic

has been adopted to prefix earth-

mixes well with white to produce a

These five are generally the most popular. They are supplied by most of the major

range of cool, blue-shade grays.

art materials'

manufacturers

and are widely available most painting media.

in

mineral iron oxide; Mars

alchemical

name

these colors

is

Mars

dense and heavy, behaves well often

was the Among

unnecessary. However,

for iron.

a

Black,

which

is

in oils;

however,

it

is

recommended as being most

desirable for use

in

watercolor and

other water-based media.

in

most media and

nearly

pigment that

all

is

it

composite is

popular

available

in

of the manufacturers'

catalogs. Payne's Gray after William

is

named

Payne (1760-1830), a

British watercolorist, active in

and the Lake

Devon

District in England.

oils

is

made from

and collecting the

residual soot.

color pigments derived from the

purists find such a

burning

it

or very close relatives to them.

Many

Lamp Black This carbon pigment

Lamp

Black

one

is

of

the oldest manufactured pigments. It

is

not a pure black, because

a slightly bluish color that

evident

when seen

is

in tints.

it

has

more

Lamp

Black produces good neutral grays, veering slightly to the cool, blue side. Oil

Black and Flame Black are old-

fashioned names for earlier and often impure varieties of

Lamp

Black.

78

Experimenting with blacks There are subtle

Top tone

differences between the

when

various blacks

spread thinly as undertone.

You can

begin to discern greater differences

when

the

colors are diluted with

medium. The differences

become even more apparent when mixed with white in tints. The blacks begin to behave differently again

when

mixed with other colors to produce tints

and shades.

••#•

Color observations

made

Tests were

using random

blacks taken from the paint-storage box.

The medium used

illustrations

was

oil

for

paint

these

You

will Ivory Black

Vine Black

find that the properties of the

A dense

Traditionaly considered

various blacks will vary from maker

brown

to

maker and behave

differently,

depending on whether the vehicle

water

or acrylic

in

produces tints.

paint, is oil,

black, slightly

•

inferior in intensity to

warm

Blacks Vine Blacks have a

glazes and

Widely available

composed

(Sample Wmsor

of

in oil

PBk9

& Newton,

bluish undertone and,

18-19

&, -,

Working without black 104 Color index/Black 176

in tint.

(Sample: Daler-

Rowney,

Artists' Oil. PBk7).

Payne's Gray

Dense, neutral, veering

A composite

towards cool gray

commonly made

in tints.

is

often a composite

Carbon

Black PBk7 and Ultramarine is

available in

commonly oil

Sample. Lukas. Series

Lamp

Black PBk6, Ultramarine

and composed

PBk11.

PB29 and powdered

of

Oil.

PBk9)

PBk19.

A

slate

cool-shade black,

producing cool, blue-grays. Ingredients of Payne's Gray

vary from manufacturer to

manufacturer. (See also Blue Black

in

some

ranges.)

(Sample: Sclimmcke.

paint

Artists' Oil, PBk9).

of

in acrylic

Classic Artists'

Black

color

Widely available

cool, bluish gray tints Vine

I

Ready-made

that produces neutral grays

Mars Black

(Sample: Old Holland,

PB29 and

acks80

when

black

mixed with whites, produce

of Ivory Black PBk9,

onal

Lamp

undertone,

Artists' Oil. PBk9l.

•"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

refer to nothing but itself.

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.

a

It is

simple black square painted

on a white ground. The irony is

that

over the years

this all-

black canvas has become

cracked and crazed and

this

seemingly blank image continues to change before our eyes. Kasimir Malevich (1878-1935)

Black Suprematist Square, 1914-15 Oil

on canvas 31 x 31

Tretyakov,

series of black

paintings during the 1950s

contribute to the visual theme.

and 1960s. At first sight his canvases look completely black, demonstrating a total absence of light and color.

as chiaroscuro

-

is

the

contrast of dark against light.

On

Rembrandt (1606-69) and Caravaggio (1573-1610) were masters of chiaroscuro, and they used it in their paintings

closer inspection,

the

however, you can see a geometric composition of the most minimal variations of blackness, which are almost invisible to the spectator and

subject and composition.

certainly unreproducible

effectively to heighten the

tension and

drama of both

79cm)

Reinhardt (1913-67)

produced a

the colorless aspects

known

(79 x

Absence of light and color American artist Ad

Chiaroscuro There are many examples of paintings dominated by the blacks, and in these paintings

This style of painting

in

Moscow

here in a printed form.

Reinhardt's black paintings

Rembrandt (1606-69) Self-portrait Oil

aged 34

on canvas 40 x 31 V?

in (1

National Gallery, London

02 x 80cm)

can be seen in many collections around the world.

After

Ad Reinhardt

Abstract Painting No. Oil

5,

on canvas

60 x60in (152.4x1 52.4cm) Tate Modern, London

1962

80

ations

in

blacks and Payne's Gray

Comparing makes Within the same price and quality

same name can

range, colors of the

vary

hue, pigment composition

in

and behavior from maker to maker.

some pigments may be

For example,

more

ground and may be less

finely

likely to

granulate than others,

may be more

some

intense and have

stronger staining power, while

may be more

others

transparent.

There are general guidelines and standards relating to the behavior of

and expectation from the various

kinds of blacks. The watercolor chart

shows

(right)

that similarly

named

colors vary depending on the

manufacturer.

We

have included

Payne's Gray, Blue Black and Neutral Tint

(From

among

left to right,

the blacks here.

top to bottom)

Payne's Gray Schmincke, PB29/PBk7

Payne's Gray Bluish Schmincke, PB6/PB15/PBk6

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 Extra Old Holland, PBk7

Ivory Black

Schmincke, PBk9

Mars Black Old Holland, PBkl

1

Ivory Black

Maimeri, PBk9 Ivory Black

Winsor & Newton, PBk9

Lamp Black

'

Winsor & Newton, PBk6/7

Lamp Black Daler-Rowney, PBk7

Carbon Black Maimeri, PBk7

Scheveningen Intense Black Old Holland, P8k7/PBk1

I.

PBk8

72/PB151/PG7 ml

Payne's Gray -

Neutral

Nearly always listed with the blacks,

PB15/PV19

available in

most media. The

it

is

a composite pigment

color varies from

maker

to maker.

Black Experiment with the

81

for tintim Coal tar

tremendous range of tints

No

article

on the color black

would be well balanced

and shades to be obtained

by mixing blacks with

without mentioning the importance ol coal tar.

Coal

whites and other colors.

tar

is

a

heavy, sticky,

black liquid, a byproduct of

many

Tinting Variation in the gray tints you

achieve will be dictated by the

choice of the type of black and

industrial processes,

particularly the manufacture

of gas.

It

was considered until a

discovery

middle of the

in the

white, and, of course, the

medium gouache,

to

major

be fairly useless

nineteenth century. (watercolor, acrylic, oil).

how some

You

blacks

1856 industrial chemist William Perkin ( 838-1907) In

will notice

make warm

brownish grays and others cool bluish grays, and how some

1

announced the discovery of "mauve," the first artificial color to be derived from coal

are neutral.

This color took the world by storm and became the tar.

height of Victorian fashion. Fifty years later there

2,000

known all

were

artificial colors,

as aniline pigments,

stemming from Perkin's

original experiments with

Gray scale

A

coal

simple gray scale (above

be

made

right)

using Ivory Black and opaque

white gouache colors.

A

gray scale

is

a traditional basic teaching device. Its

aim

is

tar.

may

threefold: to familiarize the

student with handling materials, color mixing and tonal values.

"Coal -Tar Wizard Transmuted Dross To Gold" Headline, New York Herald, Autumn 1906

The headline above, published on Perkin' s arrival

Shading

in

Experiment by mixing blacks with other colors, but be careful! Black used as a darkening ingredient in color mixtures can easily overpower and readily obliterate other

New York

to receive a

professional medal of honor, testifies to the significance

impact

it

production of synthetic organic pigments.

colors.

Tone scale

A tone

scale

(right)

also helps to

familiarize students with color mixing

and handling. Here Lemon Yellow and Carbon Black been used.

acrylic paints

of

and the lasting made on the

his discovery

have Synthetic organic pigments

were

originally derived from coal tar.

82 Black

ixing

blacks and nearly blacks

regarded by

is

artists as a fairly

straightforward color to

mix. so

this leads to the

question,

need

to

"Do

I

really

spend good

money on

black paint?"

When

used in combination with other colors on your palette, the

answer

probably no. and make do without

is

many artists it. One

criticism leveled at the ready-

made pure blacks is that they tend to dominate the palette and deaden other colors when used in mixtures.

London colors Much London painting

of the

post-World War II years was tonal and subtle in color, maybe even somber. Many paintings from this period (1945-60) convey the austerity of the times and an atmosphere of discoloration caused by the widespread burning of coal. British artist Lucian Freud

famous for his nude figure paintings, called

(b. 1922),

his colors

To

"London

colors."

and light colors he added a ground charcoal to create the slightly grubby colors of urban London. his whites

Ground charcoal, of course, is

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

mixing combinations of any of the

above

colors.

The darker hues, such

as Alizarin Crimson and Viridian. give the blackest results uly

column

land if

id.

When

as undertone, as seen

If

of the chart,

the mixing colors

is

you add a dark earth i

hunt Sienna

or

burnt Umber, the mixes can

become even

darker.

right, is

in paint.

83

Ready- mack of Czestochowa wood panel

Our Lady Painted

48 x32Zin (122.2

x

82.2cm)

Monastery ofJasna Gora, Czestochowa, Poland

Dark hues

Many makers There

is

much debate about

Legend

origins of this picture.

attributes

it

to the

the Evangelist, life,

hand

who

the

of St.

painted

it,

Evidence suggests that

Luke

from

extensive repainting

it

may date

century, with

fifth or sixth

in

shown below.

They are mostly combination

on a tabletop used by the Virgin.

from the

provide colors

similar to those

the fifteenth.

pigments made of blacks, blues, browns, greens and

violets.

samples here are applied

The

thickly as

top tone, and the inset color

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.

violets, grays, neutral tints

Mary's original Caucasian

(thinner) or

have blackened. Some believe that the accumulation

medium,

however, and the

damage

the cause. Others think that

the picture's underpainting, in a dark, blackish

brown bitumen pigment

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

top tone, produces

neutral tints

when

mixed with white, z* It

is still

in oil

a

available.,

paint frorrv

number

real

character of these deep, dark colors becomes apparent.

of centuries of candle smoke

executed

When

applied thickly, these dark colors appear nearly black. Add the appropriate diluent

features in these paintings

is

these are

and burnt earth colors.

the Virgin

or the effects of fire

Among

deep viridians and phthalos,

of

makers.

(From

Traditional darks

Samples above taken from Old Holland's Classic

Oil

Color range.

left to right, top to

bottom)

Paris (Prussian) Blue Extra

Blue

Deep

Olive Green Dark

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

varying proportions, or by mixing complementary

in

Adding red and yellow, or green and

colors.

blue,

sort of restraint that

produces warm, or cool, grays respectively. In

liberates invention."

painting gray

Pablo Pk «so (1881-1973)

was

traditionally obtained

with varnish mixed with a

by glazing

Grays are also

paint.

little

oil

obtained optically by placing small quantities of

complementary colors Grays

side

in history

by

side.

Charcoal Gray

There are many descriptions of

In oils

the specific use of gray in the

Watercolor

history of painting.

carbon black and natural

this

ground charcoal.

is

strengthened with

is

iron oxide.

Lightfast, but often gritty. (See colors,

Veneda An

page

old fresco, grayish-black color,

Veneda was made from lime and

a

The term was

suitable black pigment.

also used to describe a mixture of

white lead and black for tempera on

gesso panels or parchment. Veneda

was used

Cool and Used

82.)

Warm

Grays

Warm

Grays

word

used to describe

is

shades

A

form of crystalline

first

used

in

the

make lead named from the Greek

eighteenth century to

technique

The

It

is

"to write").

The term also one

in

Payne's Gray color,

A

produce a

specifically gray, to

detailed monochromatic painting

many The technique was

before coloring over with layers of glaze.

particularly favored by the Northern

Renaissance

artists of Flanders

Grisaille

pigment used

in

is

and

blue-gray

black, the color

stained-glass work.

This gray-in-gray tempera painting

by the Old Masters as

preliminary exercises for Italian

is

lightfast

and

(1760-1830), a British watercolorist.

Davy's Gray slate that tended to be

The color

is

now

oil

is

yellowish gray.

strengthened and

based on a variety

greens, browns, blacks, yellows and whites - but its lightfastness is still

derived.

not always reliable. Davy's Gray

Grays are easy nsini! reliable

to

mix and.

pigments,

be more lightfast than

premixed grays.

also

A

may

some

primary

color mixed with a secondary ading 81

will

provide a wide range of

grays and the classic "palette Subr;

mud."

Traveling color 146

work, provides

Color mrjfix

1

/'

the

remnants of a

L'ia\ that is

a

good

is

-

of ingredients

painting.

guazzo that the

French word "gouache"

based on a special variety

gritty, this is a dull,

(.lay's

neutral

often reused.

down

The name was

suggested by

is

excellent for toning first

Mr. Henry Davy

in

mixes.

the 1890s.

Mouse Gray

Brownish Gray

Neutral Gray

Charcoal Gray

Olive Gray

Cold Gray

Davy's Gray

inert,

somewhat coarse. It is thought to have been named for William Payne

powdered

Bluish Gray

Cool Gray

also a gray

Guazzo

from the

crimson, blue

but

of

was employed

made from

and black or ultramarine, ochre and

Originally

^See

indicates the shade.

specially suited to

describes underpainting

Germany.

pencils.

grapho (meaning is

architectural subjects.

is

was

of a single color, usually gray,

to build up sculptured relief.

It

by a numbering system - for example, Neutral Gray Neutral Gray 2 etc. - which 1

it

several

in

described as achromatic,

are often identified

dense and opaque.

is

soft, blackish

carbon,

the technique of painting

There are also several

hue. These Neutral Grays This blue-gray

Grisaille

an indication

that gives

having no distinguishable

are of a red or yellow hue.

Graphite Gray

This French

name

Neutral Grays that are

medieval illumination.

in

a descriptive

bias.

hue

Grays are typically of a

green or blue hue, while

Naming gray Grays may bear

of their distinguishable hue or

to describe the particular

bias. Cool

London

Deep Gray Dove Gray

Payne's Gray

Pebble Gray Purplish Blue Gray

Reddish Brown 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

could typically comprise white (PW4),

green (PG36), yellow ochre (PY42),

simply composed of two

and brown (PBr33).

pigments- black

such as Payne's Gray, often contains

white (PW),

for

(PB)

and

example.

A

cooler gray,

three pigments.

Others are very complex blends of

many pigments.

(From top to bottom,

left

to right)

Davy's Gray (Winsor

& Newton)

Graphite Gray (Tri-Art)

Warm

Gray (Talens)

Neutral Gray

Warm

N3

(Golden)

Gray Light (Old Holland)

Cold Gray (Old Holland)

Warm

Gray (Lukas)

Warm

Gray

Cool Gray

Middle Gray (Daler-Rowney) Neutral Gray Neutral Gray

N5 N2

(Golden) (Golden)

Davy's Gray (Old Holland) Neutral Gray

"One of the most problems

N7 (Golden)

I

difficult

have been

involved with.

.

.is

that of

warm and cold grays. Bridget Riley

(b.

1931)

Homage to Gray know what want," stated Gerhard Richter, a German painter don't

I

born in 1932. Richter grew up in Germany under the ideology of the Nazis, then

in

East

Germany under

the Communists and has

subsequently expressed resistance to any ideology.

his

He was

attracted to the inconspicuous neutrality of the color gray, and, in

the 1970s he

made

a series of

flat,

gray paintings to express his feelings.

86 White black

If

"And

finds, with keen

discriminating sight Black's not so black;

nor white so very white.

thought to be unnecessary

is

palette, then white

media

to such

the opposite.

is

artist's

indispensable

It is

and gouache.

as oils, acrylics

and unmixable color,

an

in

A unique

provides the strongest

it

expression of light on the palette. In watercolor the

George Canning (1770-1827)

white of the paper performs the function of white

pigment, but the versatility of white as a functional color

known,

well

is

or base coat,

it

too.

Used

as a primer,

ground

the essential foundation color on

is

which many a painting

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

Egyptian times. White pigment

was made of lead

by placing strips

clay pots with a

in

separate compartment that

contained vinegar. The pots

were packed tightly together on shelves and interspersed with animal dung to accelerate the chemical process, then

sealed

A

in

a small outbuilding.

fermentation process took

place over about three months,

producing carbonate of lead, or lead

white pigment. This

method

of

ceased

in

manufacture only the 1960s.

was

art. It

the only white oil color

is

1834 by Winsor

in

now

available from

&

many

shun the use of Chinese White, claiming

mid-nineteenth century and,

the integrity of a watercolor painting

new white pigments have come along, it is still a popular choice among oil painters. It has many fine and, some say, unique qualities,

and the technique

Cremnitz White This

an old-fashioned, high-quality

is

power.

carbonate. Flake

more

is

It

stringy than

It is

an excellent mixer

White and yellower.

painting practice. is

poisonous

if

It

However,

is

is

the modern, less

is

the

cases

of the whites,

In

some

in

It

traditional choice for the is

It

is

oil

the

it

is It

in

stiffer.

a comparatively quick-drying,

but

is

effect It

to

darken

contact with sulfur, which in

if

may be

a polluted atmosphere.

is

It

can

It is

transparent

very translucent

tints.

Iridescent White This

is

composed

Titanium White

of a

type pigment that

is

coated with

colors. It

has a pearlized appearance

when seen mixer,

White.

you

undiluted. Iridescent

White produces colors

effective

when used

in

shimmer

admixture. Used

thin glazes over color,

it

produces

available

light interference.

and

in oil

It

acrylic media.

will find this

It

is

gouaches and

a very versatile white,

opaque than the other

less

is

tints. In oil

above) and

tendency

oils,

paint

it

is

and making

a slow dryer and

said to produce a colder, bluer

is

when compared

to Flake

White

manufactured as a watercolor

under the

name Chinese White.

Underpainting White

A

general-purpose oil-painting

white, this white

may be used

for

preparing grounds and for mixing

an excellent mixer,

particularly for glazing

Tinting 81 in

of colors.

unique effects of

too, particularly

whites.

and durable white. It has two major drawbacks - its toxicity (see

found

may be to warm

is

when used

glazes and for the general toning

suffixed

to the cooler Zinc

addition to

acrylics.

painter.

sometimes offered

In

media

flexible

special-effect colors

a good

color listed with the water-soluble

o

its

this color

and mixes well to produce good

is

other

two consistencies, one being It is

is

is

Zinc White

medium,

oil

does not work

White

paint

in

down

in

media, such as acrylics.

Flake

It

will find in

available only as an it

ranges.

excellent for lightening

mica.

catalogs

Permanent White.

lead (basic lead carbonate PW4).

because

it

it

overpower more transparent

manufacturers' catalogs for white

is

oil

dense and opaque, and should be

compared

name you

white lead

used with caution, because

Flake White This

for

a fairly slow dryer as an

most powerful it

accidentally

many

Titanium White

and popular as a mixing white. The

properly following good oil-

manufacturers offer

general-purpose white that

pigments, particularly for Flake White.

permanent when applied

white

of reserving

unique effect.

in their acrylic

hazardous replacement

very durable and

tints. It is

its

Mixing White

Some

Titanium White

provides fine tones and

that

paper for

white lead paint made with pure lead

producing a buttery paint with great opacity and covering

on the transparency of the medium

relies

although

considered a neutral

&

introduced

manufacturers. Purist watercolor painters

hazardous whites.

Color index/White 179

was

available to artists until the

ingested, and in

Metallic

White

the traditional watercolor white.

Newton and

has been superseded by less

ms 36-37

a specially prepared Zinc

is is

with other colors. and,

when used

matte

finish.

It

It

is

quick drying

alone, produces a

should be applied to

previously sized or primed canvas.

87

Whit Naming

whites

As with blacks (see page 76), you will come across many descriptive names for types of white in books on in

art and makers' catalogs and color

charts. Several of the

are old-fashioned

names

and may

outmoded brands and recipes. Other names are

refer to

manufacturers' descriptive

brand names. These days the naming of whites is fairly consistent across the different

brands. However, a white

name may

bearing the same

vary in behavior and handling Resists

from one manufacturer

You

another.

to

Resists works on the principle that

will almost

certainly find that students'-

can be created by this process. For

example, a

quality whites have less

pigment and covering power than artists '-quality whites.

a white ground.

name

is

derived from barytes, an obsolete

term for barium sulfate, which white inert pigment that

component

of Baryta

is

a heavy,

is

medium on

Subsequent areas

of

initial

greasy drawing, which remains line.

old-

in

fashioned or technical publications. The

word

drawing can be made

water-based color may be washed over as a white

this

line

with a candle or any greasy

the

Baryta White

You may come across

oil

and water do not mix, and white areas

Reserved white This

is

the effect of white

in

painting, created by leaving

watercolor

passages

such as clouds, reflections and highlights

the main

as unpainted white paper. Masking fluid

White.

may

be applied to achieve

this.

Bismuth White Used

in

the early nineteenth century as a

white lead,

less toxic substitute for

color

is

now superseded

this

by Zinc White.

Blanc Fixe This

is

a later

White, but

development

made from

sulfate. Blanc fixe

is

of Baryta

White magic

barium

artificial

White can have

sometimes used

pigments. The ternY'blanc fixe" has largely

gone out

a magical influence

on the darkest and most somber of

as a base during the manufacture of

many

hues. By adding white,

of general use.

colors

are transformed.

Permanent White Originally used as for blanc fixe,

an alternative name

Permanent White

is

(From top

now

used to describe the more modern Titanium White. is

It is

sometimes seen

in

also a

listings.

It

to indicate opacity

describe Zinc White.

manufactured as

a

It

-

Violet Dioxazine (Tri-Art)

Payne's Gray (Rowney) Prussian Blue Extra (Old Holland)

is

and

Madder Lake Deepest

nonyellowing characteristics.

Chinese White An old-established name used

bottom, left to right)

that

school, student,

designer and craft paint

commonly used

name

to

Indigo (Lukas)

(Lukas)

Van Dyke Brown (Winsor & Newton) Burnt to

Umber (Winsor & Newton)

Sepia (Lukas)

has been

Van Dyke Brown

(Lukas)

prepared watercolor

white since 1834. The name

is still

Viridian

used

Hue

(Liquitex)

Phthalo Green Blue Shade (Golden)

today (see opposite).

Green Earth (Sennelier)

i

88 Metallic and special-effect colors Metallic and iridescent colors

Traditionally, artists

have achieved the Versatility

illusion of metal or

Most

highly reflective and

resistant to fading

in their paintings

by

hishlishts and colored

ambient reflections.

gold and copper. Various grays and blues can be seen for silver, while steel and pewter are treated to represent

Browns and ochres

similarly.

colors. Here,

been painted

to

make

A

are, Ivory Black

therefore, highly

carries a coat of Liquitex

suitable for three-

Antique Bronze, brushed

dimensional work,

on

murals and outdoor

fairly dry to

Some

with subtle green glazes are

a

are derived

from metal and metal oxides,

a

very convincing bronze.

pigments.

fall into

catch the

raised relief of the surface,

such as the colors named Iridescent Stainless Steel and

Micaceous Iron Oxide that Golden

are manufactured by in

USA.

the

leaving the indentations

applications.

solid black.

Increasing brilliance Iridescent pigments

traditionally used

is

They

and iridescent

a plaster maquette has

base coat of

a base color with white

Yellow

will not oxidize

or tarnish.

techniques using

skillful

and

Metallic colors

group known as iridescent

widest variety of metallic

colors are very

light-scatterins surfaces

Antique Bronze Acrylic ranges provide the

iridescent

depend on

light

for brilliance.

Adding glossy gels

mediums

allow more

will

or

light to

surround the pigments and increase

A

their iridescent quality.

final

top

coat of gloss varnish can also increase the metallic look of an artwork, while matte varnishes tend to reduce brilliance

and

reflectivity.

often used for bronze.

The ancient and highly skilled craft of gilding

important element

is

an

painting

in

heraldry and historical decoration. This involves the application of very thin

leaves of real gold to the surface of the artwork, then

burnishing to a high sheen. Add ordinary yellows

Nowadays, most of

or

browns

to iridescent gold for antique gold.

major

the

art materials'

manufacturers offer metallic

Mixing

colors to imitate gold, silver,

You can mix iridescent

bronze or steel. Most of these products use mica as one of

ordinary acrylics to create a vast

the ingredients. Color

suspended

in the

-

is

mica

is

produce antique golds, blue plus iridescent pearl or iridescent white

gives a blue pearl color, and so on.

appropriate

vehicle, such as oil or acrylic.

Similarly,

array of pearlescent colors

yellows or browns added to gold

coated onto the mica, then the pigment-coated

acrylics with

many

light-

Base coats Some iridescent

colors appear to

scattering and iridescent

be transparent and low

colors are available that

This

produce

formulation has to carry a high

pearli/ecl effects.

These are often known as interference'" colors and are ncd because of the way Kit

the) disperse the light

hanging visual the viewer moves. NB

volume

in

pigment.

because the physical paint

of the ingredient that

creates the iridescent effect (such

as mica flakes)

pigment for

color.

in

addition to the

You can compensate

any weakness by applying

a

base

coat of similar hue to the iridescent color you

want

to use. For

example,

Yellow Ochre acts as a good base i(

the printing

how '

sampu

is

the

full

paint

.uracy, refer to

manufacturers' hand-painted color charts.

coat for most gold colors and will

save several layers of paint

Metallic

and special -effect colors

89

Red poliment Poliment

a natural red iron-oxide

is

pigment (PR1 02) and was the traditional

base coat

for gilding.

There are many similar colors available.

In

acrylic ranges, for

example, you may come across colors

named

Rich Transparent Red

Oxide, Venetian Red or Red Iron Oxide. Used as a base coat for metallic gold colors, you can imitate

the rich effect of traditional gold leaf

by leaving a

little

of the red

undercoat showing through.

Vladimir Madonna,

c.

Anon

The

1125

postcard reproduction

Pigment on panel 21 x 30in (53 x

Pearlizing colors

Many

ranges offer pearl

whites or iridescent whites that can be used very effectively to

create pearlized colors.

Use them

75cm)

(original size)

illustration

10x1 5cm)

above shows a (4 x 6in,

of the Vladimir

Madonna,

which dates from the twelfth century. Gold and red pigment

combinations dominate the background. The later decorative

frame has been given a faux poliment and gilding treatment to

enhance the reproduction (see

right).

directly in

mixtures with regular paint or apply as

transparent glazes over previously painted layers to create

the effect.

See also Iridescent white used as a mixture

and as

a glaze

Pigments

in

history

Brown and Red

12-15

Earth

72-75

Color index 178-179 Gold on Red Iron Oxide

90 Flesh colors Flesh

is

never seen as a solid, even color -

it

consists of a multitude of hues, tints, tones, textures

and reflections. Art materials' manufacturers offer

many ready-made

skin colors that they identify as

flesh or portrait colors.

These colors usually depict

light skin tones and, historically,

a

were produced for

European market.

Ready-made

colors

Flesh hues are usually

made up of a combination of pigments

and are good, convenient starting colors for painting bodies and portraits, and they are ideal for color sketching. These ready-made colors provide useful basic flesh tones and hues that can be used for other purposes than painting flesh.

However, when

it

comes

to capturing the quality of

skin, either in figure painting or portraiture, that is

human

you may discover

mixing and blending colors from a variety of pure colors way to convey the real nature of flesh.

the only effective

Naples Yellow Reddish

Straight

from the tube Jaune

Colors sold

Brillant

specifically for

painting flesh

provide

warm

neutrals and useful pinks.

Many

other

colors available,

although suitable for flesh tones,

are not labeled

as such. Naples

Yellow Reddish,

Jaune

Brillant

and Unbleached Titanium are good

examples

of

such

useful colors.

VH Flesh experiments

The colors here came straight from le

tube and are from a variety of ;rne of i

these colors are

Raw Umber

Titanium White

ally for painting flesh.

:-pigment earth and

even when used

Warm

neutrals

alone, can be particularly useful for

You can make warm neutral grays by mixing Raw Umber and Titanium

rendering flesh tones.

White. This mixture produces

tints

that are suitable for flesh tones.

"Icbl

A multitude of hues These are Vincent van Gogh's own words on

his

technique for painting flesh, in a letter to his

"When

I

brother Theo:

compare my painted

study with those of others, it is curious to see that theirs

have almost nothing

common

in

with mine. Theirs

have the same color as the flesh, so that seen from

nearby they are correct, but if you stand back a little they appear painfully flat - all that pink and delicate yellow, soft in itself produces a harsh effect. As I do it from nearbyit is

greenish red, yellowish

gray - but when one stands back a little it stands out from the paint; there is atmosphere around it, and there falls on it a certain vibrating

light.

Vincent van Gogh. Letter

Vincent van Gogh

(1

853-90)

Italian Girl, 1887 Oil

on canvas

32x23Min(81

Musee

x

60cm)

d' Orsay, Paris

s

91

92

Mixing flesh colors Light flesh tones For the purpose of the colormixing experiments. Process Magenta and Process Yellow have been chosen, but you can experiment by substituting any reds or yellows you prefer.

Toning down

For darker colors

Try adding different yellows and ochres, and earth colors, such as umbers and siennas, to create less florid colors and

Experiment with the previous combinations, then replace

Raw

Sienna with

Raw Umber

for darker colors.

richer, darker shades.

Selecting colors for mixing For the color-mixing experiments

shown

here, acrylic paints

were

used and the following colors

were chosen.

Basic five-color mixing Process Magenta Process Yellow

Raw Sienna Raw Umber Titanium White

Mixing combinations Raw Umber & Titanium White

Raw Umber &

Titanium White

&

Raw Sienna • Raw Umber &

Titanium White

&

*"

Raw

•

also

w64

Mixing combinations

White

•

•h 106

seven-color palette 110

Color index/Flesh 160

Raw

Sienna

&

Titanium White

Process Magenta

• Process Yellow & Titanium White

White & Raw Sienna

•

•

Process Yellow

&

Process

Magenta & Titanium White 'ones 112

A

Mixing combinations Process Magenta & Titanium

Process Yellow

& Raw

•

&

Process Yellow

&

Process

Magenta & Titanium White &

Raw Umber

The mixing process and

&

Titanium White

&

Process

Magenta & Titanium White

& 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

and other earth colors.

93

Flesh colors straight from the tube

KKADEMIE'

Prepared

fl 01 color

These colors are not

******

«214

Hautton

I"—

^

f" ,^__

.__

flesh tmt

_____

rem fe chair

^____

„

tmta peile

tono

came ^^____^.

flesh colors

exclusively for portraiture

and life painting and may be used generally to extend the warm color range on the

Most of the prepared flesh colors shown artist's palette.

in the

sketchbooks and the

color charts

(left)

light skin shades.

represent

Some

are

combinations of red, yellow and white pigments that can easily be mixed, while Combination pigments

others are

The manufactured flesh

combination pigments.

colors

shown here

contain, in various

degrees, red, yellow and blue ingredients. of the darker

Some

hues

dispense with the white

component altogether and others have added violet

more complex

and orange

pigments

to enrich

the depth of color.

(From top

to

Flesh Tint,

bottom, left to right)

Schmincke Mussini (rO)

Flesh Tint, Schmincke Norma

Flesh Color,

(0)

Lukas Studio (0)

Flesh Color

2, Lukas Series

1

(0)

Flesh Color

4, Lukas Series

1

(0)

Flesh Color,

Lukas Designers' (G)

Flesh Tint, Rowney Artists' Flesh Tint,

(0)

Daler-Rowney Designers' (G)

Flesh Tint,

Daler-Rowney Cryla (A)

Flesh Tint,

Old Holland Classic (0)

Flesh Tint, Winsor & Newton Artists'

Flesh Tint, Winsor & Newton

Light Portrait Pink, Portrait Tone, Tn

Griffin

(0)

Alkyd (aO)

Ligmtex (A)

Art (A)

Flesh Ochre,

Lukas Studio (0)

Flesh Ochre,

Sennelier Extra Fine (0)

Flesh Ochre,

Old Holland Classic (0)

(0)=

oil

(rO)= resin (aO)

(G)= (A)

=

oil

= alkyd

oil

gouache acrylic

s ^m

•*

-;

-

r

V

'

>,:
*

tools for any visual

few reference books thoroughly explain

the techniques for effectively using color. Artist's

Color A*». r

one of the primary

4

artists

Manual

is

the essential visual reference for

and anyone interested

I «*i

in using color in a 1'W,

*

variety of applications. illustrations,

With more than 1000 color

photographs and color swatches,

comprehensive sourcebook

is

a

work of

this

art in itself.

/

*te

ISBN 0-8118-4U3-X

rM'65

H5" 10351

9

lllllipii! 780811 16" 7 K 841436

II

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