Artist 39 S Color Manual

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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.
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to mixing
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ideas for color usage, as well as interviews

with and first-hand tips and techniques
from practicing
artists.
A reference
visual synopsis of over
a variety of media.
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THE COMPLETE GUIDE TO WORKING WITH COLOR
SIMON JENNINGS
First
Published
in
the United States
in
2003 by Chronicle Books LLC

Copyright
2003 by
HarperCollins Publishers.
Photographs and
illustrations
2003
Simon Jennings/Ben Jennings

Paintings and artworks
the
individual artists.
All rights reserved.
may be
publication
in
No
part of this
reproduced, stored
a retrieval system, or transmitted
in
any form or by any means, electronic,

mechanical, photocopying, recording,
or otherwise without prior written
permission of the copyright holders
and publisher.
Pages 8-9 constitute a continuation
of
the copyright page.

Library of Congress Cataloging-in-
Publication Data available.
ISBN: 0-81 18-4143-X
Cover design by Julie Vermeer.

Distributed
Canada by
in
Ramcoast Books
9050 Shaughnessy Street
Vancouver, British Columbia V6P 6E5
1098765432
Chronicle Books LLC
85 Second Street
San Francisco,
California
94105
www. chroniclebooks. com

This book
was
and designed
East Sussex,
conceived, edited,
at Hill
Top Studio,
UK
Research and Text,

Design and Art Direction
Simon Jennings
Text Editor
Geraldine Christy
Technical Consultant
Emma
Pearce
Winsor & Newton

Art Educational Consultant
Carolynn Cooke
Impington Village College
Cambridge.
UK
Consultant Editor
Sally Bulgin
Publisher. The Artist and
Leisure Painter Magazines

o Photography
lennings
page make-up assistant
Amat
Color
,rch
Chris Perry
;ngs
Index
Mary Morton
Manufactured
in
Artist's Color
Manual
x#ont Gilts
Chapter
What
Is
Color?
10^45
Chapter 2
Chapter 3
Color by Color
Creative Directions
Color Index
46*~93
94^153
Reference Section
96
12
Color by color
48
Creative directions
Pigment standards
16
Blue
50
Watercolor:
Optical illusions
20
Turquoise
54
straight
The
21
Violet
55
Subdued colors
Optical color mixing
23
Red
56
Working
Colors of the spectrum
24
Orange
60
without black
104
Yellow
62
Fast color for flesh
106
Pigments
in history
four-color process
and mixed
98
A seven-color palette
110
The
26
Green Earth
67
Renaissance skin tones
112
29
Green
68
Massive color
114
Choosing media
30
Brown and Red
72
Oil colors
30
Black and darks
76
Rich color
from acrylics
Watercolors
32
Gray
84
Transparency
Acrylic colors
33
White
86
and luminosity
124
Color contained
128
34
effect colors
88
Broken color
132
Flesh colors
90
Painting with
&
Gouache
egg tempera
Pastels
Metallic and special-
&
in oils
118
colored pencils
35
nonart colors
136
Mediums
36
Colors from the mail
140
Media
38
Colors for free
144
40
Traveling color
146
Color language
42
Color on cloth
148
Interpreting color
44
Smooth
150
in action
Choosing
palettes
to
main
suppliers
80
82
Bibliography
66
Earth
Guide
Glossary of terms
Yellow Ochre
in action
156
102
25
Color
154^192
Color index
Additive and
subtractive color
basic color wheel
&
color
Dry color and
line
152
and further reading
187
Index
188
The
Artist's Color
Sketchbooks 12/ x
Manual
8'/in (31 x
21cm)
Simon Jennings
Examples
of original manuscript, research notes
and color experimentation

Artist's Color
for the
Manual, 2001-03
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It
"Color possesses me.

don't have to pursue it.
will possess me always,
I
Color and
I
am
know
it.
are one,
a painter."
Paul Klee (1879-1940)
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COLOR
is essentially such a
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visual subject that perhaps

it is rather strange that
so man,/ millions oi words
have been written about it.
But that is no bad thing and to add to them here are
a few more, along with some
stunning pictures as well.
luany thanks to all who have
contributed to the Artist 's
Color Manual, especially
the eleven participating
manufacturers who supplied
invaluable technical
information and scores
of colors with which to
experiment. I am also
deeply grateful to the
galleries that pointed me
toward artists whose work
demonstrates a unique
relationship with color,
and finally to the
individuals themselves who
opened up their studios and
provided me with firsthand
information and access to
their fabulous imagery.
Their inspiration and
enthusiasm demonstrated to
me that "hands-on, eyesopen" is the one and only
way when it comes to
understanding
COLOR
Simon
Jennings, hill top studio (mmiiij
hook such
as this
made
is
am
particularly grateful to the
possible h\ the goodwill and
following individuals and
cooperation of many people
companies
and represents the work of

many hands and minds. I am
their
generous contributions,
Main contributing
in
artists
alphabetical order:
Ray Balkwill.
Joan
page 98
Elliott Bates, page 102
Nick Bowering.
page 104
for their support in
pation in this project, and

grateful for their help:
materials and images for use in
project and ratifying the content.
the Artist's
Color Manual:
Len Hodds
Dr Francis Duck
Andrew
the technical and scientific content
Arjan Knegt, Royal Talens
of the physics of color
Ben Woolfitt, Tri-Art

Guenda Burgheim, Maimeri
of the
Ute Hallerbach, Lukas
Geraldine Christy
of
Sue Fitzgerald,
The Royal United Hospital, Bath,
UK, for reading and corroborating
Peter
Graham,
page 28
Daphne Jo Lowrie,
Chris Perry, page
John Reay,
page 110
page 128
148
spectrum information.
George Rowlett.
www.buckenham-galleries.co.uk
Michael Richardson
(Michael Richardson Contemporary Art)
UK
my manuscript and
Marina Yedigaroff.
page 124
Telephone: (+44) 020 7281 2457
for
For facilitating the cooperation
Old Holland
in
Sennelier
France and
in
in
Carolynn Cooke, page 152
work
of:
the Netherlands,
Stock, Great Art
UK
and sampling, and
for
use
photography throughout
In
for
review
color charts
in
book
this
alphabetical order
Nether Street
and
Emma
welcome@gerstaecker.co.uk
Anne
Schilling (Blue), Kate
(Red),
Susanne Haynes
Gwynn
Ashley Howard (additional
for reading the
editing).
Color samples and swatches

the color samples and swatches
were created specifically for this

book by Simon Jennings, Rose
manuscript, corroborating the Color
Jennings and Chris Perry, with the
Index International listings and
exception of the diagonal color chart
writing the Pigment History and
samples used
Pigment standards information at
Color."
the beginning of the book.

(Emma Pearce's quotation p. 12, is reproduced
49, 50, 54, 55, 60, 62, 66, 67, 68, 72,
for cheerfully
in
Chapter
2,
"Color by
These samples, on pages
84 and 85, were kindly supplied by
&
answering
their
Mussini
color
swatches on page
resin-oil range.
The
98,
"Watercolorstraight and mixed,"

are by Ray Balkwill.
questions and promptly dealing with
I.ukas
my
technical and general enquiries.
Maimeri
Special photography
photography, studio set-
All special
Carolynn Cooke
Holland
ups and rostrum photography by
of Impington Village College,
Cambridge, UK,
Ben Jennings. Thank you.
for supporting the
project, reading the manuscript
and
commenting on art-educational and
Page make-up
to Amanda
Thanks
Allchin
curriculum issues.
Tri
Ml
48,
Schmincke and show colors from
Education Manager at Winsor
Newton,
(\
iM
American
Thanks
(Seepagesl80-8i
www.bournegallery.com
to
text translation
Theresa Bebbmgton.
The Alresford Gallery

36 West Street
Alresford, Nr. Winchester
Hampshire S024 9AU.UK
(Yellow),
Chris Perry (general research), and
Winsor & Newton,
UK
Email:bournegallery@aol.com
Pearce
(Blue and general research), Sally-
www.greatart.co.uk
UK
Liquitex
Telephone: (+44) 01 737 241 614
(Choosing media), Rose Jennings
Sarah Miller
Golden
Additional contributions
(Pigments general), Brenda Howley
GU341EAUK
by kind permission of David Pyle
Daler-Rowney
33 Lesbourne Road
editing contributions:
Telephone: (+44) 0845 601 5772
of
The following manufacturers generously

donated materials and equipment
Bourne Gallery
for the color index.
Additional research, writing and
Ltd)
Emma Pearce
Art materials suppliers
the preparation of color
samples and pigment declarations
All
Douglas Wilson, page 39
in
Email: artspacegallery@msn.com
www.artspacegallery.co.uk
Reigate, Surrey,
Helen Dougall, page 148

Jackie Simmonds, page 39
enthusiasm and general all-round
support and particularly for diligent
For technical and editorial

support, advice and encouragement, my particular thanks to:
Helen Banzhaf, page 148
Telephone: (+44) 020 7359 7002
the USA.
Alton, Hants,
Email:
Additional contributing artists

m alphabetical order
London N1 8JS, UK
Chris Perry
mail@gas.demon.co.uk
Space Gallery
84 St Peter's Street
for press.
Leeds Place, Tollington Park
8,
Normandy House,
page 113
Art
and language
and preparing the text
London N4 3QW, UK
(Gerstaecker
George Underwood,
Email:
the writing, and looking after the
James
page 114
Soufhwold, Suffolk, UK
Telephone: (+44) 01 502 725 41
research notes, and contributing to
Golden
page 106
and the colors
len@buckenham-galleries.co.uk
page 132
Tim Riddihough,
81 High Street
for editing
Email:
Desmond Haughton,
The Buckenham Gallery
Christine Wiegold, Schmincke

Street, Schmincke
am
Manager)
Andrew
Unit
page 118
(Gallery
and Robin Prewerof
Long, Winsor & Newton

George Frangeskou, Liquitex UK
Neil Hamer, Daler-Rowney
Jason Mackie, Global Arts
page 136
Galleries assisted
contacting artists for partici-
Painter Magazines, for
details of text, type
Lucy Dunsterville.
in
enthusiastically supporting the
Jessie Carr. page 136

140
Leisure
organizing and obtaining
Paul Schulz, Golden
Judith Chestnutt. page
&
Publisher of The Artist
indebted to the following for
enthusiasm and support.
The following
Sally Bulgin
Telephone: (+44) 01 962 735286
The copyright
reproduced
Manual
in
the images
the Artist's Color
in
remains with the individual
artists/successors, photographers,
Picture credits/Image sources

All
images are
listing
identified
by chapter and page number
followed,
in italics,
materials manufacturers and
from
position,
publishers,
and
is
(p.),
by either description
column
or abbreviated title, or
art
Chapter 2
the following
in
(col.)
left to right.
reproduced here
by prior arrangement and/or kind
Chapter
permission. The producers of the
p.12
p.51 col.
I,
Chapter 3
Benedetto
Bmdo,
di
Madonna. of Humility (diptych
Museum
detail)/Philadelphia
of Art; col.
Abbe
Young Bison/ t\\ia\on
Breuil,
Dutch
from top/George Rowlett, Sue Fitzgerald,
Dutch
Designs.Jhe Pepin Press,
Tile
Traditional
tile/
Royal Tichelaar
Makkum.
p.
copyright holders of
Museum; Michelangelo, Madonna, Child

and St John with ,4nge/s/National
col.4,
of
case
any errors or omissions please
contact the publishers for rectification
Gallery, London, p. 13
pigment
&
Garfield (book jacket)/Faber

in
subsequent editions.
the color
All
samples and swatches were created

specifically for this book, with the
Faber,
I,
bucket/PhW Hind;
Judas
p.
57
col.
col. 2, Giotto,
Kiss of
(detai )/Sca a, Scrovegni Chapel,

I
Art images/Wmsor
watercolor pans/Sennel ier. pp. 1 6-1
madder/Winsor & Newton;
main /mage/Great Art (Gerstaecker).
madder/Wmsor & Newton; col.4,

crimson and carmine/Wmsor & Newton,
Color".
2,
"Color by
These samples, on pages 48,
p.
84 and 85, were kindly supplied by
right/
Winsor & Newton,
p.
19 pigment
watercolor pans are from G.
&
Co
91 3
Rowney
Sigma r Poke,
are reproduced by kind permission of
Modern,
Daler-Rowney. The micro-
after George
p.
24 Newton and the Prism,
George Romney, William Hayley,1809;
Science of Art," are reproduced by
Dark Side of the
&
Newton.
dried
col. 3,
p. 60 col.
factory/lukas.
I,
65 col
I,
Jennings;
Moon Album
col. 2,
color swatches/Great Art (Gerstaecker).
col. 3,
col. 2,
p.
104
p.
105
all
106
Redman
/.emoos/Simon
fop/Simon Jennings
I'art
contemporain,
col.4,
p.
Cartier pour
68
col. 3,
Scheele engraving/Chroma-
tography, 1869.
p. 69
col
4, bot.
p.
bof./Tim Riddihough.
all
p.1
09
/'mages/Tim Riddihough.
p.
108
I,
main
1 1
col.
pi
2 Michelangelo,
Madonna, Child and
St John with Angels/Na\\or\a\ Gallery,
London,
13 all /mages/George
p.1
Underwood,
p.1
5 Sunlit
Walmer Beach,
Bathers and Crab Boat/George
Pier,
4,
Sudden Storm over
Rowlett. pp.
6-1
Sudden storm over
Thames, Rotherhithe P/e/idetail)/George
color
swatch/Great Art (Gerstaecker).
Paris, p. 26
107 Check
p.
Thames, Rotherhithe Pier/George
Earth/Simon Jennings Archive.
pp.24 25 Patrick Gries, The
Hand of A/afure/Fondation
/mages/Nick
Headband/l\m Riddihough.
Rowlett; col
Galleries,
Elliott
Linear defa/V/Nick
col.4,
p.
Giovanni Manzoni. p.67
Art
painting/Ray
p.
John Everett
The Blind
Bowering.
Deal
Museums &
p.
Bowering.
Archive; col.4, bot. p/gmenfs/Maimeri,
Millais,
103 painting and detail/Joan
Bates,
Coi/er/George Hardie, Storm Thorgeson;
^////Birmingham
102 Sir William
Balkwill. p.
image and detail/Desmond Haughton.
bof./Simon Jennings
p. 66 col.4,
Archive,
& Newton,
yellow p/gmenfs/Maimeri,
Giovanni Manzoni;
detail/Pay Ba kwi
sfand/ng/TimRiddihough.
Antonio Mensaque,
Oranges/National Trust, p.61
p.
Life of
photography images from "The
Winsor
I,
p. 99
100 studio
Co/dsfream/Simon Jennings Archive,
preparing
p.63.co/.2, bof./Winsor
Girlfriends/Jate
Romneyftmm
col.
col. 2,
p.23 Le Chahut, Georges Seuraf/KrollerMuller;
59
p. 58 col. 2,
/acfo/y/Maimeri, Giovanni Manzoni;

p. 22
Masterpiece, Roy Lichtenstein/Df\CS.
Wholesale Catalogue and
kind permission of
p.
yars/Sennelier. pp.20 21 dot
screen/Simon Jennings archive,

engravings, paint tubes and
Padua,
p.16
17 pigments, teff/Sennelier; pigments,
49, 50, 54, 55, 60, 62, 66, 67, 68, 72,
Schmincke. The antique product
& Newton,
p.
details/Pay Balkwill, col.4, painting
fire
I,
samples used
Chapter
work/Pay Balkwill,
artist at
I,
3-4, color charts/Pay Balkwill.
paintings/Pay Balkwill.
(detail)/Stadtische Galerie im
exception of the diagonal color chart

in
p. 98 col.
Horse
Lenbachhau, Munich,
Science of
from top/Chris
col.4,
Simon Jennings, Simon Jennings,
cols.
Henry Perkin courtesy
Portrait Gallery, London), p. 15
Perry,
from the
Simon Jennings,
Jennings, col.4, Franz Marc, Blue
design by Pentagram (portrait of William

of the National
Simon Jennings;
col.4, //C/3/Simon
1,
2 from fop/Daphne
col.3,
fop/Judith Chestnutt,
p/gme/?f/Sennelier;
fube/Schmincke;
col.
col.
Jo Lowrie, John Reay, Jessie Carr and

Lucy Dunsterville;
pigment/SenneWei
p. 53 col.
col. 3,
samp/es/Sennelier; Mauve, Simon
Marina Yedigaroff.
of the
52
to contact
In
from fop/Tim Riddihough, Desmond
col.4,
cols.2-3, pigments/SenneWer,
book.
col.4,
Tashin Oz;
Press, 1948; Portrait of a Woman/British
in this
Bates, Nick Bowering,
Haughton, George Underwood, p 97
Manual have attempted
all
Elliott
Turkish Ceramics,
Amsterdam, from the collections
from top/Pay Balkwill, Joan
p. 96 col.3,
4, Iznik f/'/e/from
Artist's Color
images shown
1400,
c.
p. 70
Rowlett. pp.1 18-119 Cardinal Grapes
diagrammatic co/or/Daler-Rowney;
coll and col.4, fop/Maimeri, Giovanni
and Silken Shawl (and
sketchbooks/S\mon Jennings,
Manzoni;
Fitzgerald, pp.
120-121 Two Dragons/Sue
Fitzgerald, p.1
22
col.
Fitzgerald, p.1
23
col. 2, bot.
pp. 28-29
Orange jug/Simon Jennings,

all
paintings/PeXerGrabam.
p. 27
(Gerstaecker).
32 cols
p.
3-4/Sennelier.
Green sketch/Simon
p. 71
38 Sudden Storm over
cafe/Yale University Art Gallery,
Thames, Rotherhithe Pier/George
Red Tulips/Manna
bof./Great Art
Jennings, Vincent van Gogh, Night
p. 31
co/.3/Schmincke.
p.
col.3,
col.3,
p.
72
bof./Maimeri, Giovanni Manzoni.
p. 77 col. 2,
top/ Observer,
Simon Jennings
7,
detail)/Sue
detail/Sue
painting
(detail)/Sue Fitzgerald, col.3 painting

(detail)/Sue Fitzgerald, p.125
Chrysanthemums/Manna Yedigaroff
Red
Archive, col.3, Vines/How To Books,
(photo Richard Heeps). p.1 27
(photograph Richard Heeps); Morning
Simon Jennings Archive. p79 Kasimir
Tulips/Mama Yedigaroff (photo Richard
Mist/Hay Balkwill; S/?ore//ne/Judith
Malevich, Black Supremacist
Heeps).
Rowlett;
Chestnutt.
p. 39
Yedigaroff
Carnevale di
Sguare/Tretyakov,
Simmonds;
Moscow; Rembrandt,
p.1
30
29 S/Mngs/Daphne Jo Lowrie.
p.1
all
images/Daphne Jo Lowrie.
2-3, paintings (and
Se/f-porfra/f/National Gallery London;
p.1 31 cols
/.emon/Douglas Wilson; Check
After Ad Reinhardt {iacs\m\\e)/5>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.
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.
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
,..
color!
CHAPTER
ffl
!S^"
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
Jôoz (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
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
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
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
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
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
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
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
is
used as Permanent Alizarin Crimson.
of synthetic organic origin
metal oxide
was
established.
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
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.
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
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
scientists finally
& Newton
succeeded
in
formulating Permanent Carmine, a
pigment that enables
artists to
new
enjoy this
^^'..T!
unique color with superior permanence.
rm
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.
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
920s due
to
over the religious status of the
concern
cows and
the rise of improved, more easily
manufactured colors.
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.

s>-
6 Pigment standards
There are
s\
number of universal
Colors are not the
stems and standards that help
artists to identify
know ledge
in
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
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
24-25
The basic color wheel 26-27

Creative directions
96-153
Color index 156-179
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
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)
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
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
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
Isoindolme
PR202
Quinacridone Crimson
Quinacridone
PY138
Isoindolme
PR206
Quinacridone Burnt Orange
Quinacridone burnt orange
PY139
Isoindolme
PR207
Quinacridone Red
Quinacridone
PY150
Nickel Azo Yellow
Nickel azomethine
PR209
Quinacridone Red
Quinacridone
Benzimidazolone
PR214
Deep Red
Disazo condensation red
Nickel Dioxine Yellow
Nickel dioxine
PR224
Perylene Red
Perylene
Benzimidazolone
PR251
Permanent Red
Pyrazoloquinazolone scarlet
Benzimidazolone
PR254
Pyrrole
Benzimidazolone
PR255
Pyrrole Scarlet
Diketo-pyrrolo pyrrole scarlet
Benzimidazolone
PR260
Vermilion Extra
Isoindolme scarlet
Bismuth Vanadium
Bismuth vanadate
PR2B4
Pyrrole
Red
Diketo-pyrrolo pyrrole red
PR270
Pyrrole
Red
PY184
Scarlet
Alizarin
Crimson
Maroon
Red
lake
Benzimidazolone
Anthraquinonoid red
Perylene
Perylene
International
Îdentification 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
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
CI
PV1
Basic Dye Toner (Violet)
Rhodamme
NBk6
Bitumen
Gilsonite
PV2
PTMA
PTMA
PTMA
toner
PBkl
Aniline/Jet Black
Aniline black
toner
PBk6
Lamp/Blue Black
Carbon black
toner
PBk7
Lamp
PBk8
Vine Black
Wood
PBk9
Ivory Black
Bone black
CI
Color/Pigment
violet
Color/Pigment
PV3
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
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
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
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
full-
seen on
outdoor advertisements that are
designed to be viewed from a distance.
*ss*v
PROCESS CYAN
120
OCESS
MAGENTA
412
'
tSSYEU-0\N
675
The
21
four-color process
CMYK r.smike")
Every color you see
book
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%
-^
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
<w
CD
CJI
.
.
o"
z,
^
3
Y/100%
ro
n
en
cr>
o
o
CO
r-
WHY, BRAD DARLING, THIS PAINTING IS A

MASTERPIECE/ MY, SOON YOU'LL
HAVE ALL OF NEW YORK CLAMORING
FOR YOUR WORK/
Roy Lichtenstein (1923-97)
Lichtenstein exploited the dot screen seen
Masterpiece, 1962
comic-strip printing, using
Oil
on canvas
popular as the inspiration
54 x54in (137.2 x 137.2cm)

/;
DACS
Collection, Los
Angeles
in fact,
use the process colors to achieve
effect, hut a kind of purplish blue, a
a green that
was between
in
crude
what was cheap and

for his imagery. He did
not,
his color
lemon yellow,
the red and blue
in
a medium-standard red, and black and white
value,
Optical color mixing
23
Georges-Pierre Seurat'
Le Chahut, 1889-90
Oil
on canvas
66^ x54 3/in (169cm
Kroller-Miiller State
Museum,
Otterlo,
139cm)
Netherlands
Seurat juxtaposed dots and dashes

of color to
produce
brilliant,
luminous effects
in
his paintings.
The
is
actual size.
detail
below
Dot screens
The infinite range of
Sigmar Polke
printed colors
is
formed out of dots of
only the four process colors. These dots conform to a regular

pattern or screen for each of the four colors, although they are
printed in various combinations and proportions to achieve a
multicolored effect. Along with the white of the paper, these
minute dots form the printed image. This process is known

as optical mixing, because it is the eye of the viewer that
translates the dots into recognizable pictures or shapes with
continuous tone and color.
As well as being a technical process, optical mixing is a
device that has been employed by artists in their quest for
color originality. In the late nineteenth century, Georges
Seurat (1859-91) and Camille Pissarro (1831-1903) were
two painters who experimented with dots of color effectively,
a technique that became known as pointillism. This approach
to color mixing in painting was happening at the same time as,
but independently of, late-ninteenth-century developments in
printing. Later, in the twentieth century, such artists as Sigmar
Polke (b. 1941) and Roy Lichenstein (1923-97) exploited
optical color mixing and dot screen effects in their work,
consciously celebrating the effects to be derived from fourcolor printing methods.
(b.
1941)
Girlfriends, 1965-66
Oil
on canvas
59 x 75in (150 x190cm)

Froehlich Collection, Stuttgart
Polke based his paintings on
magazine photographs. By
emphasizing the printed dot
patterns, he could transport a lowquality, mass-culture
snapshot to
the high-culture realm of painting.
See also
CI International
18-19
Optical illusions 20-21
Choosing media 30-35

Color by color
48-93
Creative directions
96-153
Color index 156-179
24 Colors
of the
spectrum
In physics color
is
defined as an attribute of an
object or entity that results from the light that

Newton (1642-1727)
Sir Isaac
English mathematician, physicist,
astronomer and philosopher,
Newton was known

and
gravitation
physics of
for his
work on the
his
color. In this
after a painting by
or entity. This light
law of
engraving
by
reflected, transmitted or emitted

is
is
that object
transmitted in different
wavelengths, which are perceived by the viewer

as different colors
thus, for example, butter
is
George Romney,
Newton demonstrates the formation
yellow, the sky
is
blue, a rose
is
red.
of the spectrum through a prism.
The spectrum
The simplest demonstration of color physics
beam
how the
a
is
to transmit
of white light (sunlight) through a prism and see
white light
is
refracted and separated into different
wavelengths. The wavelengths are transmitted through the

other side of the prism as a spectrum or band of colors, from
red, the longest wavelength, to violet, the shortest.
Seven
colors are usually distinguished in a spectrum, and these are

red, orange, yellow, green, blue, indigo
and
violet.
George Hardie
Moon, 1973
The Dark Side
of the
Album cover 12
x 12in (30 x
On
this
30cm)
well-known Pink Floyd album
cover, the artist
employs a graphic
illustration of the
prism and the
spectrum as a powerful visual
metaphor
for expectation, anticipation
and uncertainty.
After George
Romney
Newton and
From The
the Prism
Life of
George Romney
by William Hayley, 1809
The prism and the spectrum

Newton discovered that sunlight
(white
light) is
separated into
colored components
when passed
through a prism. He observed a
sequence
of colors ranging from
violet through indigo, blue, green,
yellow and orange to red. This range

of colors
White
is
the visible spectrum.
light
can also be
separated into colors
when
it
is
reflected from very thin films and

layers.
Many
transparent natural
objects form colors
in this
way.
Soap bubbles, sea spume, oil on

water, and some birds' plumage are
prime examples of colors produced
Colors of the rainbow
A rainbow
by interference through thin layers.
is
a prime
example
of
phenomenon of
segmented colored light known as
sunlight passing through millions of
"Newton's Rings" can also be seen
spectrum.
similar
prisms
raindrops
In
this
to create a
sentimental
painting, the sighted
reflected through a curved
nd
girl is
awestruck by the rainbow,
on a mirror.
sadly, her
experience
a also
John Everett Millais (1829-96)
The Blind
Oil
Girl,
1856
on canvas (whole image, unframed)
32/ x24/in (82.6 x 62.3cm)

Birmingham Museums and Art
Gallery
but,
companion can never

its
beauty.
Additive
Additive color mixing
Iridescence
The photograph of the
The term
insect
when you mix
shimmer and change due
to interference
as
it
behaves very differently from

light is essential for film, theater,
the position of the
known
light,
Colored
television
observer changes.
is
colored
paints.
and video, and photography to a certain extent, so

knowlege of additive color mixing is important for those
working in these media.
The additive primary colors are red, green and blue, and
and the
scattering of light as
This phenomenon
additive color mixing refers to the mixing of light.
When you mix
displays a spectrum of colors

that
and subtractive color
they are often referred to as
projected through
filters
RGB. When
white light
is
of these colors and two of the beams
are mixed, they produce the secondary colors yellow, cyan
iridescence.
magenta. When you combine the three primaries,

is white light.
and
RGB, the
result
Subtractive color mixing
The term
subtractive color mixing refers to the mixing of
is where some knowledge of the color

wheel helps (see page 26). Pigments approximate the
appearance of reflected and projected light, but when mixed
together, they produce very different results from those
achieved by mixing colored light. Subtractive color mixing
is the concern of the painter, and in subtractive mixing the
primaries are red, yellow and blue. When two of these
primaries are mixed, they produce the secondary colors
orange, green and violet. When the three primaries are
combined, the result is black.
pigments, and this
Additive primary colors
The additive
primary colors
are red, green
and blue, and

these are often
referred to
as RGB.
Additive secondary colors
When
white
light is
projected
through
filters
of these colors
and two of the
Subtractive color
Red, yellow and blue
make
black.
beams
are
mixed, they
produce the
secondary
colors yellow,
cyan and
magenta.
Patrick Gries
The Hand
of
Nature
Mix red, green and blue

When you combine the three
Photograph
Fondation Canier pour
I'art
contemporain, Paris
Nature demiurge, insectes

Collection
Anne
Spectrum colors
The seven distinguishable colors
the spectrum are
all
available
in
primaries, RGB, the result
white
et Jacques Kerchache, Paris
of
the
various artists' media. These colors

are red, orange, yellow, green, blue,
indigo and violet.
light.
is
26 The basic color wheel

The spectrum
is
the
Primary
red
foundation for
understanding the
From
physics of color.
system for
this, a useful
Secondary
orange
classifying pigment
color for
artists,
known
as the color wheel, has
been developed.
Six-color division
This circular diagram helps
to explain subtractive color
wheel shows the primaries
mixing and provides a
yellow and blue) and the secondaries
theoretical basis for using
(orange, green and violet).
Diagrammatic color
The color wheel, also known as
the color circle, may be described
colors.
as the spectrum turned into a
as
circle,
The primary colors are
red,
blue and yellow, and they are
unmixable. Secondary colors are

mixtures of any two primaries.
Complementary colors example, yellow and
for
acts
reference for the
color for
artists,
demonstrates
relate
and
another.
and
how
it
colors
interact with
An
one
Primary colors
understanding
Primary colors are those that
of the color wheel helps
cannot be mixed from others. These
violet, or red
and green - are colors that are

directly opposite
yellow
(red,
terminology and language of
reflecting the natural order of

colors.
The color wheel
common
Primary
basic six-color division of the
one another on
with color mixing and
are red, yellow and blue. Because
color identification.
pigment colors are not as pure as
the diagrammatic color wheel.
those of the spectrum,
when
all
three are mixed together, they
produce "black" or gray-brown.
Twelve-color division
By increasing the number
Color
of
divisions, the intermediate colors
experimentation
Many
Varying proportions of the
manufacturers
recommend primary
colors within their
ranges that are suitable
linking the basic primary
and
secondary colors become apparent.
primaries mixed together will
produce
all
other colors, and
different sets of primaries will
produce different mixes.
These colors are often described as

having a bias
bluish reds or
reddish yellows, for example.
for clean mixing.
Follow the concept of

Primary
the color wheel to
blue
experiment with
colors and mixing
combinations.
green
-~
<--
*:
Primary
yellow
Ad
0"
It
is
infinitum
theoretically possible to
continue subdividing the color

1
wheel
until
the appearance of
a continuous
achieved.
merge
is
27
he basic color wheel
Colors from the
Harmonious colors
same
section of
the color wheel share
common
color roots and are termed
harmonious. They involve the

use of only two primaries and
the colors in-between.
Naturally occurring color inspiration
When
combinations of harmonious colors

are used together, they create no
visual discord.
Orange jug with complementary accent
Warm
and cool colors

An important aspect of a
Secondary colors
color produced
use
Colors that are immediately opposite
considered to be
orange as a secondajycolor; yellow
each other on the color wheel are
Generally,
warm
and blue create green; ar- blue and
termed complementary.
that are
the red/orange/yellow
primaries
Crimson
is
a bluish red.
red
is
termed a secondary
Red and yellow produce
make
The secondary
violet.
colors are situated
Top tone and undertone

a primary color
between the
primary colors on the color wheel.
The particular hue or top tone of
may have an
When
mixing secondary colors,
cleaner and brighter hues
may be
color
primary
complemented by the
is
secondary color mixed from the other

pair of primaries.
complement
and orange
So green
is
of red, violet of yellow
of blue. This process
continues around the color wheel,
with red-orange the complementary
may be a yellowish red, such as

Cadmium Red, or a bluish red, such
as Alizarin Crimson - and this will
toward each qther. A yellowish red
of green-blue,
affect the resulting mixes.
bright orange.
for instance, a
red
and so
in
a clean,
warm
or cool.
colors are those
cool ones are
in
the green/blue/
The undertone
of a
make it appear warm

or cool when compared to other
colors of the same hue. Warm
color can
colors appear to advance toward
the viewer, while cool colors
on.
recede toward the background.
mixed with a reddish yellow, for

instance, will result
in
violet sector.
the
have related undertones and veer
is its
sector of the color wheel, while
obtained by mixing primaries that
undertone that veers toward one of

the other primaries
color for
temperature. Colors are
Complementary colors
color.
Alizarin
b$ mixing two
Assessing the temperature of a
Using complementary colors

Artists
can use complementary colors
paired together effectively, because

visually
color can help the artist create
space and depth
a painting.
in
one enhances the other when
they are juxtaposed. For instance, an
orange placed next to a blue
make
it
look
much
brighter,
will
and vice
versa. Conversely, adding a small
amount
of the
complementary
color can help to gray
toning
printing
These
to
in
mixed colors are
photography and
- magenta, yellow and
colors, or close
them, are available
of artists' colors.
cyan.
approximations
in
many ranges
Adding white
to a color lightens
and creates a
tint.
shade. Tints and shades
its
mixed with
makes
and red mixed
blue-violet
that
secondaries;
for instance, blue
infinite
number
is
called a
may be
further classified by their tone
produced by mixing a
is,
how
dark or
light
compared with other
violet
they are
colors.
Tone
can be altered by adding varying
amounts
of gray, not necessarily
mixed from black and white, but
of colors can be
Darks or "palette mud"
also from combinations of colors
secondaries, and so on with
When two
that contain the three primaries.
neighboring pairs, enlarging the
mixed, they produce a gray or brown,
mixed by combining
color
wheel
into a
tertiaries with
gradated
progression of colors.
complementaries are
because the resulting color contains

all
three primaries. These mixes
be planned, but
make mixes
Artists
it is
all
may
too easy to
that lack subtlety.
term these "mud."
~See also
CI International
18-19
Color by color
Color index
it
Similarly, a color
darkened with black
set of colors, termed
with orange creates red-orange. An
Three primaries that can produce a
those used
brightness.
Tints and shades
A further
primary with one of
practical range of
its
to a
slightly,
Tertiary colors
tertiaries, are
Basic primaries
down
it
48-93
156-179
28
or
in
action
Color in action 29
Theory
into practice
is an artist who uses a radiant palette, and he

anything but faint-hearted when it comes to color use and
interpretation. Employing a bold and robust brush work
Peter
Graham
is
technique, he achieves an unexpected visual harmony with

the use of seemingly opposite colors. His vibrant oil and
watercolor paintings show hot red, pink and orange hues

forming exotic relationships with blues, turquoise, violet
and accents of yellow.
Manhattan
(detail)
Graham
Manhattan
Peter
Watercolor
17 x24in (43.4 x 61cm)
"Through color I strive
canvas
to
life.
evening sun presented
chance
to
to bring the
Looking into the
me
with a
evoke the sounds and
and interpret
what I saw into how I felt.
flavors of the scene,
Graham
Southern Sun
Peter
Oil
on canvas
12 x16in (30.5x40.5 cm)
Manhattan
(full
image)
"The layers of watercolor tell my

story of New York. Here, color
conveys
my experience
that's full of sensation
of a great city
and power -
a city glowing with confidence.
30 Choosing media
This section
is
included to give those
who may
Oil
major manufacturers provide informative
Traditional Oils
be uncertain
about what to buy an idea of the media available. Nearly

leaflets
all
the
and brochures
When they were first

developed during the
fifteenth century, oils
were described as
on their products and publish comprehensive catalogs.
Many
independent suppliers, too, have detailed catalogs
"a most beautiful

invention."
of materials that are available by mail order. Most towns have

an
art
colors
supplies store, ranging from a corner display in the
Many
leisure
painters think they

are too difficult, or
stationery department of a bookstore to large retail outlets
dedicated solely to
art materials.
Here, you can look
at the
stock and pick up useful product information, so a visit to one
too smelly, to tackle
home - and even
at
if
they did want to try
using them, they do not
of these
A
is
is
well worth
it
in
order to
huge amount of different media

available to artists who wish to
express themselves
paint
is
in color.
Oil
probably the accepted
medium, while
most
popular option favored by amateur
artists, and widely respected by
traditional
professionals, too,
the
watercolor.
is
comparison to these two

media, acrylics are a
relatively modern invention and
provide a medium that combines
In
traditional
the versatility of both watercolors
and
oil paints.
More
specialized
media are also available, and these

include egg tempera and gouache,
or body colors, which have their
own unique characteristics.

Some coloring materials cross
the divide
between drawing and
painting - pastels, water-soluble
colored pencils and oilbars are
among
numerous products in
this category that you can use for
creative expression. A number of
the
manufacturers and suppliers also list

products with applications in craft
make an
informative choice.
know where
upper price ranges, you

will find more choice of colors and
stronger pigments, but when it
or what exactly they
comes
Oil
In the
to
making
a personal
selection, particularly if
you have
not picked up a paintbrush for a
number of years and you
are in
the experimental stage,
may be
it
to get started.
of the pigment. Students'-
colors have a mild odor,
but
is
it
not strong or
unpleasant. The powerful

smell associated with
them
is
produced by the
before making a greater investment.
considerably by keeping a
when
choosing your media are space and

facilities for
cleaning up.
Do you
have a studio or dedicated working

area? Is there a sink and water
supply close? Are you affected by
chemicals and solvents? The style
of your work may affect your first
choice of medium, too. Will you
need volume and texture? Is your
approach precise and graphic?
Think about the support or surface
on which you will be applying your
chosen color. Will it be board,
used to thin color and to
watercolors or acrylics,
his
is
not to sa\ that
and less-expensive
not good, lor there are
k ;nii advances in
some cases
In
re
brands from the

i
..'.
have
teristics.
for a flexible
to yellow, so
because they dry by
air
instead of by the more
speedy evaporation
of
water. But
possible
to
it is still
complete a painting
one session
or,
as
it
sometimes known,
in
in this
"alia
mood
and completing
a
basic starter palette

all
additional green, an earth
so drying agents are usually
slower drying
colors, such as Alizarin
Crimson and Ivory Black,
A good
starter palette might be
Cobalt Blue, Alizarin
Crimson,
colors dry at different rates,
to the
making whites.
color and white.
matter of hours. Different
added
for
three primaries, an
way,
in
oil in
the manufacturing process
you need to begin with -
is
capturing the transient
often
Six to eight colors are
prima." The Impressionists
worked
it is
or another similar
oil
(Hue),
Cadmium Yellow
Yellow Ochre,
Raw
Umber, Viridian (Hue),
Cadmium Red
(Hue) and
Titanium White. This
is
to
help equalize them.
find in small sets, or
you can
buy them individually.
As you progress, you

Correcting mistakes
An advantage of this slowdrying medium is that you

can simply wipe mistakes
away
or paint over them.
the
type of selection you often
luality
oil
replaced with sunflower
absorbing oxygen from the
price and practicality considerations.
contain the finest
in
is
has a natural tendency
oil
can be expensive,
particularly if you consider products
that the)
which
generally considered to be
Drying times
a finished painting
is
oil,
the best
Oils take longer to dry than
of a subject
labeled "artists" quality," which
linseed
paint film. However, linseed
material? These factors
have
available, they are even
better value for the
by dispersing pigment
low-odor thinners.
canvas, paper, textile or some other

all
more
newcomer to painting.
Most colors are made
and using
jars
colors are
increasingly sophisticated
now
clean brushes. However,
on your
oil
synthetic pigments that are
turpentine or mineral spirits
lid
quality
affordable and, with the
you can reduce the smell
important considerations
in
series, according to the cost
worth considering buying a starter

set or a limited selection of mixable
primaries in your chosen medium
In addition to cost, other
colors
oil
are the most expensive, and
they are usually priced
need
and hohb\ areas for painting on

textiles, ceramics and glass.
Ait materials
begin
to
Quality and price

Artists'-quality
want
to
will
broaden your palette
of colors,
and there
is
no
shortage of good ready-
mixed tube color from which

to select.
Oil colors 31
Choosing media
White
White
is
probably the most
important color on an
oil
painter's palette. Titanium
White
is
most opaque, with the best

is
it
that
overpowering
it
mixing precise
Zinc
White
may
for
tints.
is
it
is
good
for tinting
and
spirits
Drawing and painting
and, in the early days
could be the materials
of
for you.
are
movement with
oilbars, also known as
The linseed and safflower
known
oils
to
have
resins, such as
is
made from
irritate
mixable mediums to improve

paint flow, to build heavy
immediacy and the
impasto and to alter drying
because they give
off
fumes and
link
- and
It
recommended
The practice died out when
component takes the
oil
it
usual 2 to 12 days to
touch
become
dry.
they keep better.
Household turpentine
not
quickly, but
is
for art use.
contains impurities that
was found
that resin
transportation
surface with a knife or brush
traditional
a fast-
Colors can be blended
and spread
in
leather or
was
the
packaging for
oil
bars,
colors and increase their
cause yellowing and stop
conventional
the color from drying.
are ideal for single-
masters' formulations
session "alia prima"
acquired from a Professor
and mediums
The more
oil
Mediums, page
paint
is
it
for oil painting, for
for decorative painting
It
is
it
usual
name
on a range of surfaces,
from glass to ceramics.
to today's Mussini
natural
dammar
light to
reflectivity that
the early stages of

in
expands. As
continues to dry,
it
resins that
penetrate
layers.
it
modeled with
a knife or
impasto effects. You can use
it
loses
oil
and a
It
is
oil
colors.
Oils
Oils are the traditional artist's
colors look
The addition
for
use
industrial coatings
paints,
in
and house
which accelerates
and harden. So,
water-resistant finish.
you apply
less flexible "lean" paint over
they are very similar to
more
traditional oils. Thin
in
oil-rich, flexible paint,
more movement
the lower layers than the
may
result in
wrinkling and cracking.
'&t&
in
makes
more brilliant.
developed
drying and creates a durable
top ones. This
or as a
enhanced
this
synthetic resin, originally
weight and starts to shrink
there will be
own,
combination with traditional

tube
of resin also
promotes more even drying

times, giving a
more stable
medium. Renowned
In
use
them
Resin
oils
come
in
robustness, they can equally be
used thinly to create delicate
You
will not find
them
are available from larger
oil
or Liquin.
~See also
Mediums 36-37
in
turpentine or low-odor
with linseed
and luminosity.
over
100 ready-mixed tube colors.

every art store, but they
and enrich them
modern
paint film.
with a diluent, such as
thinners,
in
times for their opacity and
glazes, depth
if
color.
thick layers, then
painterly drawing tool
and
artists' oils
mixed with
weight and
in
mixed with
They are made from pigment
go.
color increases
improve the flow of

Applied
oilbars on their
allow
tip
of the stick in turpentine will
artists'-quality pigments,
medium as you
oil
transparency. Dipping the
brush, creates heavy
with diluent and increase the
In
lent his
designed to blend
further into the paint
to thin early layers of paint
drying,
who
was
The paints are made from
quick design work and
to
1881 a collection of old
resin oils.
(see
dries, so
prevents cracking.
medium
color, the
36). "Fat"
more prone
movement as
underpainting
In
Cesare Mussini,
painting, as an
or painting
medium you add to

"fatter" it becomes
They
traditional diluents, or
you can buy special colorless
color before the invention of
drying alternative to
oils.
and
directly on the
the metal tube.
can leave a sticky residue,
Oils
and canvas, without
the intervention of a brush.
colors did not take kindly to
hide pouches, which
Alkyd Oils
Alkyd oils are
direct
they forge between
artist
water evaporates
the
the skin less. They
are also less flammable, so

safer
oils
and waxes.
more pleasant
less harmful
artists'-
mixed with drying
recommended
times. During drying, the

to use,
oil
Oilbar enthusiasts love their
and
cleaning up, but low-odor

thinners are
be confused with
quality pigments
For the best
it.
Not
pastels, oilbars are
are modified so that they
it
oil-painting sticks.
to
mastic and copal.
together in one
fluid
to use compatible water-
diluent for
color
painting, artists
oil
mix with water instead of
results,
oil
you want
to paint in oils, these
oils
the most
Oilbars
come
repelling
thinning
enhance color
and the
brilliance
impression of depth -
Solvents and diluents
commonly used
resins to
or even low-odor
used to make water-mixable
translucent glazing. (See
is
almost
painters added natural
the smell of
turpentine, mineral
added
White, pages 86-87, 179.)
Turpentine
artists for
2,000 years. Byzantine
If
a less
powerful, semi-opaque white,
so
can be done.
thinners, but
its
strength, the beginner

find
it
you hate
the most versatile all-purpose

white, because of
has proved
oils
and fossilized trees,

have been used by
It
Although
tints.
Natural resins,
introduction of water-
mixable
also a useful white for
mixing paler
extracted from living
the
best to use for highlighting.

is
Resin Oil Colors
not mix," but the
the whitest and the
covering power, and
Water-Mixable Oils
There is a saying that
"oil and water will
Choosing palettes 40-41

Color by color
48-93
96-153
specialty art stores and mail-
Creative directions
order suppliers.
Color index 156-179
32 Watercolors
'AH
artists
have an urge
communicate their
ow n unique view of the
world, and one of the
to
beauties of watercolor
Choosing media
Availability, price
Black and white
remove the masking
and quality
Watercolor sets usually
by simply rubbing
contain Chinese White and
reveal the white of the
leading makers vary
paper beneath.
according to the nature and
In
recent years advances
in
pigment technology have
Nothing causes
Ivory Black.
extended the choice of colors
more heated debate among
available, improved tinting
watercolor painters than the
strength and enhanced
rights
permanence.
black and white.
immediacy. It
invites a direct and
spontaneous response
to a subject - whether
you are painting a
also
landscape, a portrait,
oils
major
their
own
figure study,
or
manufacturers produce
tints,
the traditional
is its
still life
an expressive abstract.
No
other
Watercolor can be bought

in
tubes and moist cakes,
known as
and
both
pans.
acrylics,
As with
and students'-
artists'-
medium
Professionals and serious
amateurs working indoors
capture a subject
\\
ith
such speed
and economy of
brushstroke.
By
most popular
painting,
medium, watercolor
also probably the
is
most
artist.
make
in
Used well,
it
a clear statement
clarity
and freshness
depends on
clear
behavior of the individual
Watercolor boxes
and mixing palettes
Until a few years ago,
watercolor boxes were
either made of wood or
and you can
today.
More
still
pigment, which
in
packaged
is
in
water and apply with
arabic
water. The mix
in
tin,
buy these
recently, tubes
through a
triple roll mill to
grind
super micron
to
it
fineness and release the
full
intensity of the color.
By
lighter-weight
plastic boxes. These, in turn,
vary
their nature,
pigments
transparency and
in their
useful for highlighting and
have seen some innovative
opacity. Highly transparent
changes with additional
colors allow the reflective
features such as extra slide-
white of the paper to shine
out palettes added.
through, imparting an airy
more
try
Titanium White, which

useful for highlighting
You can buy
is
field sets
in
now
cylindrical
that
flip
luminosity that captures
light,
open
space and atmosphere. As
The
you would expect, more
to reveal mixing areas.
the paper has been
wells within a watercolor
opaque colors have more
box set probably offer
covering power. Check
can add sparkle to a
enough mixing area
artists'-quality color charts
watercolor painting. The
small outdoor sketches, but
for details of
they have to be cleaned
and opacity.
dipping into pans easier and
lost.
Bright white highlights
for
Buying watercolors
You can buy both tubes and
traditional
to leave
regularly as you paint or
pans as individual colors or
the area unpainted and rely
the colors will lose their
on the reflected white of the
clarity
Starter sets and field
method
portraying white
of
is
not always
and become muddy
and confused.
transparency
Staining and granulation

Artists'-quality color charts
boxes offer a limited
paper, but this
selection of colors, which
as easy as
you can mix to create
especially for less
watercolorists tend to
staining and granulation.
experienced painters.
choose large flat-sectioned
Powerful colors, such as
plastic palettes or muffin-tin
Prussian Blue and Alizarin
it
is
More
sounds,
all
the
colors you will need. The
Art masking fluid can be
you information
will also give
on properties such as
serious
the bigger selection of ready-
applied to keep white areas
style mixing wells. Choice
Crimson tend to penetrate
mixed color you
will
white as the painting
of mixing surface
the fibers of the paper,
work with - but
that
have to
is
not
always an advantage.
progresses. Once
it is
dry,
it
creates a waterproof rubbery

film that
basic starter palette
Traditional pigments
still
can be painted over
leaving traces of color
behind
of the transparency of
them
watercolor,
be white.
is
dry
largely
preference, but because
When
the paint
is
a matter of personal
with complete confidence.
it
must always
lacks
tendency to separate out
when you mix them

water. As the wash
particles of
you opt
to
with
dries,
pigment
float to
the surface and tiny granules
harmony
may
across the whole surface.

If
pigments,
earth colors, have a natural
to brilliant
new transparent colors.

Newcomers tend to use
too many colors and the
work
creating a
particularly the traditional
such as quinacridones, have
finished
when
special effect.
Some
newer pigments,
opened the way
when you try to lift

- whether to correct
off
a mistake or
form the basis of many

colors, but
is
then passed repeatedly
adding opaque body to
single, confident strokes.
-iu
suspended
is
gum
cases where the white of
paint. For the
a clean palette with
a solution of
dissolved
and pans have been
add more
to
The formulations used by
Beginners and artists
best results, lightly mix the

in
is
to
working outdoors often find
larger the set you choose,
color
technique
Transparency and opacity
fluid
away
skilled glazing
with dilute washes of richly
pigmented
up the
need with a brush.
color they
and
mix
darks. For paler
of
a good watercolor painting
flat
lifeless, preferring to
pastel tints. For even
in sets.
The
tube black to be too
covering power
can
pure color.
watercolor artists consider
usually choose tube color,
more immediate.
challenging for the
Most
squeezing out small blobs of

paint, then picking
far the
of using
water, but Chinese White
quality colors.
has the capacity to
and wrongs
it
sink
and
settle into the
hollows of the paper surface,
buy colors
separately, a basic palette
causing an effect known as
might include Ali/iinn
granulation. This
Crimson, Yellow Ochre,
phenomenon when you want
Cadmium Yellow Pale,

Cadmium Red, Hooker's
to
Green and French
uniform
Ultramarine. Useful additional
choose a color that
colors
Blue,
Raw Umber and
Burnt
Sienna. (See also page 41.)
where
texture,
a smoother,
wash
granulate as
a useful
add character and
but
would be Cerulean
is
it
is
more
required,
will not
dries.
Choosing media
Acrylic resin was
developed
Acrylic colors
15 minutes to dry, but allow
first
more
a day or
in the early
for thick layers
of impasto.
nineteenth century for
Some
industrial use. Its
oil
painters use
thin layers of acrylic color
potential for develop-
ment
as a quick-drying
into artists'
colors
underpainting to
was quickly
noted by
art
speed up the
materials
painting process.
companies, and the

first acrylics were
Correcting mistakes
available by 1947.
As each glaze
Today, they are used

around the world by
leisure painters and
professionals, working
in both watercolor and
becomes
painting styles.
oil
first
acrylic colors
developed,
were
many
purists
discounted them as "plastic

paints,"
because they lacked
layer
Quality and price
produce a choice
painting surface does not
of
become
qualities, sold in standard
paintings on canvas can be
size tubes
brittle
makes them an
over time, so
safely rolled and stored
and larger
As with other painting
outdoor work.
media, the quality of the
Drying times
pigment used
Acrylic colors dry
They have improved
considerably since then, and
second
their position as the
quality brands
the price, but
reflected
is
it
is
in
worth
in
quickly than oils through
water
color dries, the acrylic resin
medium speaks
the student-quality brands
around each
now on
pigment fuses to create a
Acrylics are particularly
popular
among
floral artists
painters,
illustrators,
and
silk
who move
flexible water-resistant film
high levels of permanence.
with a matte-satin
surface (see Color on cloth,
artist to
page
medium, a basic
color
closely that
for
oil
create transparent layers of

in
and
recommended
paints and might
Cadmium
finish a painting in a
fraction of the time
it
color beneath.
take
in oils.
The down side
Red,
that
fine-art painting, murals,
mixed media, airbrushing,
Cadmium Yellow,
so quickly, the paint cannot
screen printing and
Umber,
be manipulated
Ochre
periods on the surface. Also,
medium matches
acrylic color for versatility.
Thinned with plenty of

clean water, acrylics create
transparent
Used
washes
of color.
Burnt
Raw Umber, Yellow

and Titanium White want
but you will probably

to
add a few more useful
colors,
it
is
acrylic color dries
for long
soon tends to dry out on
the palette. To overcome
such as Permanent
this problem,
you can use
Rose, Phthalo Blue, Cerulean
special palettes that keep
Blue and Cobalt Blue.
the color moist for weeks.
Diluents and
brush to add character to
Because
mediums
acrylics are
wash
water
also important to
is
It
straight from the tube,
they retain the mark of the
the color out of
brushes thoroughly
- once
based, you do not need to
the paint has dried into the
create highly textured
use solvents during the
head,
impasto surfaces by applying
painting process.
the paint with a knife.
add a variety of mediums
artwork
- and you can
You can
it
sets like concrete.
While
to
wet
it
acrylic paint
is still
looks slightly milky,
alter the consistency,
but that disappears as
texture, handling properties
dries
it
and the color deepens.
and drying times (see
Undiluted acrylic paint
Mediums, page
applied thinly takes about
36).
over without disturbing the
would
because
painting
permanent color that
quick succession
French Ultramarine,
other
you can
enables the
include
No
tubs.
in
liquid acrylics,
apply layers of
a variety of techniques for
decorative crafts.
With
can be repeatedly glazed
starter palette can follow
acrylic colors in
acrylic colors
of
brilliant
acrylic
creamy counterparts,
are also available
Being a heavy-bodied
in
like their
finish.
The rapid drying time

acrylic starter palette
They are sold
small bottles and,

thicker,
An
You can use
tiny particle of
exceptionally well and offer
fabric to paper as a painting
Versatility
watercolors, applied
with a traditional brush or an

airbrush.
the market perform
from
148).
Liquid acrylics can be used
the binder. As the
in
color technology,
of
easy to paint over
is
Liquid acrylics
like
some
it
for beginners.
most popular painting

for itself.
and
more
uniform evaporation of the
noting that with advances
Good-quality acrylics
mistakes, so they are a boon
tone associated with
in artists'-
acrylics
ideal choice
have great covering power,
without danger of cracking.
containers for high-volume

users.
The
water resistance of
students' and artists'
the
beneath and losing the
clarity of the color.
yellow with age and the
it
lifting
Acrylic whites do not
The major manufacturers
the subtlety of color and
oils.
it
can safely paint over

without fear of
for
When
dries
insoluble, so you
* Acrylics
Acrylics have
medium
become
a popular
since their invention
in
the 1960s. They can be diluted

for
use
like
watercolor or with
added mediums
for
effects similar to
impasto
oil
paints.
33
34 Gouache
&
Egg tempera
Gouache
Egg tempera
ire the advent of

computer-generated
Egg tempera
was
design, gouache
the
medium
best
also in pencil form,
media, used by the
are carefully applied
are probably the
widely used to create

crisp visuals and
color in popularity.
professional design
studios,
where
was
it
Egg tempera
illustrations in solid
is
well
medium.
In fact,
is
it
probably the least used

Gouache
intact, a
is,
of
retinement ot the more
pigments used
makes
in
but
good
the
are far superior.
gouache
is
offers an
who
prepared
is
buildup of these layers of
wet,
is still
it
premixed egg tempera

very easy to
It
lift
takes about a
to "cure," then
or interweave of the
week
paper fibers.
is
it
must be
left to
dry
its
paint
good
name suggests, this

is made by dispersing
best
is
canvas panels, often
gesso to increase the
adhesive painting medium.
recommended unless
White.
Some
soaked
artists
andean be
but
or with
transparent watercolor.
Considering
gouache
is
versatility,
an underrated
medium. Use
washes
its
it
in
dedicated tempera
it
make
is
their
own
paint,
a difficult process
rugged
the paint easier to work and
increase
Yellow,
to
it
must
with rabbit-skin
first
common
Yellow Ochre - plus the
White
broad sweeps of
rich
color and painterly effects.
Hard pastels, pastel pencils

be
size.
more binder and give a

harder,
more defined mark;
they are ideal for drawing

illustration
work.
Chalk-based pastels of
make
all
kinds can generally be used
together for a variety of

effects
but they are not
compatible with
oil
pastels
(see opposite).
in
with watercolor,
but glazing with transparent
Hard pastels
and pastel pencils
washes
Hard pastels, usually square
of
tempera gives a
denser, more painterly
in
quality to a painting.
colors,
Egg tempera paintings
pure, translucent color,

their luminosity
As
a fine-art
tempera
and
and sheen.
Gouache and Egg tempera

Gouache,
or
body
color,
is
an
opaque watercolor paint
shape,
more
come
favored by illustrators for
to preplan,
make
brilliant colors that dry to
like
detailed
slightly chalky
pastel pencils,
pigment bound with egg yolk
paint with precision.
and vegetable
oils
thin layers,
pure color has a
Qualities essential for
are patience and sureness of
its
luminous sheen.
Applied
same goes
for
which are
cleaner to hold and easier to
of
preliminary drawings and
successful tempera painting
use, they
so you need to exert firmer

pressure. The
appearance.
Egg tempera consists
In
immediately as soft pastels,
particularly
who
fewer
robust, they tend to be
sold unwrapped.
pigment quality ensures

is
in
and because they are
do not release their color as
artwork for reproduction. High
medium,
suited to painters
for
little
are characterized by their
deep
and conte sticks contain
its flexibility.
tempera have much
Raw Umber and
essential Permanent
associated with egg
Cadmium
Red, French Ultramarine,

Vindian,
is
tempera
for
The painting techniques
starter palette might include
Cadmium
oil
which are cut
dried.
Choosing
and
added linseed
Hardboard
tubes,
in
gouache creates a more

finish, ideal for bold,
or metal.
sealed back, front and sides
which often contain a
energetic paintings
gesso, stretched
in
and backed with cardboard
painting, but
misty effects. Thicker
and
velvety texture, best suited
Newcomers
egg tempera
produce long
to
Soft pastels have a

is
it
experience to perfect.
already mixed
to achieve attractive
not
good support
are more likely to buy color
dilute
is
that takes time and
to
passed through
strips of color,
to size
and
The mixed
surface reflection and
the addition of Permanent

dries to a matte,
is
an extruder
intensify the luminosity of
egg yolk to
"dough"
and small
of binder
preservative.
suited to smooth, rigid board
be further enhanced with
in
mix of unground pigment,
amounts
Egg tempera
made from
Pastel sticks are
chalk, china clay
primed with layers of white
As
Pastel sticks
the next.
the color. Paper
own
in
the purity of the color, each
pigment
its
two
or
fixed
create a long-lasting, highly
used on
is
and rework.
covering power, which can
chalky finish
Unlike wet color,

where the pigment
bonds with the painting
surface, pastel marks
are held by the "tooth"
diluted color.
or
or
blanc fixe added to create
It
dry painting media.

rely
completely before adding
to experiment.
a water-
color with
tempera painting
on gradual and controlled
more experienced
artist
based paint with chalk
opaque
it
exciting challenge to
Also known as body

color,
brightness and translucence

of a
layer
the quality and permanence
most
popular of the so-called
place for good. To maintain
wet color
the
media on the market,
familiar poster paints, but
of
all
in
one-stroke washes. The
While
not
mainstream painting
color that reproduced

in print.
Pastels, sold in sticks
or larger chunks, and
diluted with clean water,
later
in
when
of the oldest painting
by the legendary
master artists of the
Renaissance before it
was overtaken by oil
painting
medium works
thin veils of color,
touch. The
one
is
ancient Egyptians and
most popular
Pastels
in
carry for sketching outdoors.
Buying pastels
Fixing pastel
Artists'-quality pastels are
It is
sold
sets and as individual
in
sticks of color.
will
it
fixed
smudging.
even
fine,
spray, but they should be
add to these as you discover
most
find
must be
soft pastel
Aerosols give a
and you can
which colors you
work
worth noting that work
to prevent
starter set
probably contain about
a dozen colors,
in
used outside
if
& colored pencils 35
Pastels
Choosing media
Colored Pencils
Pastel pencils
Colored pencils are

an essential part of
just about everyone's
Pastel pencils create a
at least in a well-ventilated
are not always granted

the recognition they
room. Bottled fixative
deserve as a more
assorted sets, there are also
serious art
boxes of colors specially
may be
landscape
more
Color choice
of soft pastel offer a vast
subdivided into
from the palest to the
deepest shade based on the
same pigment.
Better-quality
handwrapped
in
them from crumbling
protect
mediums, yet
they are also one of the
cheapest and most
convenient.
You can
start
with as few as
and
six colors in cool
and hard pastels,
yellow and blue,
tints of red,
which can be used to mix a

wider range of colors on the
paper surface.
If
you are not
confident of your mixing

skills,
it is
wise
to
oil
pastel
made from pigment
in oil,
fat.
and sometimes
Applied directly
onto paper, they

similar to
warm
wax
larger starter set.
Other media
Recent years have seen a
In
rapid expansion of different
and painting media covered
significant
art,
with
improvements
permanence
at the top
end
graphite pencils, there are
in
sets,
pens, watercolor sticks, and
of artwork
their
in
own
right.
They are graded from hard

soft, giving
to gentler tones of gray.
Colored pencils, with a
waxy
color core,
come
colors.
120 colors, which
in
in
and boxes.
most pastel
in
still
artists
wet media.
with
according to your subject and
a high-quality fine-art finish.
Watercolor and aquarelle
effect.
tints in single
more
rigid
sees the
is
fade
light of day.
the dry media
the
It
of
sheets and
working surface.
(right)
popular, especially for
outdoor sketching. You
can use them dry
like
are
traditional soft pastels with a
and
pastel pencils, which are
normally harder
pencils are increasingly
books, or bonded to board for

a
lightfast, so that
will not
Dry color media
Watercolor and aquarelle
who
characteristic
wide range
is
chalky, friable texture (top),
pencils
after the
most popular pastel paper.

in
it
Among
key color theme. Darker
comes
medium
some
experience, you can achieve
chain-and-laid surface,
sure your chosen color
drawing
quality, but,
its
lack
Early attempts
and depth. You can choose
devised
is
but, before
need a wider range
from a range of subtle tones,
master pastellist
mark-making techniques, but
usually have a childlike
named
mud! The only
in
limitation to creativity
pencil can be
which gives greater harmony
add dramatic
for
Color mixing
at colored pencil
Ingres,
painted
your work
prefer to use tinted paper,
colors
experiment,
unknown
not
of colors than you do with
Watercolor papers work

well, but
it is
when
you
it.
and
you get carried away, make

a
of sets in tins
Color mixing
to catch the
chalks. By their nature,

artists love to
of imagination
maybe
wide choice
crayons, felt-tip
Society to hang a work
Major
handy to carry
wax
the Royal Watercolor
achieved with a variety of
and hold
to
powerful blacks
Pastels need a paper with
fragile color
You can draw and paint
tonal sketches or for pieces
bought individually and
silk
using
which are inexpensive and

for on-the-spot
on glass and
paints and fabric colors.
water-soluble versions
manufacturers offer up to
pastels are sold
art
that are ideal for preparatory
result
Oil
any good
ceramics, as well as
huge range of
fluid color.
in
store. For decorative art,
for painting
Papers for pastels

enough "tooth"
addition to the drawing
there are specialty colors
Alongside traditional
over with turpentine and the

is brilliant
in
of the market.
make marks
crayon. Brush
sketching and color notes.
choose a
Choice
now
be confused with soft
to
animal
basic palette
sticks or pieces.
Oil pastels are one of
bound
advantages over
similar
medium.
here, you will find a host of
sticks are
and contamination.
carry.
Charcoal pencils have
other options
Not
paper to
and they are easier to
drawing and fine
come
soft pastel sticks
of
types of pencils for both
painting
ranging
tints,
same clouds
Oil Pastels
the least understood of
choice of up to 200 colors,
the
dust, so are cleaner to use,
less harmful, but
tricky to apply evenly.
and portraiture.
The major manufacturers
make
possible, or
delivered through a diffuser
in
pastels, but they do not
childhood, so they
useful. In addition to basic
selected for use
harder mark than soft
in
texture and
easier to control (center). There

are
many
varieties of colored
pencil, including the
water-
soluble types (below).
conventional colored pencils,

or
add water
to the color on
*~See also
the paper for an instant
Color by color
wash
Creative directions
of color.
48-93
96-153
Color index 156-179
s^n
36 Mediums
In art materials'
terminology, the word
"medium" can sometimes be confusing.

The type of paint you choose - for
example, oil, acrylic or watercolor - is
known
If
as a
medium
(plural "media").
you use two or more materials
painting,
it
painting."
(plural
is
"mediums")
the term
is
may
be added to paint
when you
handling
use
over lean" rule
"fat
Thinners are used for the

coats of paint and for
initial
washes.
If
however, you
paint,
add
will
properties or
need
to the paint to
it
particularly useful for fine
is
many
in
studio
has been
superseded by
some
less
surface cracking at a later
odorless products that
that ensure a matte surface
perform a similar function.
when
when
dry. This "fat
over lean" rule involves
Another
adding progressively more

oil
medium
or
as you
("fat")
As water
is
is
to
painting.
oil
It
the classic, traditional
Used as a
in oil
solvent,
thins paint to provide tints
slow
in
color.
It
when mixed
with colors,
of spike
more
There are various
may come
paint
is
many
different forms.
spirits.
be described as "purified,"
"cold-pressed," "bleached,"
These mediums are based on
"boiled," "thickened,"
alkyd resin. Depending on
"refined," "stand" or
their formulation, they
"drying" linseed
used not only to thin

its
can be
has
oil
flow and
medium
how
the addition of
and color
depends to a certain extent on the quality of
the paint and the type and amount of medium
added to it. Experimentation and trial and error
are the best methods of learning and mastering
e
'>l
mediums.
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
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
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
particularly for painting
suited to knife painting.
improve the wetting and
Some
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
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
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
"4H
38
Media
in
action
***>-'
,.
(Left,
clockwise from the top)
George Rowlett
Sudden Storm Over Thames,

Rotherhithe Pier, 1996
Oil
on board
24
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
wry
*~See also
Mediums 36-37
+ Creative directions 96-153

-
<il;i/ifH|
Watercolor: straight and mixed 98
and delicate transparency
Fast color for flesh 106
Massive color
in oils
114
Transparency and luminosity 124

Colors from the mail 140
Dry color and line 152

Paper pulp, an alternative medium
for painterly effects
Media
in
action 39
The visual qualities of materials

There are many aspects to consider when
choosing media and many of the practical
options are discussed on the previous
pages. Oil paint
is
the traditional choice for
professional artists, and the most popular
choice
among amateur
be watercolors.
The
painters tends to
versatility
and high
quality of today's acrylic colors are
increasingly recognized, and there
is
wealth of dry color and stick media

available, too. Various types of pastels,
colored pencils and oilbars provide
fabulous color and handling
abilities,
expressive possibilities in their

as well as contributing to the success of
own
and
right,
many mixed-media
works. In Chapter Three, "Creative directions," you can learn

firsthand how the works shown on this page were created,
plus
many more, and
combined with
Pure acrylic,
Pastels,
a versatile dry
medium
water-soluble opacity for depth of color
for painting
Mixed media, pen and
ink
combined with pastel
this
information on the creative process,
may help you make a more

choice when it comes to media.
the practical,
informed and personal
40 Choosing palettes
When
comes
to
your
Palettes for oils
days, as long as you keep
choice of palette, size
Wooden thumbhole
adding water to the reservoir
matters. Bigger
palettes are available in
and keep the
oblong and traditional

kidney shapes. They
are designed for oil
painting sessions.
it
is
because it gives
a greater mixing area,
which helps keep
colors clean and pure.
better,
It is
possible to
work
with a small palette,

but you have to be an
painters
who
to relieve stress
is
a chore
have to keep a tiny

mixing area clean.
to
is
mixing
and plastic
paintboxes have mixing
palette with
well-designed
thumbhole
it
Fluid color calls for a
at the easel.
Once you are carried

away with your
You can
the refrigerator.
for watercolor
hold their palette as

they stand
in
it
on between
Palettes
like to
assiduous housekeeper.
painting,
store
lid
Tear-off paper palettes
contoured
on the
wells. Metal
For a convenient disposable

alternative, try tear-off
hand during long
paper palettes. You may
areas incorporated in
periods of painting. Try
waste some unused
the
one before you buy
but you will save yourself
additional fold-out and
the task of cleaning up.
slider palettes.
it.
paint,
lid,
and some have
They
are
useful for quick color
Palettes for acrylics
sketches outdoors, but
Wooden
the mixing area
palettes are
is
not very suitable for
limited. Unless
kidney-shaped palette
water-based colors,
keep cleaning them, you
with a thumbhole has
and
become an emblem of
acrylics.
The
traditional
fine art, but
wooden
it is
only
palette,
it
will
nonporous
material, such as
me
Mahogany
and
is
it
is
amine,
is
looks sumptuous,
One of the
you are
of acrylic color
ideal
if
painting on a dark, preferably
reddish brown, background.
this is also
disadvantages
painting on white and
more neutral grounds, a paler

of
wood
is
preferable,
so that you can gauge tonal

relationships as you mix
color on the palette.
Before using a
wooden
with linseed
oil
is its
comes
one of
its
when
it
on the
palette. Like mustard
on the plate, you can
waste as much as you
to color
the traditional kidney shape
oblong, square and round

it
table palettes, with deep
to seal the
surface and prevent the
and shallow mixing wells.
oil
Artists
working with broad
color seeping into the grain
sweeps
and drying
deep wells, so they can mix
sides,
for a
oil
the
out.
Cover both
and leave the palette
few days
color
harden.
to help
you come back

,k,
numi.il
to
it
and use
keep color mixes
clean and contained.
big
table palette with shallower
Simply break the surface film
when
style
separate deep mixing areas
need not be wasted.
with a painting knife
complete a
palettes provide plenty of
your palette, blobs of unused

oil
to
wash. Muffin-tin
to penetrate the grain of
wood and
need large
of color
enough paint
to allow the
Once you have prepared
mixing areas
Stay-Wet Palette
The Stay-Wet Palette
sizes
is
designed to keep color
workable
for longer.
The color
is
held on a
semipermeable membrane
"v.
Plastic palettes
Plastic palettes are sold in
with thumbhole and as
actually use.
new
palette, prime
benefits
speed of drying, but
When
shade
more
practical option.
Traditional palettes
worth considering the

variety of shapes, si/es
and types of palette
now available, and
what is best suited to
your media.
end up with muddy
color mixes.
metal, white plastic or
one of many options

you can choose.
Before you rush out
and buy an expensive
mahogany
this includes
you
that
draws water up from a
reservoir sheet below.
The
paint will stay moist for
is
in
a range of
also useful.
41
Selecting a palette
management
Palette
pays
It
to get into the
Choosing colors
As well as meaning a
Starting points
There are many practical
habit of laying your
transportable surface,
considerations to take into
eolors out in a
usually oblong or oval,
account
systematic order.
You
soon get to know

where each color is and
will
on which a painter
arranges and mixes
and there
refers to the selection
them up automatically.
of colors the
chosen
means
has
work with
to
allows you to
or has selected to use
concentrate fully on
in a particular picture.
mixing and painting.
You
come
will
of storage.
By the time
in
which
Sets vary
direction
own
and
choice.
in size.
The more
you place colors on a
many
palette, but
painters
follow one of the following
plastic,
the color range being
used by the
to
white
When
you could go for a

first
made
versatile china palette,
years,
and
resists staining
can also be used with

solvents for
Home-made
Many
painting.
oil
artists
Warm to
studio devise their
in
own
cool
Keep the warm
in
between.
tabletop palettes from a
such as white laminate or

a sheet of glass. Others use
piece of hardboard sealed

says, a counter-
clockwise layout, ranging from white
water-based colors on an
old
white plate and
cans and
jars,
through to the darkest hue selected.
cups,
in
which can be
Whatever type
palette you use, the

rule applies
-keep
it
on.
in
other media,
particularly oils
and
Ivory Black. (See also
page
32.)
Palette choice
is
subjective and individual
acrylics.
area, too, but the colors

listed
general choice from which
color selections that are
is
choice for the beginner, with
identified as appropriate for
You could extend your range
recommendations on the
specific subjects
most useful
publish
portraits or
and
reds, yellows
landscapes, for example.
above are a good
possible to mix
many
it
hues.
further with the addition of

a green hue-Viridian, for
blues to choose from their
- the
example.
primary colors
perhaps Cerulean and
cleanest variety of mixing
Phthalo Blue
combinations.
have
make
and
lighter blue
a greenish blue are useful
that give the widest and
-and you
will
to include a white.
Titanium White
the
is
usually
the popular choice for the
decision on individual color
opaque media, and Chinese
purchases themselves, saying
White
they believe color choice
is
personal matter. However,
for watercolors.
a
all
sets of colors, and these can
From these
represent good value for the
starter selection boxes, the
beginner
who
is
uncertain of
which direction to go
clean
This
and
and so
as far as to market sets with
of
same
it
Sienna, Yellow
the major manufacturers offer
sealed with plastic wrap and

stored.
Raw
Ochre, Light Red, French

Ultramarine, Prussian Blue
Light to dark
it
Umber,
and
available
difficult to
Red,
Alizarin Crimson, Burnt
Most manufacturers
prefer buyers to
Precisely as
12 colors: for example,
Cadmium Yellow and
such as the number of mixing
Some manufacturers
or a
colored paint. You can mix
dictate the
of starter
watercolors contains about
Some manufacturers even go
a glass-topped table with a
with white or a neutral-
does the box design,
Atypical, small
prepackaged box
decide which colors to buy.
ranges
sheet of nonporous material,
below
may be
you gain more experience.
Similarly, starter sets are
of
better to
colors and cool colors
separate, with the white and the

earth colors
neutral backing
it
number
is
wells, brush storage areas,
returning to
helpful leaflets on color
palettes
working
if
student ranges
integral palettes
buying colors for the
time, or
the less-expensive
artists' or
price, as
artist.
painting after a
from hard white porcelain,
which
refer to
well-known layouts.
White porcelain
As an alternative
and these terms
- whether
quality of the paint
"hot" or "cool" palettes,
It
adding to these gradually as
certain of your
colors of your
"limited," "restricted,"
first.
may be more
own creative
you can replace them with
across
at
begin with a restricted range,
colors they contain and the

rules for the order
need
the colors are finished, you
such descriptions as
There are no hard and fast
a temptation to
is
buy more colors than you
find yourself picking
systematic layout
for
budget, subject and media,
color, "palette" also
artist
when shopping
individual colors, such as
will last for years.
in.
especially the case
is
with watercolors. You can

Spectrum order
classic layout,
buy empty watercolor boxes
which follows the
colors of the visible spectrum as
seen on the color wheel - from red

through to
violet,
with the earths and
darks separated by white.
**See also
and
them with pans and
48-93
Color index 156-179
wooden
presentation
in
addition to colors, contain
brushes and mostly

everything else you
may
than not people will start
be expensive and even look
with a box selection that
the manufacturer has put
are usually wonderful
lavish,
cases and chests, which,
need. These selections can
together.
The basic color wheel 26
choice proceeds upward to
tubes yourself, but more often
Colors of the spectrum 24
Color by color
fill
fairly limited
These boxes cover
wide range
situations
initial
of painting
and are a good
investment;
in
addition
to the colors, they provide a
mixing area and, of course, a
little
^^Sr^
intimidating, but they
productions, and the boxes
alone
in
will
probably increase
value as the years go by.
câ ^^" ^^
42 Color language
Color
is
a language and
it
has a vocabulary of
its
own. Just as spoken or written words have shades

of meaning, so, too. do individual colors. Pink
may
Color as function
The camera body

which
convey
soft,
feminine; blue,
brittle, cool; red, hot,
An
dangerous; yellow, optimistic, sunny.

record a scene
much
artist
can
is
is
black plastic,
cheap, seviceable,
functional and honest. Green and
gold are used for circuits and

contacts; red, yellow, orange, gray
as a
camera does, but you also
have complete freedom of choice
upon any
to call
and blue
person
for the wiring loom.
who assembles
The
the camera
knows what goes where every
color to communicate atmosphere or to emphasize a

feeling or state of mind.
the palette to manipulate
You have
mood
full
control over
as does the engineer
who
time,
services
or repairs the camera. Both
recognize the function of each
in
your
art.
colored wire.
Manipulating
mood and atmosphere

A simple palette of colors was
to
make both these
used
color sketches.
Naples Yellow, Cobalt Blue,
Raw
Umber, Permanent Green and

Titanium White, and a touch of
Cadmium
Red, form the basis of
two very different atmospheres.

The subject matter greatly
influences the different moods, too
moods
that are again reinforced by
the proportions of the colors and the
way
In
they are mixed and blended.

the top study, simple
uncomplicated color application
conveys brightness and warmth. The
bottom sketch
is
more somber
in
tone and darkened with mixes and
washes
Practical color
As
well as being an emotional communicator, color
important for practical purposes.

to
do and what not
red. again, danger;
It is
used to
tell
is
people what
to do: red, stop; green, go; yellow, caution;
and so on. Color can
tell
you what does
what, and what goes where: green wire to earth, red wire to
live.
Color
is
widely used as a code to impart and order
information and to give instructions.
Change
of
use
Surplus telephone cable
has been used to create

this
woven wire
basket.
Color as communicator
Color has the
images;
it
When we
is
power
to instill
a great communicator.
look at a map,
we
can
interpret the printed colors to
imagine the busy highway and quiet

Anon., South A'
Woven Basket
minor road.
We
build a picture
Plastic-coated wire
mountains and visualize what
6m
expect on our journey.
(15 2cm) diameter
in
our mind's eye of roads, lakes and

to
of
Raw Umber.
Communicating
with color
43
Polychrome sculpture
Much
sculpture from the ancient world,
particularly
Joustra/Humbrol Ltd
from the civilizations of
Greece and Rome, was originally very

colorful. Vestiges of pigment have been
found on many examples that indicate
sculpted figures may have been given
blue hair and beards, and blue eyes, in
addition to colored flesh and clothing.
The idea of sculpture remaining in the
Young Scientist
Anatomy Toy
Plastic
Height lOîn (26cm)
The anatomical model

educational toy
The colors
chosen
Artists use color to
natural material
uncolored state of its

seems to have taken hold during the
convey
atmosphere and emotion.

Designers, scientists and
to
made
of the
(left) is
a child's
of colored plastic.
components are
make them
distinguishable
from one another. To a certain extent,

they follow the natural colors of the
body parts - the bones are white, the
engineers similarly use
iver is
dark
color as a language to
lighter
- but
convey information.
Renaissance period of the fourteenth

to sixteenth centuries; artists
Three-dimensional color
in
color
and the lungs are
they are loose and symbolic
representations to give an organic and
anatomical feel to the model while
were
maintaining a clear visual separation
influenced by surviving sculptures and
between the various organs.
monuments from the classical period of

Greece and Rome, most of which then
survived only in their natural state, time
having stripped them of their pigments.
Damien Hirst was

by the color and form of an
educational toy (shown right) and
reinterpreted it on a large scale in
British artist
attracted
painted bronze. His sculpture, entitled
Hymn,
stands
some
20ft (6.10m)
tall
and weighs several tons in contrast to

the
few ounces and lOMin (26cm) height
of the original toy.
On
its
unveiling in
April, 2000, Richard Cork, art critic of
The Tunes
in
London, described
Hirst's
interpretation as the best sculpture of the
twenty-first century.
that
it is
ambitious
It
cannot be denied
in size
and color.
Left
Damien
Hirst (b.1965)
Hymn
Painted bronze
Height 20ft (6.10m)
44 Interpreting color
In this
10-minute sketch,
the colors in nature are
described as orange and
yellow
plate,
The
fruits
on a white
on a black
setting
table.
a neutral-
is
beige room, and the back
of a red chair breaks the

line
of the table.
These basic colors and

simple shapes are influenced
by the lighting conditions

and the chosen media, as
well as the artist's
mood
and technique. Chance and

accident play a large part,
too. in this quick study.
Acrylics, gouache and ink

arc Ireely applied over a
simple outline sketch, then

vigorously worked and
intermixed to build up
rapid interpretation of the

natural colors of a classiest ill-life
subject.
Plate of Fruit
Mixed media on paper

*~
Se e also
jlors of the
10 x 8in (25.5 x 20cm)
spectrum 24-25

Color by color
48-93
Creative directions
96-153
Robust solid colors and thinner washes
show
a versatile approach to mixing
acrylic
and gouache. Thinned with
water and speedily applied, accidental

blots occur
soluble crayon and ink bleed and merge,

tinting adjacent areas.
Color index 15f
and the pure colors spatter
one another. Outlines made with water-
/
r
45
Interpreting color
Mixing media
Do not be
down
Experimenting with color

Experiment with how you
afraid to mix media. Lay
colors using colored pencils,
pastels, acrylics
and gouache
look
for lively
at colors in nature; the
colors are rarely like you
color experimentation.
think they are. Use any
materials that are available,
and ignore correct usage lay gouache over acrylic,

mix it with ink, and scribble
over
it
with colored pencils
and pastels.
Rub, scratch and scrub
into the surface, using a
simple limited palette of two

or three colors to avoid the
muddy.
Use thick and thin paint,
draw lines and apply washes.
Forget about making
results looking too
a neutral color to
indicate the back wall.
Scrubbed
with watery red and a touch of

black,
it
Black
Red against black
Neutral-beige
White provides
creates a
warm
interior.
The back
edge
of the table
Behind
wash
of the chair behind the

is
a basic red.
that, a dark patch of a thin
of black indicates a
doorway.
and copious amounts of water. The
an accurate drawing or a
photographic likeness of the
objects -just apply the paint
green
as fast as
Black
is
used for the solid tabletop
and shadows, with a touch of white
tint is
created by the colored
pencil outline used for the drawing.
you can. All you

do is capture a
are trying to
vibrant impression of the
simple
still life
in front
of
you, so concentrate on the
See what turns out.

what you have
done, keep it. If not, discard
it and try again.
colors.
you
If
like
Playing with color

An orange is orange and
Orange
Cadmium Yellow Deep combined
with pure red and a medium yellow
White
makes
break into
a vibrant mix.
White provides
highlights and surface reflection.
Here, a detail of the plate
white used
of light
at its purest.
its
shows
Other colors
purity, giving a
and shadow.
sense
Yellow
Cadmium Yellow
skin of the fruit,
is
Light forms the
which
is
freckled
with typical ripe markings indicated

by random black and a touch of red.
yellow
but
in art
banana
you can paint
an orange or a banana any color you

want. There are no rules about
having to stick to nature's colors.
So
try painting
the orange blue and
the banana red.
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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
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
fr
tor
^%w>^
EvT
*P
î
jM
nb
Metallic colors,
Iridescent colors,
Fluorescent colors,
Interference colors, and
Mica formulations.
Due to the limitations of the four-color
printing process,
Wr
-^^
White*- 86 *-87*~
it
is
not possible to
reproduce these special-effect colors
BP^nr^B
with any degree of accuracy. See page
'ffiS^'
for further details
^^~
-Metallic*- 88*-89*and special-effect colors
and refer
to
manufacturers' color charts.
Flesh*- 90*-91*-92*-93'
and reddish yellow
tints
See also
24-25

Creative directions
96-153
Color Index 156-179
50 Blue
"In music a light blue
like a flute, 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.,
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
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.
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
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
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
ferric
its
Named
cobalt and tin oxides.
containing
into a cochineal lake
chemical mixture of
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
blue.'"
Ferric ferrocyanide
PB28 Cobalt aluminum oxide

PB29 Complex sodium
aluminum
PB35 Cobalt
LlBRI C'>l OKI
M
IRS)
I
nil
'
silicate
oxide
PB36 Cobalt chromium oxide
'
if
tin
c.i
PB60 Indanthrone
01
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
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
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."
\ji
Manganese Blue
This color, developed
in
the early
was made from
twentieth century,
barium manganate. Described as

having "an ice-blue undertone,"
was
%.'
Idfc
a bright greenish blue, similar
to Cerulean, but
weaker
in
tinting
now
Jb
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
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
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)
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
''-
;:.:-,--<-.-
:.:-,;.
:....-:.
:-
s$ttm
1
Prepared violet colors
Violet pigments
Caput Mortuum
There are numerous manufactured violet
A number of violets exist as
This
pure synthetic pigments. For
color seen
PV15 (Ultramarine
Violet), PV19 (Quinacridone)
and PV23 (Dioxazine Violet)
and sometimes
hues available.
(From
left to right,
top to bottom)
Brilliant Violet, Light Violet,
Violet,
Deep
Quinacridone
Violet, Ultramarine Violet,
Light Blue Violet,
Medium
Violet, Violet,
Dioxazine Violet, Violet Bluish, Caput
Mortuum, Permanent
Violet Dark.
example,
declarations on paint tubes.
However, many manufactured

colors that bear the
name
subdued violet-brown
originated
in
skulls piled in the
catacombs
in
Rome.
the pigment are obtained from bone,
and a more feasible explanation
salts that
by mixing.
Its
However, none of the constituents of
hues, such as the mauves,
hues can be obtained
watercolors.
the eighteenth century,
that the color
of the prepared violet
in
said to be derived from the color of
violet, including similar
magentas and purples, are

often combinations of red
and blue pigments,
sometimes with added
white (see Light Blue
Violet, above left). Many
colors
in artists' oil
strange name, "death's head," which
is
are frequently seen in product
is
was
were baked down
"dying" embers. Caput

or
Mars
some
artists find useful
their repertoire of earth colors.
makes good
flesh tones
with white. Mars Violet
pigment
is
to their
Mortuum
Violet has a subtle violet
character that
in
is
obtained from iron
(red iron oxide
It
when mixed
is
an
PR1 01
a color that can be easily
artificial
).
It
mixed
on the palette.
Caput Mortuum
is
maroon Mars
violet.
56 Red
Red
"If one says 'Red'
name
(the
ami
there are
of a color)
50 people
listening,
50
the
most dynamic and vibrant color
artist's palette. In its purest,
hottest of the
warm
colors.
reds in
their minds..."
Josef Ai
bi
rs
(1888-1976)
vibrancy. Set against
amount
a small
oldest color
its
It is
the
is
it
a color that needs to
may reduce
its
complementary, green, even
will sing
names -
in the
saturated form
be used judiciously, since overuse
can be
it
expected that there

will be
is
and sparkle.
the first color
It is
one of the
word we speak
of after black and white.

Cardinal Red
Red
is
a color with countless symbolic and contradictory
In
can signify danger, or life;

good luck, as well as evil. In India red is the sacred color of
Lakshmi. the goddess of wealth and beauty, and in China a
ruby represents longevity. The red planet Mars is named after
the Roman god of war. Early physicians wore red robes to
associations in different cultures.
It
first
red palettes
Red iron-oxide pigments produce
pigments were often fugitive,
properties, but slightly different
when mixed
with others and were
sometimes extremely toxic.

Early red pigments were
mostly made from earth
the nobility, and the pope and his
variations, such as
Mars Red and
Venetian Red with
light,
which was not purple, but
and Indian Red, Mars Violet and
n at
ol
the least-refracted
from crimson to
n and orange,
esp
n in
'
rubie
lips,
blood.
oals,
and
in.
hair..."
human
and to show feast days on the
permanent, lightfast colors with
ecclesiastical calendar, and so a
Rosa (see Brown and Red
Earth,
found
was made from red arsenic

was a natural pigment
It
volcanic areas and hot
in
springs,
and was used
in
ancient
Mesopotamia. The word realgar

stems from "rahj al-ghar" (Arabic
brazil wood, and the Indian

lac and kermes insects.
obsolete pigment,
for
"powder
it is
Now
toxicity.
its
it
Scarlet
is
of
CI International
Violet 55
ami, therefore, highly toxic
Orange 60-61
is
also
Brown and Red
in
Puritan times
with a scarlet
18-19
lust,
and a
suspected of committing
adultery
"See also
women
associated with
woman
lead monoxide and lead peroxide

It
when
Red
this
composed
an
use continued
first
not used by artists
today, because
its
longer used because of
extreme
is
of the mine").
the nineteenth century,
was no
Red lead
pigment
day became a lucky day.
pages 72-75). These colors can
resinous sources, such as
manufactured by the Greeks,
red-letter
Red, Persian Red, Sinopia and Terra
sulfide.
is
spectrum, of shades
books to
guide the conduct of church services
cooler versions. Earth reds are
Realgar
process are
a highly prized color,
The early Christian church used red
Realgar
termed "lakes." Much later,

Renaissance artists also used
red lake pigments from
Once
a red
the kermes insect.
for directions in prayer
Caput Mortuum, which are darker,
until
red?
approaching
"Of OT
the color
made from
be either natural or synthetic.
chalk); paint pigments

this
II
Red-letter day
tones
names within this category are

known as English Red, Pompeiian
powder
(probably gypsum or even
What
warm
and many of the

red paints were originally
obtained from dyes.
The Egyptians found a
way of fixing dyes onto a
resins,
made by
1464 Pope Paul
introduced "Cardinals' Purple,"
reddish hues with similar
good covering power. Other color
transparent white
many
colors, berries, roots, insects
and
became the
exclusive preserve for kings, judges,
Earth reds
Red was a difficult color to

make successfully and early
turned black
tedious and
produce. Hence, red
(along with purple)
dye
The
- they were
rare
difficult to
cardinals, in
were painted with

signify the presence of the bubonic plague.
signify their healing profession, and doors

a red cross to
the Middle Ages, bright colors
were
letter.
was branded
Even before
Christianity linked red with the devil,
the color had negative connotations.
An
72-75
known as Minium or Saturn Red. It

was used for many years to protect
Color index/Reds 161-165
steel from rusting.
Color index/Earths 174
Earth
ancient Egyptian incantation,
praying for salvation from
"Oh,
Isis
deliver
me
evil,
was
from the hands
of all bad, evil, red things."
Red
in
57
history
Dragon's Blood
Also called Indian cinnabar by the
Greeks, Pliny maintained that the
came from
color
a mixture of an
elephant's and a dragon's blood,

following a fierce battle between the
two beasts.
In fact,
is
it
a red-brown
produced by the sap
resin
of
an
Asian shrub known as Calamus

draco.
The leaves have
Using red to attract attention
that
Red attracts the attention
the bark
of the
grow
is
prickly stalks
resemble long
to
and
tails
covered with spines.
viewer, because the color appears to
advance, making red objects
seem
closer than they actually are. This

visual
phenomenon occurs because
red has the longest

all
wavelength
visible light. Artists
of
can use this
property of red to their advantage
added dimension. Making some
for
warmer
colors
will
make them stand
Vermilion
The Greeks made an
form
artificial
which
out from a picture's surface, while
of cinnabar, called Vermilion,
cooler colors will appear to recede.
was an orange-red pigment. The

recipe was not known in the West
the twelfth century, and
until
it
took
another 300 years for the pigment to

be
common
in
use. Again,
it
was
the
best bright red available. The color
was
often used
painting
where
in
it
manuscript
was
glazed with
either egg yolk or "glair" (egg
white). Similarly,
Vermilion
madder
was
in
painting
often glazed with
or cochineal lakes in order
to increase the purity of the color.
Vermilion
is
made
by heating
mercury and sulfur together

flask.
any
in
of the flask in the
Cinnabar, the precursor to Vermilion,
mixture.
was made from
the mixture
a dense hard rock.
According to Theophrastus
in
300bc)
The History of Stones, cinnabar
ore
was
cliffs
it.
(c.
by shooting arrows to loosen

for cinnabar
was Almaden in Spain. The Romans

made paint from cinnabar and it was
their only source of a bright orange-
red color.
It
was
cleaned. The longer
ground, the brighter the color
becomes. Cennini claimed that
dislodged from inaccessible
The chief mining area
it is
form of a black
red color develops as

is
not as bright as
Vermilion, although both are forms
you ground
it
still
become
until
to late twentieth century.
are also
used to denote bright-colored hair

paintings, particularly red hair.
The
expression originated, because artists

traditionally
known under secondary
names -
Crimson
Alizarin
referred to as Rose
or
gave Judas distinctive red

hair in paintings.
diBondone (1267-1337)
The Kiss of Judas, c. 1305-06
Giotto
(detail)
names you may
some
of
find to describe
various hues of red pigments:

Alizarin Crimson
Bright Red
for instance.
Some manufacturers
own names to colors
attach their
they have
There are individual inconsistencies

that only
become apparent
to the
finer
the mid-
longer relevant. Here are
the
also
is
Madder
Permanent Madder,
artist after
medium
time and familiarity with

or particular paint
manufacturer. Generally speaking,

colors tend to have old names,
oil
while
new media
such as gouache
or acrylic are often given
more
is
gouache name that
example,
is
very close
in
terms of handling
for
"Judas hair"
in
in
of the colors
descriptive color names. Flame Red,
of mercuric sulfide.
A term
available
is
Many
"if
and more handsome." Vermilion

continued to be used
of reds
media.
developed, such as Winsor Red.
every day for 20 years,
the color would
of the
The combined substances
vaporize and recondense at the top
Cinnabar
Naming reds
A wide variety
and range of color mixing
abilities to
Cadmium Red.
Often, an old name may be attached
to a paint color, but it is now made
the
oil
paint called
synthetically and the problems of
permanence
or toxicity that
associated with
it
in
were
the past are no
Red
Burgundy
Cadmium Red
Carmine
Chinese Vermilior
Crimson
Florentine Red
Brilliant
French Vermilion
Genuine Red
Geranium
Helios Red
Intense Red
Magenta
Munich Lake
Nacarat Carmine
Naphthol Red
Pyrrole Red
Rose
Rowney Red
Ruby
Scarlet
Transparent Red
Vermilion
Winsor Red
58 Red
Madders
Alizarin Crimson
In
Madder Lake and Rose Madder
general Alizarin
Crimson mixes
to obtain violet
Purples and
''
.violets
mixed
with Cadmium
Red tend
to
brownish
Red.
however,
is
for
plant
it
Rubia tinctorum. Native
was introduced
George
to
and
into France
Field,
a great colorman of the nineteenth century,
in color.
Cadmium
good
madder
Greece,
Italy in the twelfth century.
be
Cadmium Red
h
now
produced synthetically, but the color

was originally made from the root of the
well with blues
are
who supplied John Constable (1776-1837)

and William Holman Hunt (1827-1910),
invented a press in order to extract the dye
from the madder root.
Preparing natural madder
Alun Foster, chief chemist
atWinsor
& Newton
mixing
with yellows to
Crimson and Carmine
produce a clean
The
bright orange.
original paint colors
known as
crimson or carmine were precursors
Complementary
of Alizarin Crimson.
color
come from
Dried madder root
As the complementary
red
is
of green,
which
Genuine madders
Winsor & Newton are
a useful
The names
the kermes insect, from
dye
this color
was
the only
same
the introduction of the
remaining large commercial
down
saturated greens.
company to produce a natural

madder in artists' colors, one
Eventually, the
that has a pinkish rose hue.
two mixed
The pigment declaration NR9
produces a transparent and highly
together, with
shows the product contains
fugitive color
bright
genuine madder. However,
many modern colors (see left)

bear the name madder, and
white, will create

either a greenish
gray or a
these vary
warm
medium
pinkish gray.
in
hue from a
rose color to a darkish
violet-brown and contain
derived from the cochineal beetle
Dactylopius coccus. This tiny
Mexican Coccus cacf/-eating insect
when ground and
precipitated on clay. There are
approximately 70,000 insects per
pound
held
and
it
The color was
of cochineal.
in
various synthetic organic
high regard by the Aztecs,
was brought
Europe shortly
to
after the discovery of Central
pigment combinations.
South America. Today,
commonly used as
Synthetic madders range
Reds in the artist's palette

As one of the primary colors,
permanent reds
to individual preferences,
palette will
Crimson, a coolish blue-red.

and Cadmium Red. a warm
orange-red. Alizarin Crimson
is a transparent color and
good
for glazing, especially
oils
adding
and acrylics
a
for
blush to a cheek, for
mple - while Cadmium

opaque and has
lenl and greater
I
it
it
proved to be
until
Madder
plant
or crimson are
now
synthetically produced.
the
Scarlet Lake
Crimson in the 1860s.

The French government
attempted to protect its
traditional madder-growing
industry by making it the
compulsory red dye for
army-uniform trousers.
Scarlet Lake
is
pigments, but
made from various

was originally a
it
mixture of Vermilion and Cochineal

Lake.
The color
is
also
known as
Scarlet Vermilion.
Rubia tinctorum
Chrome Red
Orange-red was
Alizarin Crimson
Alizarin
Crimson
is
a synthetic substitute
madder and was
for
introduced by two
first
German chemists, Graebe and Liebermann,

in 1868. It was the first natural dye to be
manufactured
artificially.
By 1920,
it
had
replaced most of the old lakes and madders,
derived from
chromium, discovered
in
the early
nineteenth century. Although

brilliant in
hue, the color
and unstable and

It is
is
is
toxic
no longer used.
also called Chinese Red.
which were often weak colors that

discolored rapidly and
were not
lightfast.
rom these
possible to mix
two reds,
a wide spectrum "I colors.
and
more
a food coloring,
because as a paint
word carmine
invention of Alizarin
choose different colors

their palette according
invariably include Alizarin
pinkish rose to deep reddish browns.
the deepest and most
paintbox. Different
minimum
light,
Natural madder produced
artists
but a
hue from
Red legs
one of the most

important elements in the
for
in
it is
extremely fugitive. Paints using the
is
artist's
saw
color
color for toning
the addition of
red
first
extracted. The sixteenth century
Alizarin
Crimson
staining
power -
It
is
is
a color with a strong

little
goes a long way.
also transparent and
used a
lot
with glazes.
is,
therefore,
Aniline reds
A number
of aniline
developed
in
pigments were
the 1850s and 1860s
Among these were a

was named fuchsin
violet-red that was named
(see page 81
).
cherry red that
and a
Magenta
after the battle of 1859.
Modern
New
59
rec
reds
the advent of new chemical
have considerably augmented the artist's choice
The twentieth century has seen

pigments
of reds.
that
Many
of these provide reliable versions of natural
colors that are unstable.

Quinacridones
The
first
quinacridone colors were
brought onto the market
the 1950s.
in
These are a wide and vibrant range
of
reds that range through oranges,

pinks and purples. They have
gradually replaced most of the lake

colors and provide
new
colors,
particularly increasing the choice of
bright
magentas. They are
and resistant and, even
Cadmium
In
colors
versions, have a luminous quality.
8 1 7 the heavy metal
lightfast
in their oil
acrylic
cadmium was discovered
transparent luminosity and clean
by the German
mixes.
scientist
By
Friedrich Strohmeyer.
various
cadmium
particularly
colored black
the mid-nineteenth century,
Sample selection
of
In
and watercolor, they provide
may be
deep dark
The Fauves
or
The Fauves (French
obtained from
cadmiums
beasts")
were the
mixing Quinacridone Crimson with
break
Phthalo Green.
color and to use
colors were
being developed. Brilliant in

hue, they were opaque and
Inspired by red
away from
vehicle. Prime
These
colors all veer toward the
hotter part of the spectrum
also reliable to use.
using descriptive
it
as an emotive
among them was
Peryiene Red
Henri Matisse (1869-1954), one of
Developed
the great colorists of the twentieth
the 1980s, these are
in
strong deep brown-red and
pigments.
through the red/orange/

yellow range.
for "wild
first artists to
warm
In
maroon
century. His influence can be seen
mixes they produce
in
the early works of Andre Derain
(1880-1 954),
darks.
who chose
a bright,
emotional palette before reverting
Pyrrole Red
Cadmium Red
Cadmium Red was
not introduced
the early 1900s, since
until
As
is
when
their
to
name
group of
bright, fiery
it
introduced
the
first
made from cadmium sulfide

and cadmium selenide. Top-quality
and they are
ranges are composed of pure
produce clean mixes that
is
cadmium, while cheaper makes are

a
has less tinting strength and
produce a less vibrant
Cadmium Red
important colors
palette and
is
for Vermilion.
red. Paint
is
Sample selection
of
quinacridones
in
most
is
give
cadmium
the artist's
designated as
medium and
In
Red
colors.
introduced
in
the
920s.
through to deep crimsons, and
factor that
Cadmium
It
is
of concern to artists
is
the variable lightfastness of the

category, with
which
makes an
some Naphthols
being unsuitable for
artists' colors.
The more commonly used high-
color, but there
Color field painting

The American painters
painting that
some concerns with
particularly
if
toxicity,
undiluted pigment
lightfast
is
used instead of ready-made paint.
Sample selection
of
magentas
pigments are PR1
2,
Mark Rothko (1903-70) emerged from

movement. Rothko's work was
reliant on the pure sensation of color.
He painted huge canvases, overlaying

large areas of color, so that the field of
seemed
to
impact of color.
Scarlet Lake.
go beyond the picture
plane to allow the viewer to become

totally
Medium and
950s and
this
Naphthol Red
Naphthol Red
became known as Abstract
PR170 and PR188, which appear as

Light,
of the
Expressionism. The work of the artist
color
are
1960s developed a style of abstract
complex chemical families. The main
acts as a cooler red.
**
they belong to one of the most
inclusion of Alizarin Crimson,
Kit
^|
light,
often balanced by the
opaque permanent
IP
them an advantage
in
dark.
a limited palette,
is
=8
^P
They range from yellow-shade reds
will often
right
their chart
group of organic pigments,

first
a very bright, hot
have a variety of Cadmium Reds
mm
WoTTtHklO
Naphthol reds are a large
the best substitute

It
may
over
^^
have
Naphthol Red
of the
manufacturers
lightfast,
may
color.
one
in
reasonable opacity and
cadmium-barium mixture, which
subtle, traditional colors.
990s,
from Cadmium Yellow, Cadmium
Red
fP
orange-red colors. They were
has become a core red. Developed
more
implies, this
absorbed by the emotional
(fn*cT]
60 Orange
The color oranse
"narangah" for the
"Orange
is
like a
man,
convinced of his own

powers. Its note is that
of tli e an gel us, or of an
old violin."
WASsm
Kandinsky (1866-1944)
named
is
fruit.
Orange conjures up warmth
and vibrancy, and the color appears

the spectrum
form orange may often have a

these
in the
between red and yellow.
either red or yellow.
In
it
may
hot part of
pigment
slight bias
Although
two primaries,
word
after the Sanskrit
toward
be mixed from
the clearest and brightest
oranges are single-pigment hues.

Different proportions of ingredients
gave deeper shades. The chrome

colors
were
were not
and most
lightfast
later replaced
Chrome Orange was
by cadmiums.
Some modern oranges
known by
also
Advances
several other names, including
chemical
in
synthesis in the twentieth
Persian Red and Derby Red.
century have given the
new orange pigments
Cadmium Orange
There
is
huge number
of
cadmium
colors that range from pale yellow

to
Antonio Mensaque
deep
red.
Cadmium was
production
in
Collection of The National Trust
Perinone Orange
An intense orange with
cadmium
were not widely used until

much later, when cadmium was
more generally
iew
and pyrrole oranges.
colors
Orange has traditionally been

sourced from earth colors
ranging from golds to
browns. The toxic Realgar,
derived from volcanic
minerals, which was used
from ancient times and
Orange
is
these are the
the early part of the
nineteenth century, but
Anglesey Abbey, Cambridgeshire
Among
lightfast.
perinone. benzimidazolone
first
discovered as a byproduct of zinc
Oranges, 1863
and
bright, clear
available.
a bright
warm
this color
first
is
a lake pigment,
it
available
is
dark shades.
light or
permanent color and has good
semiopaque pigment.
Some makers add

Cadmium Red to Cadmium Orange
and
covering power.
its
a red bias,
used as a dye
in
the 1920s. Eventually produced as
Cadmium
color that
was
composed of cadmium sulfide and

cadmium selenide. It is a reliable,
to increase
artist
that are
reddish tone and the
it
may appear
is
in
watercolor
In
be a granular and
to
lightfast
is
It
sometimes combined with
aluminum flakes
to
produce a
copper-looking metallic paint.
range of colors available.
through the Renaissance
period right up until the
This mid-orange has a slight yellow
nineteenth century, could be

classified as a red-orange.
New
mid-oranges were
developed from chromium
and cadmium
It
is
a reliable, staining color,

it
is
"azo" colors are often given
Winsor Orange. They may not be
as strong as
in
often used instead
Cadmium Orange. These
manufacturers' names; an example

is
improvements
cadmium
colors
when
mixed, but they have good lightfast
synthetic color manufacture
have ensured
of
in the early
nineteenth century, and

recent
bias.
and today
properties.
reliable,
lightfast versions of these.
Pyrrole Orange
The pyrrole pigments were

discovered
Chrome Orange
This bright reddish orange
was
developed from chromium
in
It
*~Se e also
International
was produced
1809.
by the reaction
of lead nitrate with potassium
18-19
chromate and sodium hydroxide, and

the resulting mixture
Yellow 62-65
Color index/Orange 161
and dried
to
in
create colors
was
filtered
produce the pigment.
the early 1980s and

in
sector. Pyrrole
the orange to red
Orange
is
a bright
transparent and
mid-orange that
is
lightfast. This is
another color thai
may be used as a substitute for

Cadmium Orange, and it produces a
broad range of colors when mixed.
61
Orange
Experimenting with orange
Orange exists as a single pigment
(see page 18), but
it
is
one
of the
easiest and most satisfying
secondary colors
to
mix from reds
and yellows.
"
Warm
red, intensified
by a suitable yellow,
is orange."
Wassily Kandinsky (1866-1944)
Naming orange
Prepared orange hues

Manufacturers offer several prepared
orange hues.
oranges and
Many
are single pigment
will carry the declaration
Orange used as a name

a color
was unknown
importation of the
to describe
until
the
fruit into
the Middle Ages. Even
Europe
in
the
is
an
PO, followed by the appropriate
in
reference number. Others are mixed
fifteenth century, Cennini
pigments containing red PR and yellow
describes Realgar, which
PY ingredients.
obvious orange hue, as a yellow.
(From top to bottom,
left to right)
Cadmium Yellow Orange
(Old Holland)
Scheveningen Orange (Old Holland)

Perinone Orange (Winsor
& Newton)
Chrome Orange Hue (Rowney)

Brilliant
Orange
(Liquitex)
Cadmium Orange Azo
(Talens)
Transparent Pyrrole Orange (Golden)
Cadmium Orange
(Lukas)
Indo Orange Red
(Liquitex)
Cadmium Orange
(Tri-Art)
Cadmium Orange (Rowney)
Burnt Orange
There are various hues carrying the
descriptive
Cadmium Orange
(Tri-Art)
Cadmium Orange (Maimeri)
name orange
that veer
toward transparent reddish browns.
Among them
are Chinese Orange and
Qumacridone Burnt Orange.
62 Yellow
Yellow
is
a versatile primary color and an
indispensable mixing ingredient in the

palette.
The yellow family ranges
artist's
hue from acid
in
cool green-yellows to clean crisp lemons, and
warm
includes pure unbiased primary yellows, rich
cadmiums and chromes, and
it
neutral creamy, fleshy
Naples and earthy ochres.

Yellow
"There are painters
zelio
transform the sun into a
their
intelligence, transform a
yellow spot into the sun."
Pablo Picasso (1881-1973)
terms of the associations

it
is
it
put.
Yellow may suggest sunshine and

cheerfulness, or sickness and cowardice.
others who, thanks to
and
perhaps the most schizophrenic

in
holds and the uses to which
yellow spot, but there are

their art
is
of colors
While yellow primroses and daffodils herald the spring,

yellow and black stripes signal the warning of a wasp's sting
or the danger of heavy machinery. Yellow has highly emotive
connections. Yellow ribbons tied on trees signify hope and
optimism for returning loved ones.
Origins of yellow
Yellow Ochre
Yellows are derived from the

earth, from arsenic, plants and
even cow's urine. The word
"yellow" comes from the Old
English "geolu"; and similar
names for yellow are found in
Old Saxon and Old High
German ("gelo"), and in Old
Norse ("gulr"). The Latin for
yellow is helvus and a similar
Yellow ochres,
or earths, have
Naming yellows
continued to be
used throughout history and provide

strong, economical,
opaque
and
hydrated iron oxide (limonite).
It
is
known by many names, including

Earth Yellow, Mars Yellow and
Mineral Yellow (see page
word Helios is the name of

Greek sun god, a name
of the
yellows that you
may
names
for
see:
color.
Yellow Ochre consists of a mixture

of clay, siliceous matter
These are some
66).
Aureolin
Indian Yellow
Azo Yellow
Barium Yellow
Lead-Tin Yellow
Brilliant
Lemon Yellow
Yellow
Massicot
Cadmium Lemon
Cadmium Yellow
Chrome Yellow
Naples Yellow
Cobalt Yellow
Vanadium Yellow
Winsor Yellow
Orpiment
Paris Yellow
Gamboge
the
Orpiment
Golden Ochre
Yellow Ochre
that has
The Egyptians
Hansa Yellow
Zinc Yellow
been appropriated to
identify certain
developed a
modern brands
brighter,
of yellow.
more
acidic yellow
mineral pigment,
Prehistoric yellow
a sulfide of
Yellow was one of the four colors
known
arsenic,
used by the cave painters of the
as orpiment.
Stone Age; yellow and red earth,
It
came from
white chalk, and black carbon have
Smyrna and has
been dubbed the "prehistoric
been
primaries." The iron content
in
the
earth gives the yellow and red hues

a
full,
soft quality, evident in the
cave paintings of Lascaux and

Altamira. Yellow earths and ochres
in
identified
Egyptian,
Persian, Syrian and Chinese

painting.
is
It
mentioned
in
yellow?
"Ot the color between green
and orange in the spectrum,
still
used
to this day.
colors. Saffron
Cennini. This highly poisonous and
obtained from Crocus sativus, but
used
\\h;ii is
colored
like
primros*
01
buttercup or
lemon or sulfur
in
was
also
medieval and Renaissance
manuscript illumination, from Europe
Massicot
A lead-monoxide
earthy yellow
pigment, massicot
was
a byproduct
of the production of red lead,
by the Greeks.
or gold..."
Turmeric and saffron have been used as
writings of Pliny and, later, by
unpleasant-smelling color
are
Plant yellows
the
made
and Ireland
to Persia
Much
it
later
and Byzantium.
was made
chemically
and known as King's Yellow. Other
names
for
it
is
a bright yellow color
said to fade badly
in
it
daylight
"See also
18-19
CI International
Orange 60-61
Yellow Ochre 66
Brown and Red
Earth
72-75
are Arsenic Yellow and
Chinese Yellow.
Color index/Yellows
157-159
Color index/Yellow Ochres 172
is
Yellow
The gold-leaf maker
Helios
"...hammers gold thin for painters, illuminators
The Greek sun god Helios
and other
as a charioteer driving the sun across the sky.
artists;
gold
into writing material;
sewn
is
it
ground and rubbed
is
woven and
also
often represented
adopted as appropriate brand names
of Trades),
63
history
The names Helios and Helio have been
into textiles..."
Standebuch (The Book
is
in
Nuremberg, 1568
for
certain bright yellow pigments.
Gold
Heraldic convention ignores
yellow as a color, but uses

to represent gold.
leaf
was reserved
it
Real gold
for the
most prestigious and sacred

works of art. Fifteenth- and
sixteenth-century writings
refer to the use of
powdered
gold as a watercolor for

illuminating manuscripts.
The
grinding of gold as a pigment

is
a difficult process because
of the softness of the metal,
mention of
ground gold being suspended
in honey as a binder.
but there
Indian Yellow
Mummy
Along with
Brown (see page
process of obtaining Indian
75), the
On
the character of yellow colors according to Cennini
is
Yellow may be considered rather

offensive.
It
is
"A
reputed to have
involved precipitating the urine of
cows
that had been force-fed with
mango
just
1
leaves.
one
Its
village,
manufacture, from
was banned
in
the
920s by the Indian government
effort to protect the
an unhealthy
color
is
now
although
it
in
golden
replicated chemically,
may
an
cows from such
diet. This bright,
lack the precise
color known as giallorino is yellow, and it is a

manufactured one. It is very solid, and heavy as stone, and hard
to break up. This color is used in fresco and lasts forever. ..it is
a very handsome yellow color; for with this color with other
mixtures... attractive foliage and grass colors are made."
"A
color
artificial
And
in
known
one.
color
as orpiment
It is
it is
shields and lances.

for
watercolor, and had substantial

lightfast properties.
yellow used
miniatures.
Gamboge
This yellow pigment from
was
first
Cambodia
imported into Europe
in
the
seventeenth century. Derived from

the resin of the Garcinia hanburyi
tree,
It
is
it
incorporates
moderately
its
own
lightfast, so
suitable for watercolor.
binder.
is
in
It
is
the bright
jewel-like Indian
yellow. This color
your mouth with
it,
"A
as realgar
color
known
an
closely resembling
It is
gives a green color for grasses and foliage....
poisonous.
is
really poisonous.
very good for painting on

mixture of this color with Bagdad indigo
gold than any other color.
character of the original! Indian
Yellow was most successful
is
made by alchemy and is

a handsome yellow more
lest
you
We do not use
it,
Beware of soiling
suffer personal injury."

is
yellow. This color
is
really
except sometimes on panel. There
no keeping company with it. When you want to work it up,

adopt those measures which I have taught you for the other
colors. It wants to be ground a great deal with clear water. And
is
look out for yourself."
only
Cennino Cennini, The Craftsman's Handbook (Fifteenth Century)
64 Yellow
Modern
Yellow "pinks"
Up
until the late
and
the
seventeenth
carls eighteenth centuries
word "pink" was often
used to describe yellow hues.
Manx of
these yellows were
derived from plants and
yellows
The advances
chemistry during the eighteenth and
in
Particularly important
cadmium
that include
historical pedigrees.
Ochre, nearly
A "pink" was produced by

dyeing a white substance,
such as chalk, and was,
ingredients,
With
of these
all
which ensures
their
made of synthetic
permanence.
Chrome Yellow
in
1797 by N.
chemist.
Its
L.
Vauquelin, a French
were
constituents
named
various colors, so he
"chrome" (from Greek
Cadmium Yellow
of
In
it
cadmium
expensive.
to
in
was
the early 1800s and
flow by 1820. Similar

orpiment,
it
in
tendency
too.
to discolor
Chrome Yellow was

Paris
aged.
it
known as
also
Yellow or Leipzig Yellow. The
color has
now
largely
been replaced
by the more reliable cadmiums.
Naples Yellow
favorite color among
in
describe colors with
a decidedly brownish-yellow hue

are
Brown Pink
(middle) and
(top), Italian
Stil
Pink
de Grain (bottom).
deep orange-scarlet
*"
Tv"^
fc
-
- "rtT
were barium chromate, strontium
all
Lemon Yellow. All

were semitransparent,
sold as
but the most permanent

strontium, which
light
and
zinc yellow,
*'
were
developed from chromium. These
three colors
-*- *xc
By about
color.
1830, three further pigments
were
made from
chromium, from a pale primrose to a
chromate and
*<*
was
even strontium tended
deep - ranging from pale primrose,

to golden, to orange.
fourteenth century.
that
its
believed
It is
original source
was
the
Mount Vesuvius
was made from
lead antimoniate. Today, Naples
Yellow
is
made with
pigments. The color

available
various
widely
is
in oil in light,
deep tones and
in
yellow hues, too.
medium and
warm
It is
pinkish
also produced
as watercolor and acrylic. Artists

generally find
it
lightfast,
Aureolin
cobalt yellow
in
the 1860s
introduced
precipitated
yellows
from top to bottom}
Some manufacturers
72-75
yellow
,-93
offer pinkish
combination pigments that
name
fall
category, but look
157-159
Color index/Yellow Ochres 172
salt
acid solution with a
solution of potassium nitrite.
expensive pigment,
it
lightfast properties, but
or a
change
in acidity.
most suitable as
An
has good
it
can
decompose when subjected
to heat
The color
is
a watercolor.
with
excellent handling qualities.
Hansa yellows
The Hansa yellows were developed
of the
sometimes named. You
also see
them with trade
more pink
Jaune Bnllant and the Naples Yellow

Reddish hues (see Flesh colors, page 90)
or
brand names, such as Winsor

Yellow. The colors range from cool
lemon yellows
to
warm
golden
yellows. Significantly for such bright

colors, they
do not darken when
into the
than yellow. Examples of these colors are
Color index/Yellows
in
from "azo" dyes, after which the
to turn
Naples Yellow Reddish
Yellow Ochre 66
available
Hoechst at the beginning
Naples Yellow, Naples Yellow Deep,
Se e also
became
when William Winsor

Aureolin. The color was
developed from a cobalt
may
*~
There are also
Cadmium Lemon.
in
colors are
(Right,
in
twentieth century. They are derived
in oils.
Warm
Cadmium Yellow
medium and
by the German chemical company
was
a cool,
yellow. Again, however,
greenish
was used
their
Manufacturers
European painting as early as the
century, the color
the pigment, a range of
different colors could be
a range
light,
different tones of
near Naples, but, by the seventeenth
By altering the amount of lead
chromate
painters,
Naples Yellow, sometimes known

as Antimony Yellow,
three tones
volcanic earth of
Chrome Lemon
offer
have good durability
usually provide
it
on exposure to
still
the artist's
As well as providing
lightfast properties.
had a
and became darker as
light
in
atmospheres may affect
its
It
colors
and heat resistance, although humid
in full
poisonous predecessor, but
Cadmium
of hues, they
hue to
soon replaced
had disadvantages,
palette.
began
this color
pigment was
sulfide, the
an important element
produce lead chromate. The
manufacture of
names you
introduced. Produced from
by mixing lead acetate or lead
potassium chromate
cadmium yellows
the late 1840s,
were
for "color").
Vauquelin developed Chrome Yellow
nitrate with
"pink"
Yellow
the exception of natural

latter colors are
The metal chromium was discovered
simplified version of a lake.
Among the
may see to
many
colors, as well as colors with traditional and
sources, such as seashells.
chemically
yellows.
were the yellow pigments derived
from chromium and cadmium.

Artists today call on core yellows
berries and other natural
in effect, a
new
nineteenth centuries brought a wide range of
used
fully
saturated.
65
Modern yellow
Indian Yellow,
Gamboge and Golden Yellows

Nearly
pigment
of the older
all of
yellows are
now
synthesized from
combinations of red and yellow

pigments. Indian Yellow
is
formulated from diarylide yellow
pigment PY83 and synthetic
iron
Many of the closer

named Golden
oxide PR101.
hues, often
Yellows
in
catalogs, share similar
ingredients.
The exception
is
Gamboge Genuine, which is still

available made from naturally
occurring gum resin NY24.
Lemon Yellow
Lemon Yellow may now be made
JOOOOC
from one of the arylamide synthetic

organic pigments or nickel titanate.
The color
is
yellow that
Pigment formulations
Most yellows are made from
a cool, clear acidic

is
single pigment formulation and
oranges.
It is
greens and
transparent, with a
somewhat weak
tinting
power.
employ chemicals such as cadmium

zinc sulfide, arylamide, nickel
titanate,
potassium cobaltrinitrate
and natural
members
iron oxides.
of the
A few
Yellow Ochre
Yellow Ochre
be approximated
in
an important
been used since prehistoric times.

is still
made from
PY43 (see page
66).
Many
*DOOQOOOOOOOQOe
Van Gogh and
Vincent van
give deeper hues. Naples Yellows
other
replicated by synthetic
iron oxide ingredients (see
mixes.
It
natural iron oxide
ochre colors, such as Gold Ochre,
may now be
Cadmium Yellow Deep is a good

example where the yellow element
has been warmed up with orange to
Brown
and Red Earth, pages 72-75).
yellow
Gogh
(1853-90) often used

yellow in his vibrant
paintings. Setting up his
have been softened and neutralized

with additional white and ochres,
and they are closely related to earth

in
is
natural mineral yellow and has
yellow family are
combination pigments, which can
and oxide colors
considered useful
for mixing powerful
hue.
studio in Aries, the south
of France, in the Yellow
House, he painted
his
surroundings of
cornfields, sunflowers
and yellow rooms.

Unfortunately,
many
of Vincent's vivid
yellows have not aged well.

nineteenth century,
chrome yellows
"
.
it
would be easy
to define
by association the physical

effects
of color, not only upon
the eye but the other senses.
One might say
that bright
yellow looks sour, because it

recalls the taste of a lemon."
Wassily Kandinsky
(1866-1944)
many
the
In
artists
adopted
to replace earlier yellow
pigments that were unreliable

susceptible to fading, such as
original Indian Yellow. But,
too, brought problems. In
or
Gamboge and
Chrome Yellow,
many
the color has turned green and,
paintings
in
some
cases, nearly black. Even van Gogh's
famous sunflowers have darkened, and
somewhat sickly yellows that appear

many of his pictures are signs that the
Chrome Yellow is deteriorating.
the
in
66 Yellow Ochre
Ochres
MM
selection of colors
whose
PY42, synthetic yellow
ingredient
is
iron oxide.
Ochre hues can vary from
brownish yellows to darker
light
reddish yellows.
Yellow Ochre
a dull
is
yellow earth pigment. It is

one of the oldest natural
minerals and has been in use
since prehistoric times. Like
all earth pigments, it is mined
from surface deposits and is,
therefore, easily accessible
cheap
used synthetic yellow
iron oxide
Attish Light
PY42,
lightfast
mined Yellow Ochre. However,
it
can also be more transparent, because of the
and
fairly
The
natural yellow iron-oxide
to obtain.
absence
is
found
of clay. Natural
in
many
Ochre
Bronze Yellow
which replicates the permanent and

qualities of
IIL.HL
r
Other ochres to be found are:
Since the 1920s manufacturers have also
Yellow Ochre PY43
places, including India, South
Burnt Yellow Ochre
Deep Ochre
Flesh Ochre
Gold/Golden Ochre
Mars Yellow
Nickel Azo Yellow
Orange Ochre
Roman Ochre
Yellow Oxide
pigment is PY43. Yellow

Ochre is usually listed among
Africa, Italy
the yellows in art materials
as Oxford Ochre from the Shotover
manufacturers' literature.
Oxford, England, relate to other sources
Modern pigment production
of the color
at the
and
its
reddish
hue can vary from
brown
and the USA. France also has good
deposits of high grade ochre. Past names, such
to an earthy,
golden yellow.
is
It
A
Maimeri plant
in Italy
Palaeolithic cave paintings,

c. 15,000bc
said that
As
the higher the iron content

the darker the hue
Hills,
far
as
we
can
tell,
the
Palaeolithic artists used a limited
becomes.
palette of three colorfast
pigments: yellow, red and black.

All
the colors are based on
iron-oxide deposits from the

earth,
"See also
and carbon, thought
be from
story
12-15
Brown and Red
Earth
72-75
Colors for free 144

Color Index/Yellow Ochres 172
Color Index/Siennas 172
fire
ashes.
to
Green Earth 67
Green Earth is a natural

pigment (PG23), ranging in
color from yellow-olive green
to a gray-blue green. It is one
of the earliest known pigments
and is commonly known as
Terre Verte or Terra Verde.
Green Earth straight from the tube

and in tint with Titanium White
Its
origins, unlike other earth
pigments, which are iron

(From
left to right, top to
Green Earth
bottom)
oxides, are
(Old Holland)
Terre Verte
(Taiens)
Terre Verte
(Senneiier)
Verona Green Earth
silicate.
The mineral contents
are mainly celadonite (bluish
(Lukas)
gray) or glauconite (dark
brownish
Creta viridis
Green Earth colors
Records of Green Earth date back to
Roman
are similar to traditional Terre Verte.
times,
when
it
was used
as
a base for frescoes and called Creta

viridis.
in
It
wall paintings
in
India. In
variety of
Green Earths and hues
Green Earth colors are available

from most manufacturers
has also been discovered
Minor and
Pompeii, Asia
all
medieval and
nearly
in
the popular media.
(From
bottom)
Renaissance painting, Green Earth
was
pages 112-11
Natural Green Earth
and has a high
oil
is
translucent
absorption and
is
was mixed
Natural and synthetic sources

Green Earth sources are not as
various plants, such as parsley, rue
widespread as
and columbine,
natural deposits of the pigment,
greenness.
mainly from Cyprus and central
turns
When
brown and
as Green Umber.
famous source
*~See also
near Verona
in
di
Verona, dating to the
enhance
to
Europe, are almost exhausted.
Terra Verde
its
heated, Green Earth
is
sometimes known
CI International
18-19
Green 68-71
may
Renaissance skin tones 112-113
yellow or brown oxide.
(Senneiier)
(Lukas Studio)
Olive Green
(Taiens)
Green Earth
(Lukas Sorte
Rowney
Earth
72-75
Color index/Greens 171

Color index/Ochres 172
1)
Olive (Rowney)
Bohemian Green Earth

Green Earth
(Lukas)
(Old Holland)
Olive Green (Winsor & Newton)
Greenish Umber
(Taiens)
Other trade names you
Brown and Red
replace the natural earth with
In
with
Middle Ages. Current manufacturers
Phthalo (PG7) or Viridian (PG18) plus
Green Earth
Green Umber
the past the pigment
A
of the mineral was
Italy; hence, its name
(Taiens)
3).
well suited to water-based media.
and the
Green Earth
incorporated as an underpainting
for flesh tones (see
iron oxides
commonly from
marine clays containing iron
may see
are:
Belgian Green
Holly Green
Celadon Green
Cyprus Green
Green Bice
Green Stone
Rhenish Earth
Hessian
Saxon Earth
Tyrol Green
Venice Green
Verona Green
olive).
68 Green
"Grass green and aspengreen, Laurel-green
Chlorophyll
and
in the earth's vegetation.
sea-green, Fine-emerald
green,
the source of green
is
It
traps the
sunlight and retains the red and blue-
And many
violet parts of the visible spectrum,
another hue;
As green commands
allowing the green portion to be
the
reflected.
variables of green
So love
my
loves of you."
Robert Graves (1895-1985)
and blue
on the
lies
color spectrum and
in the
palette
Green
is
between yellow
readily mixable
from blue and yellow.
Variables of Green
Green
in history
Pigment green (PG)
Most descriptions of early

green pigments refer to
In art materials terms, green
copper and arsenic

ingredients, which were
exists as a
common
pigment in its own

on products
as PG (pigment green). For
example, you will come
across PG7 Phthalo Green,
PG8 Naphthol Green and
right, identified
until the invention
of synthetic pigments
in the
nineteenth century.
Copper green and malachite
PG18
The history
pigments. Conversely, several
of malachite runs closely
parallel to that of azurite (see Blue,
page
Malachite
50).
is
occurring copper green derived from
carbonate of copper.
a basic
found
many
in
It
is
parts of the world,
association with azurite.
usually
in
Among
the obsolete
Wilhelm Scheele (1742-86)
Carl
a naturally
Scheele's Green
In
1775, while experimenting with
arsenic,
Swedish chemist
Carl
Wilhelm Scheele discovered an
acid,
Naming greens
immediately publish details for the
Green
Green, Mountain Green and
manufacture of
discernible to the
Hungarian Green.
pigment, because he
names
for this
pigment are Mineral
Cennini writes of the virtues of
malachite
in
the fifteenth century:
"A half natural color is

green; and this is produced
artificially .for
out of azurite;
it
is
formed
good
it
called
is
is
copper green
felt that
potential users should be

of
its
first
aware
was later named after him, but there

is some doubt about the extent to
which Scheele's Green was used by
It
is
not mentioned
laying in."
Chrysocolla
classical
in
following account
18-19
known as
is
words
chrysocolla, found
derived from the Greek

"gold" and "glue,"
for
because
it
was used by
Yell'
Gre<;>
Color index/Green 169
been
has
identified in wall paintings in
China and Central Asia and

ptian
nomenclature many names were

used to describe hues of green.
Some
still in
now
of the following
names are
many have
current use, while
disappeared:
in
George
Field's
"...To
make
the green,
some
potash and pulverized 'white

arsenic' (that is arsenious
oxide) were dissolved in
the alkaline solution
was
tombs dating
added, a
little
at
a time
Almond Green
Leaf Green
Apple Green
Arnaudon's Green
Leek Green
Avocado Green
Mineral Green
Bottle Green
Brunswick Green
Casali's Green
Celadon Green
Mittler's
Chartreuse
Chlorophyll
because of effervescence, to
a warm solution of copper
sulfate The mixture was
allowed to stand so that the
green precipitate could settle.
the liquid was poured off, and
Chrome Green
Cinnabar
Cobalt Green
the ancients
for soldering gold. Chrysocolla
Turq
eye. Prior
pigment
Chromatography (1869):
water and then heated, and
and medieval writing
combination with malachite. The
name
human
in literary
there are references to a blue-green
mineral
the largest color family
to the standardization of
poisonous nature. The color
artists.
is
secco, with a tempera
in
of yolk of egg, for making

trees and foliage, and for
In
this
sources of the period, except for the
and
malachite... This color
nal
greens available are made of

combinations of pigments
and contain yellow, blue and
white (see page 70).
copper arsenite. Scheele did not
bright green
"See also
Viridian as single
in
to 2000bc.
pigment was then dried

under a gentle heal..."
the
Copper Green
Dingler's Green
Emerald Green
Evergreen
Hungarian Green
Jade Green
Kelly Green
Lily
Green
Green
Moss Green
Mountain Green
Munich Green
Myrtle Green
Nitrate Green
Pansy Green
Paris Green
Plessy's Green
Prussian Green
Scheele's Green
Schnitzer's Green
Schweinfurt Green
Verdigris
Vienna Green
Woodland Green
69
3en
Verdigris
Verdigris (from the French
"green of Greece")
meaning
a blue-green
is
pigment made by scraping the patina

from copper that has been exposed to
vinegar or wine.
known
the most well
is
It
of the early artificially
prepared green copper pigments,

production originated
its
growing areas, and
in
wine-
was made
it
by
alternately stacking copper sheets
and grape husks.
crust
would form
on the surface of the copper sheets

and,
when scraped
were pulverized
blue
powder
Verdigris
is
off,
the scrapings
to produce a light
sold as verdigris.
nowadays as an
not seen
pigment, but Vert antique
artists'
is
decorative finish used for bronzing

plaster casts
and other surfaces to
simulate the natural green patina of

old bronze or copper.
Vegetable greens
Green pigments were extracted from
flower petals
in
the seventeenth
century and lake colors with
such as Pansy Green,
Lily
names
Green,
Iris
and Honeysuckle were created. Sap
name
Green, a
still in
a bright leafy color,

ripe
is
use to describe
was made from
buckthorn (Rhamnus) berries and
mentioned frequently from the
twelfth century.
century,
for
use
In
the eighteenth
Sap Green became popular
in
watercolor.
It
was
also
termed Bladder Green, because
was
often stored
in
it
bladders.
Chromium Green
This
is
Cinnabar
Cinnabar
a dull grayish green derived
which was discovered by Nicolas
catalogs.
Vauquelin,
of
known as
known as
in
1797,
in
a mineral
chrocoite.
Many
colored
Of chromium oxide greens,
Green,
Chromium oxide green

Green pigments that owe
the nineteenth century.
green
"On account of the
Green
is
replaced by modern arylide,
phthalocyanine or naphthol pigments.
communicates
their color to
was
listed
Chromium oxide
& Newton in
by Winsor
the 1840s, and the pigment

it
.will furnish
is
widely
available today. Identified as PG17, the
chromium oxide greens are well known

for their opacity, or "hiding
power," and
means of
enriching their pictures, and
their great tinting strength. In mixtures
of improving their art."
be substantially increased.
painters. ..with the
in
makers'
of a combination
the nineteenth century,
chrome green, also
was made
by mixing Prussian
Blue and Chrome Yellow.
chromium have been used widely since
beautiful emerald color
made
called Zinnober Green, or Royal
and Chrome Yellow, were derived
64).
is
In
a variety of
compounds, including Chrome Red
page
It
modern green and yellow
pigments.
Siberian red lead, later
Vauquelin wrote:
Sap Green
a shade of green or
yellow, widely available
from chromium (see Chrome Yellow,
Today, the vegetable ingredient of Sap
is
from chromates or chromium,
with white, yellow or blue, brilliance can
70 Green
Modern greens
Emerald Green
Emerald Green generally has a
bright,
was one
bluish-green color and
of
the most brilliant of the inorganic
among
colors. Popular
the French
Impressionist and Post-Impressionist

painters,
many
has been identified
it
of their works. Original
in
Emerald
Green contains both copper and

arsenic,
and
Munich
or
it
is
known as
also
Paris,
number of green hues are available in manufacturers*

main ingredients used is Phthalo
Green, although some original pigment names are still
incorporated as a description on the tube. This modern organic
pigment, introduced in 1938, was a product of artificial
dyestuffs. The pigment is from brominated or chlorinated
vast
catalogs, and one of the
copper phthalocyanine. Its color is similar to the bright,

traditional Emerald Greens, which contained copper and arsenic.
Vienna Green, and
Schweinfurt Green. The improved
pigment was
brighter,
more durable
and had a more intense color than
&
other copper greens. Winsor
Newton introduced Emerald Green

in
catalog
Gauguin, writing
to
and
their watercolors
in their first
in
..?^$^*^^
colors
oil
832. Paul
February, 1897,
in
George Daniel de Monfreid,
requested 20 tubes of Emerald
Green along with other
The color was used
colors.
in
Phthalo-based greens
the
Phthalo Green (PG7 and PG36) has
decorative arts for coloring
wallpapers, cloth lampshades and

linoleum, for decorating domestic
furniture
and
component
fabrics,
It
was
also used as an exterior and interior
house
paint.
One
being marketed
its toxicity,
bright tone
media and
because
it
was
name Phthalo Green and

name variations.
!M^$i^^
Other very widely used greens,
of
which
rely
m?rt,v
on Phthalo but have
modern yellow pigment added,
named
Permanent, Cadmium, Emerald,

of
its
Yellowish, Chrome, Cinnabar, and
and lightfastness.
the1960s, replacing
Winsor Emerald, a mixture
is
several trade
the 1950s,
Winsor & Newton discontinued
in
in all
are the bright mid-greens

in
the original copper-arsenic Emerald
Green
under the
all
insecticide and fungicide, and
despite
permanence
Emerald Green's
of
main applications was as an
still
excellent lightfast qualities and high
produced by most manufacturers
and as a
of paint for toys.
\mmm&*ft0fa
*^^#^^J?iy54ff.v*W
it
with
Sap Green, a
originally
Most manufacturers have followed
bright leafy color
produced since the Middle Ages,
of azo
yellow and phthalocyanine green.
!&Ml>
-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
left to right)
Cadmium Green
or
(right)
(PG18

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)
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
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
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
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
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
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
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
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.
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
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
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
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
NBkB
(trade
name
but
more transparent. Current pigments
Gilsonite),
available as an
oil
is
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
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.
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

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.
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
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.
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
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
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
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
coal
simple gray scale (above
be
made
right)
using Ivory Black and opaque
white gouache colors.
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
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
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
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.
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
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
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,
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
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
/'
the
remnants of a
L'ia\ that is
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.
cooler gray,
three pigments.
Others are very complex

blends of
many pigments.
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)
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
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
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
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
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
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)
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
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
are derived
from metal and metal oxides,
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
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
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,
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
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
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
60cm)
d' Orsay, Paris
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
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
(0)
Flesh Color
4, Lukas Series
(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
-;
'
>,:<
_._-V/^_.
uj*k
CEEiffl
DIRECTION;
CHAPTER
96 Creative directions
Color produces a very
Watercolor:
personal reaction and
straight
many
there are as
directions and
creative
Fast color
and mixed
106
for flesh
Ray Balkwill
Tim Riddihough
methods
for using color as there

are individual artists.
In this section
we have had
the privilege of speaking with
number of artists who use a
variety of techniques and a
range of media. They have
opened
their
homes and
studios and given their time
generously to bring us an
insight into their approach
Putting
more
color into watercolor
Expressive color
in
a variety of media
and ideas about color.

In discussion these artists
have mostly said that there

are no rules, and the ones
who do acknowledge
rules
A seven-
Subdued
102
colors
Joan
Elliott
Bates
color palette
Desmond Haughton
say that they are there to be
broken. The notion of rules,
although low on their
list
of
priorities, clearly relates to
style
and aesthetic convention
in art. In relation to color,
however, method and good

practice were rated highly.
The artists all emphasized
the importance of respecting
their materials and of
maintaining a disciplined
approach to color selection

and palette layout, often with
designated areas for mixing
and blending. This was not
always apparent when
looking at their mixing
surfaces and painting tables,
which frequently seemed
chaotic and uncontrolled.
However, these do not give
the true picture
Subtle color and tone
Many
Working
Renaissance
without black
skin tones
Nick Bowering
George Underwood
colors from a simple palette
the artists
agreed unanimously that

without a sense of discipline
toward color, the results will
be mud and confusion.
Palettes and painting tables
selection
(left,
from top to bottom):
Tim Riddihough, Desmond Haughton,
George Rowlett, Daphne Jo Lowrie,
John Reay.
Rich darks without using black
ried
techniques
for
glowing portraits
97
Creative directions
Massive
color in oils
George Rowlett
114
Color
contained
Daphne Jo Lowrie
Colors
1128
from the mail
Color
|140
on cloth
Various artists
Judith Chestnutt
Il48
_L^
Color and the physical paint surface
Painted lines and color contrasts
Rich color
Broken
from acrylics
Sue
118
Fitzgerald
color
John Reay
Getting acrylic colors to glow
Transparency
and luminosity
nonart colors
Marina Yedigaroff
A transparent
h 32
broken-prismatic color effect
color dimension
Carr&
Dunsterville
136
Practical colors for large-scale
work
for free
Applied color with textiles and paint
Smooth
Colors
Painting with
124
Taking color from wastepaper
Il44
color
150
Various artists
Various artists
Experimenting with found color
Smooth-surface color effects
Traveling
Dry color
color
and
Simon Jennings
146
Transporting color on a small scale
line
Various artists
Line and dry-color materials
152
98 Watercolor: straight and mixed

"My watercolor
paintings have definitely
become more colorful
in recent years probably due to
introducing opaque
media into them."
Ray Balkwill is an artist who has explored new

ways of painting his maritime subjects, but he
returns time and again to
medium
"the most wonderful
Watercolor explorations
Living in Exmouth, England,
it is little wonder that the sea
its
inspiration.
main
The elemental
forces in nature and the wide
open spaces of sea, estuary and

sky have long been an interest.
Mood and atmosphere play
a big part in his paintings, and
he finds that watercolor
medium
perfect
to
is
the
convey
this.
However, it is not an easy

medium, and, for the first
10 years of painting, the
worked
unpredictability
Winsor Blue and Cadmium Orange
he also uses colors such as
and Indigo - particularly in

mixed-media paintings in
which he combines pastel
and wants fiercer colors and
stronger contrast.
Tone plays an important

- especially
part in painting
in watercolor:
I
"When
concentrate on tone
painting
first,
with color
in a
supporting
find
my
black and
white charcoal sketches
an invaluable source for
elusive and
reference,
when
am working
in the studio."
he believes, are the secret of
the medium. Energy
is
who
in
watercolor painting, and, although
working outdoors,
it
when
can also be
the studio by working
quickly to ensure spontaneity.
Ray
Balkwill believes that the artist
should take risks and allow
watercolor to "do
its
own
"
thing
so popular with
When
use
also vital
can come naturally
medium's success and why
the
it is
demand much
forward planning by artists
in
In addition to his
the studio
translucency, expressiveness and
achieved
artist
unpredictable qualities. These,
Watercolor's characteristics of
this
its
in.
preferred watercolor palette,
role.
solely in watercolor,
trying to master
working
Winsor Blue, Viridian, Sepia
wealth of maritime
subjects are the artist's
in
of expression yet
devised" - watercolor paints.
and
Spontaneity
what he describes as
he
is
artists.
painting in
Ultramarine Blue and Light Red
pure watercolor, he favors a

limited and restrained palette.
For grays and
His usual colors include
The
Ultramarine Blue, Cerulean
colors that
Raw
Aureolin, Cadmium
Burnt Umber.
oppose each other on the
favorite mixture
includes Winsor Blue, or Ultramarine

Blue,
Orange, Permanent Rose,

Light Red, Burnt Sienna and
artists'
browns
mixes pairs of intense
color wheel.
Blue, Naples Yellow,
Sienna,
artist
and Cadmium Orange. For
lighter grays,
middle-value colors,
such as Cerulean Blue and Light Red,
He chooses
or
colors for their
watery mixtures of more intense
colors, such as Cerulean
transparency, lightfastness
Madder, create clean,
and Rose
colorful grays.
and purity, but finds the

students' ranges of colors
perfectly acceptable for the
Instead of black
earth colors, such as the
Ray never uses black
umbers and siennas.
in his
watercolors, preferring to mix

darks, using Ultramarine Blue and
(Ontrast and tone
Burnt Umber, or Burnt Sienna.
As
sometimes uses
a professional painter, the
artist is
new
continally looking for
Mediums 36-37
more recently,
he has been making paintings
that combine opaque media
with watercolor.
"See also
)smg media/Watercolor 32-33
Traveling color 146
Sepia
ideas, and.
Ray's palette usually varies

according to the
medium
he
is
Viridian and Sepia
Viridian
when he wants
He
mixed with
a near black.
99
Watercolor and other media
Ray Balkwill
Sheltered Moorings
(detail)
Watercolor and mixed media
Mixing media
The
artist often
gouache
pastel
"I
adds
ink
and
to the watercolor
in his
and
mixed-media paintings:
believe that there are only a
basic rules
in
painting.
It's all
few
about
making your picture and expressing

your
own
vision."
The painting Sunset on the

Exe is a typical example of
how
Combining watercolor and other media

The artist feels it is important that every painter searches for
interesting new ways to extend his or her experience and
knowledge of technique, so he has also been experimenting
in acylics, oils and pastels. More recently, he has used mixed
media - mainly watercolors and pastels combined. This
seemed the natural progression from pure watercolor. The
transparency and fluidity of watercolor and the opacity and
vibrancy of pastel work extremely well together, and their

interplay produces paintings that are rich in a variety of marks,
color and technique.
With
this
method, he
still
uses watercolor paper as the
more directly and

by using stronger colors - with plenty of
paint - so that the color is stated without the need for further
washes, as in the more traditional method.
support, but he aims to apply the watercolor
loosely.
He does
this
Ray Balkwill
Sunset on the Exe

Watercolor and mixed media
17 x18in (43 x 45.5cm)
he has used the contrast

of watercolor with other
media effectively. Here, by
using color counter-change,
or complementaries, the
warm areas of color against
cool ones create the intensity
of tones that balance light
against dark to their limit.
The contrast of the two media
working together makes for a
much more vibrant picture

than the "softer" look of a
pure watercolor. In this
painting the watercolors used
are Winsor Blue, Cadmium
Orange and Raw Sienna.
00
Watercolor: straight and mixed

Working with pure watercolor
Watercolor works best when it is expressed
spontaneously as possible.
When
as simply
and
using pure watercolor, the
way by building up the

washes and working from light
artist likes to paint in the traditional
picture gradually, applying

to dark.
One
painting
good use of
The
He
artists'-quality watercolors.
prefers tubes instead of pans,
because
it
is
easier to prepare large
quantities of strong
In
wash from them.
hills,
built
using masking
"wet-in-wet" technique
keep a painting simple. By
Finishing touches
using coolish colors, the
The
background tends to recede,

while merging and moving
these colors around helps
keep the background lively
involved adding a
The use of some highly

transparent colors - the
essence of watercolor - also
area.
permits the white reflective

surface to shine through.
is
perfect for capturing
the illusion of atmosphere,
space and
the
light.
Of course,
to excite the
colors they are
mixed with.
White gouache is only

added if necessary, to put
in finishing
touches, such as
After masking fluid
was
applied with a brush on the

boat and water, the
artist
wash of
Cadmium Orange and Naples
Yellow over the whole of the
paper to set a warm mood,
knowing that there would be
applied a light
cooler washes to follow.
it
is
washes.
further
wash of
darker mixes was used

letting
colors
and a mixture
of Ultramarine and Permanent
Rose for the shadows and
distant water. Ultramarine and
Light Red. and Ultramarine
and Burnt Sienna, were added
hull of the boat
for further darks. Finally, the
masking fluid was removed

and any hard edges were
painting
is
often
much
mined by
detail in the
touches and destroying
its
go" of a
Permanent Rose was washed

Over the distant hills and
harbor wall. Both of these
you are enjoying it. In fact, the

two most difficult aspects of
painting. Ray Balkwill believes,
are stalling a painting - being
repeated the wash.
but dropped a mixture of
is
difficult, particularly
if
laced with a sheet of white
paper
and finishing one
Core colors and materials used

Artists'-
and students'-quality
watercolors: Ultramarine Blue,
Cerulean Blue, Cadmium Orange,
painting
artist
the
in
some of the
show through.
Light Red was used for the
initial
freshness. "Letting
The
were added
the
mixture of Cerulean Blue and
colors have a cool bias.
Further darks
walls, steps and boat.
buildup of darks for the wall
and boat,
final
:iled.
seagulls, using white gouache.
in the
warmth and
dry. a
with a
and
contrast with the areas of soft
adding Ux)
was
rigger for the rigging, ropes
a useful
other colors, as well as adds
this
Quayside
flicks
texture to
softened with watercolor.
When
in
detail.
Naples Yellow is a semiopaque color that softens

mistiness.
few
"dry brush" to suggest mud.
rigging and seagulls, as here.
otherwise
much
way of adding
degree of opacity to other
finishing touches
Burnt Sienna was dragged

across the foreground with a
This technique
thinly
to
eye without
involving too
when
diluted, but they impart a
mall brush too
you want
opaque colors are also
transparent
').
is
of the paper as the lightest
deep
Brushes
He uses four brushes, including a
1 in (25mm) hake, a filbert, a no. 12
a rigger. He advises
places with
particularly if
that
wells.
in
it
Burnt Sienna. This
could retain the whiteness
large plastic palette with plenty of
working outside, he uses a
merging
little
useful for suggesting distance,
Transparent watercolors
have an attractive airy quality
When
Raw
fluid at the start, the artist
the studio old plates and saucers
are employed for mixing colors.
makes
and "sparkle."
Sienna into the background
each to dry before applying
By
watercolor
artist
Ultramarine Blue and
up using
three or four washes, allowing
the next.
Ray uses
was
in a
and the
qualities to retain translucency
its
painting Quayside
(opposite)
Palettes
of the most important elements
the role of the paper itself,
is
off.
Permanent Rose,
Light Red,
Raw
Sienna, Naples Yellow, Burnt Sienna
and white gouache.

artist
used masking
on 1401b (300gsm)
!'
I'll
|'.i|"'i
In
addition the
fluid
and worked
Whatman
(Not)
101
Wa
The
Ray Balkwill
Quayside
Watercolor
5 x 7in (12.5 x 17.5cm)
artist
painting
is
why many
a strong advocate of working "en plein air."
of his paintings contain
mellow mixtures
the weather and climate. The view
Devon, and
painting
it
was
Quayside
He does much
of his
the UK, where the atmosphere tends to soften the colors. This
in
is
was
is
of blue-gray
taken from a pontoon at Dartmouth,
a difficult position to paint from.
The
inspiration for the
the late afternoon light and the strong contrast
good example
accentuate the
of
how
it
created.
color can be used to suggest and
mood and atmosphere
of a place.
is
produced by
02 Subdued colors
Tonalism
"Whereas some think of
color as primaries,
I
tend towards the
is
which
a style of painting in
strives to capture the effect of light
the artist
for
my chords
Elliott
Bates describes her
painting as close
through color areas
known
as tonal masses, as
key.
distinguished from a linear approach. Joan Elliott
secondaries or tertiaries
and harmonies."
Color and tone
Joan
and form
when used
at the
Slade School of Fine Art in
tone and high
in
to describe the visible
quality of color
Bates studied
in
The terms "tone" and "tonalism,"
broadly.
in
painting, are
used
The hue may be described as
yellow or reddish tone, for example;
London under Professor William Coldstream,
the value as pale or deep tone; and
and her acutely observed landscapes display an
the degree of vividness,
awareness of color and tonal values.
instinctive
known as
saturation, as bright or dull tone.
The
artist recalls that "William

Coldstream was a fine Slade
Professor, not least because
he encouraged all kinds of
different talents to
Naples Yellow
Light
Raw
Cadmium Orange
Red
emerge and
prosper. Despite the fact that
member of the
Euston Road School, there
he had been a
was no pressure on the

students to work in that way."
However, students at the
Slade were familiar with
his work and that of other
members of staff who

followed that tradition.
Any
Sir
William Coldstream (1908-87)
Joan
Coldstream was a member of the
famous Euston Road School

painters,
founded
is
made up of
and she
also produces linear etchings
with tonal aquatints. She sees
1930s, whose figurative work

was subdued in color.
a landscape,
in
Sienna
drawings
Elliott Bates's
are often tonal, too,
of
the late
in
painting
composition, color and tone.
still life
or figure
terms of color and tone and
regards these two elements as
Yellow, Raw Sienna, Light

Red, Indian Red, Burnt
Sienna, French Ultramarine,
Cerulean Blue, Cobalt Blue
and Cadmium Orange. She
follows a set procedure in
Palette choice and layout
Joan
this is instinctive.
once heard
palette out
always uses White. For her yellows
Flake White. This

inally
is
a white that
is
used by
oil
is
is
painters and
known
Being made from
probably one of the oldest
paint formulations.
lead, Flake
White
is
toxic
be handled with can'
and should
Raw
Sienna.
Burnt Sienna, and, for coolness from
abstract painting
much admires
work of Piero
late
John.
Personal palette
The
artist
- or she may
completely different
palette to force herself to
del la
Gwen
try a
rethink, in case her habitual
believes that a
Ultramarine, Cerulean and Cobalt.

Occasionally, she adds Black and
Cadmium Orange
to her palette.
is
but reverts with pleasure
to her
own
The
familiar "voice."
artist
has no particular
See also
Choosing media/Oils 30- 31
limited palette results in a
preferred brand of
cohesive, unified painting -
and the only additive she
Choosing palettes 40 -41
"perhaps analogous to setting

a key in music."
genuine turpentine,
never linseed oil. Colors are
mixed instead of taken
White
Her
favorite colors are
White. Naples Yellow,
Yellow Ochre,
ladmium
uses
oil paint,
is
straight
from the tube.
or
the blues, she selects from French
becoming too much

of a cliche. She learns by doing
palette
this,
Bates's choice
Yellow Ochre,
chooses Light Red, Indian Red
White
Elliott
or
and she always uses
and one other, for more
Vuillard, and
white. Joan
choose from Naples Yellow,
colors, probably black, white
Turner, van Gogh, Bonnard,
work
will
Cadmium Yellow
other elements can be taught,
Francesca, Rembrandt,
on the use of a great deal of
a set order, counter-
color mixing, composition and
the
soft tonality of the artist's
use
lays her
From the warm pigments, she
values." She
relies
in
She
does she pick perhaps three
but not a sense of tonal
The
Only very occasionally
will typically
a notable teacher saying that

/
fc
laying out her palette.
Bates
clockwise from the thumbhole. She
she
inextricably linked: "I think
Elliott
only five or six colors.
Mediums 36-37
86- -87
Working with subdued colors
Joan
Elliott
Bates
East Anglian Estuary

Oil
on board
6x 10in(15x 25.3cm)
The painting
above
is
shown
nearly
actual
size.
(detail enlargement, right)
"My
paintings are often small but not
always
so.
often
work
directly
from
nature on a small scale and then
continue with them or develop them

in
the studio.
in
a high key
My
Most
of
my
colors are
and concerned with
light.
much concerned
with mark-making, which shows the
individual hand of the artist - his or
brushwork
is
her calligraphy."
very
03
04 Working without black

Nick Bowering
"1 find if you
have
thousands of colors
choose from,
it
to
discourages
the act of mixing."
black.
He
is
an
artist
who
has exploited the potential of

A
has mixed darks effectively from a limited palette,
controlled palette
Naples Yellow
creating a series of boat paintings that convey subtlety of color
Cadmium Yellow
Cadmium Red
and specific mood. His work shows what can be achieved
Alizarin
from the darker end of the spectrum with a
Crimson
Ultramarine
limited selection of colors.
Monochrome experiments
views
things monochromatically:
"I have spent a lot of time
Instinctively, this artist
exploring the potential of
black-and-white photography,
and
have been involved
in
single-color printmaking.
and
have experimented
In both lithography
etching,
with black ink."
become
He works
in oils
on
either
white-primed board or
interested in glass painting,
or six colors, and he typically
canvas, but his surface
and he has found black a
works with a palette of

primary colors but varies his
selection. He may use Naples
Yellow, Cadmium Yellow,
technique and brushwork
Basic dark
particularly important graphic
and tonal element in bringing

an image together when
painting on colored glass.
Depth, body and subtlety

Blacks and darks can have
so much depth, body and
subtlety of color. If you
think of black and white as
complete opposites with all
those grays in between,
this tonal
it
is
range that interests
him, and, to a certain extent,
Warm
this
Adding more red and yellow creates
of boat paintings.
warmer mixture and moves the

color toward a Burnt Umber color.
Different layers
to use a
palette limited to about five
Recently, he has
basic black from red and blue.
Limited palette
Nick Bowering tends
has influenced his series
He
likes light
He
has painted
Alizarin
Crimson, Ultramarine and

Prussian Blue, and white,
but he often
lets the
white
builds up rich dark glazes and
to brighten
Mixing colors
He never
uses black straight
from the tube, because it can

be "quite deadening and
You can
create a wide range of hues,
including dense, dark colors

that
appear to read as black,
plenty of color.
The beauty of working
with dark single-color

paintings that are virtually
with a limited palette
black, he but has gradually
you can steer the painting in

any direction you want it to
go: "I will mix reds and blues
is
it
is
He
feels
the use of black that
the significant unifying
clement
in
these pictures.
layer on layer, he
washes to create an overall

mood and surface harmony.
the mid-tones.
studies and experimented
that
paint.
show through
but on closer inspection carry
introduced more color into
work with thinned
By adding
purely monochromatic
the boat pictures.
local-color underpainting,
then
of the primed background
overpowering."
and dark
contrasts and "all those

halftones."
Cadmium Red,
vary. He seldom makes a

drawing or outline sketch but
draws directly with the paint.
Some areas are very opaque.
In other parts he may do a
is
that
to create a sort of base black.

II
want a
warm
more yellow.
deep black
If
black,
want
add
a cool.
add more blue."
Linear detail
Sometimes the
artist
scratches back
into the paint, using the
end
of the
brush handle to reveal either linear
Cool
underpainted areas of color or the
Adding more blue increases
white of the canvas.
darkness and takes the color
toward a deep slate gray
Working without black

Nick Bowering
Orange Boat
Essaouira
Oil
on canvas
10 x 12in
30cm)
(25.5 x
Nick Bowering
Beached Boats
Oil
on board
(below
7x
left)
14in
(18 x 35.5cm)
(below right)
9 x 14in
(23 x 35.5cm)
MaMHHMHHMB
_f
i^LigSSâc^p-=-r'__.
^^g
^mVVBBSpS
Manipulating blacks
In these two small monochrome studies, the dark
color has been steered
toward cool or warm by
"See also
Choosing media/Oils 30-31
adjusting the proportions
of the colors in the mixture.
Mediums 36-37
Blacks/Darks 76-83
'
05
06 Fast color for flesh

Tim Riddihough is an artist who has been through
many phases in his approach to life painting and his
attempts to capture the variety of hues and subtlety
of tones to be seen in
"Avoid getting into a

rut with a particular
technique or style. Try
new materials
and new methods.
using
Sometimes
start with
colored outlines,
sometimes start with

colored shapes.
human
flesh.
Mixing media
His mixed-media paintings
Seeing flesh
While at art school Tim first
used a naturalistic approach
usually consist of gouache,
to figure painting, trying to
oil pastel,
reproduce as accurately as
soluble ink.
possible the colors of the
to use ink for outline
model
in front of him.
His tutors encouraged
him to be individual and
less natural in style, and he
conte and water-
He might
decide
and
structure, then oil pastel to
highlight the background and

certain areas of the form.
"
went through a stage of

painting colors that were
totally different from the
If
on
to
it
it,
has paint
then
it is
a painting
me."
ones that he was seeing. He

tried painting bodies red to
Gouache
contrast with the green of a
medium and
sofa, or green, because they
he would choose for a
were in a blue room, but he

found that this approach did
skinned person would be
not
work
for him.
am painting
a dark body
or a pinkish one, these are the
"If I
colors that appear in

painting, but
He moved on
more
to a
representational approach,
I will
my
add
all
sorts of other colors, too."
and started to take note,

probably subconsciously he
thinks, of what the color of
flesh
is,
trying to
convey
these colors as they appear

to
He does
him.
not stick
rigidly to attempting to
reproduce the actual colors,

but tries to create an
impression of the image.
Tim Riddihough
Red man, standing

Gouache and
ink
on paper
12x9in(30x23cm)
[i
tins little
study, a
was
abstracted
random
laid first
color
and then
"attacked" with ink lines.
Supports and grounds

He sometimes works directly
on plain white grounds and
sometimes lays a tint first.
Both approaches produce a
may
specific kind of feel: "I

try a big splash
Ochre with a
make
of Yellow
bit
of something
warmish
ground and then work into
else to
it
with other materials.
very messy
I
splash
He
it
when
am
paint and
on."
uses thick, rough
watercolor paper of no
specific
is
make
as long as
heavy enough
reasonably Hat
of moisture
is
to
it
remain
when
put on
a lot
it.
is
his
main painting
the basic colors

light-
Yellow Ochre and White,

and Alizarin Crimson or
Cadmium Red. These are his
basics for flesh mixtures, but
then he might add a color that
more purplish, such

Rose Madder, but this
is
as
depends on the particular

figure and the background.
107
Working with
color and
a reed pen
The
artist often
works
with black or brown ink

for his colored figure
studies.
He uses
a reed
pen cut from Phragmites

collected locally and
cuts the nib with a
He
penknife.
working with
because
likes
this tool,
it
gives an
uncertain result. The ink
sometimes runs out
in
mid-line or gets scratchy
and then blobs, and he

never sure what
to
happen.
element
is
It
is
going
is
this
of uncertainty
that he finds creative.
The unpredictable
brings
more
line
vitality to
the end result.
Tim Riddihough
Check headband
Reed pen and
ink,
and mixed media on

tinted paper
3
19 Xx13în(50x35cm)
08
Fast color for flesh
Working at speed
Tim Riddihough tries
"Opposite page
approach
and not have a set routine, because he finds
this restricts the end result. Sometimes he
starts with an ink outline and, because he
uses water-soluble ink, the subsequent paint
dissolves it and the ink starts to run.
Sometimes he reverses this approach and
starts
I can work all day on
a painting, spending hours
and even days on it, and
"Ifind
sometimes the results are not

very encouraging. The
paintings that work best for
me are the ones I have
worked on as quickly as
possible with as
little
conscious thought as
possible.
am
like
a bull at a
gate and just jump
in. I
would not recommend this

approach for everyone. Some
artists spend days, even
years, on one painting."
on
it
with a
flat
to vary his
Tim Riddihough
Fast studies
Size range:
12x9in(30x23cm)19 /x13în(50x35cm)
3
painted shape, then works
with ink or pastel, or sometimes he will
start
Just about
with pastel.
Exactly
is
how
harmony across the painting.

paintings work is a mystery to him:
his
the paintings on the
speed with the minimum
pictures take about half an hour,
the smaller ones
"I
to
5 minutes
at the most.
am
have not got a clue

how it works. My most successful paintings seem to occur
despite my best efforts, but in the past there has been a lot of
work and practice put in."
Painting and color are now instinctive to the artist, but his
method does not always work. He admits that he has a sort
of shotgun approach and makes as many paintings as he can,
as quickly as he can: "I will often put a painting up on the
wall for a week or two and contemplate it, but my rate of
production is so great the display keeps changing. Then the
paintings go in a cupboard, and come out after a month or two.
Some of them I will like, some of them I will not. It's a big
problem. I sometimes go back to paintings, but very rarely. If
they do not succeed the first time, I abandon them."
of
conscious thought. The bigger
unity and
useless at talking about painting, because
all
opposite page were done at top
He does not just draw outlines and fill them in, because this
can become very stilted and flat, like painting by numbers, but
he always tries to paint the figure and the background together
so that there
and mixed media
Oil, acrylic
Green-outlined figure
(top left)
The
a
artist
used hard conte pastel on
damp gouache-painted
surface.
Conte color flows smoothly on a
damp ground and

blends.
first,
White
oil
dissolves and
pastel applied
with a dark color over the top,

creates a resist that indicates
light
coming through
a screen
behind the model.
Red man,
crossed legs, leaning back
(bottom
Here
is
random color
left)
an example of using a
for flesh,
one
of those
experiments intended to break with

convention and loosen up the
artist's thinking.
Straight paint
(top
and bottom
tight)
These are pure paintings only using

acrylic color to define the
and forms
~See also
Flesh colors
90-93
seven-color palette 110
Renaissance skin tones 112

Dry color and
line
shapes
of the figure.
152-153
A seven-color palette
1 1
Desmond Haughton's
painting
is
about exploiting a
"My palette is limited,

but not my color range.
few colors within a simple design. He always uses a
The more colors you try

to use, the more
Lemon
confusing a painting can

become, luiless you are a
very experienced
seven-color palette consisting of Titanium White,
Cadmium Red, Viridian
Green,
French Ultramarine, Alizarin Crimson and Burnt

Sienna to bring a full-color range to his work.
The
colorist.
Yellow,
moves between
artist
sandwiched between the dark
student and artists' colors
of the trousers and the face.
with no particular brand
While making the painting,

was thinking about
complementaries and
opposites and basic ways of
bringing out the cools and
preference, choosing his
the artist
from what he refers

as the complementary
palette
to
primaries
colors that are
directly opposite
and those
that
be purest
in
one another
he considers to
purples of the skin tones

to create an interesting
atmosphere
hue.
For example, he chooses

Viridian Green for being the
purest of greens, without
drifting toward yellow on the
to the portrait.
Clarity of design and
composition
is
he was drawn
one hand or blue on the other.

Similarly, he chooses French
its
also important
One
to the artist.
of the reasons
to the vest
shape, as well as
Desmond
its
was
color.
describes his
composing the
one of simple
Ultramarine as the purest
approach
blue, one that does not veer
portrait as being
toward green or red. He

never uses black, but
design and simple colors, as
if
looking
creates
all
to
poster or a print
at a
just well-balanced blocks of
his deep, dark
He
and shadow areas from
color.
mixtures of his core palette
of seven colors.
carefully placing his figure to
Desmond makes
very clear
has tried to achieve
monumental composition by
the
fill
frame of the canvas
decisions about his colors and
with the arms just
design before committing a
pushing himself close to the
painting to canvas, and his
picture frame.
mixed
before laying them down.
In the self-portrait shown
the composition
The
colors are always
artist
fitting in,
does not draw

first
or
opposite, the yellow vest
employ underpainting
techniques. He works
artist
makes a striking element. The

was drawn to the high
the paint and creating blocks
contrast between the colors
of color that are
at first
Crimson, Viridian Green, Lemon
yellow and black, and the
abstract patterns
Yellow, Burnt Sienna. Tints are
dramatic effect created by
His technique
and shapes.
immediate
Core seven-color palette

From top
to bottom: French
Ultramarine,
made with
is
Cadmium
Red, Alizarin
the seventh color, which
Titanium White.
^S e e
also
Colors of the spectrum 24

Renaissance skin tones 112
visual opposites.
Lemon Yellow
He used
immediately, drawing with
is
and direct, applying undiluted
with Titanium
paint to the picture surface,
"For a warm gray, I mix white,

Burnt Sienna and French
Ultramarine. Buying gray paint
is a waste of money, as any two
White and Burnt Sienna to

produce the yellow of the
vest, which is central to the
color with washes and gla/es.
make
composition.
trying to get the painting right
my palette,
In turn, the
using only turpentine to thin

it.
He does
on a white shirt,
and brightens
the yellow color even more.
the
The
to
yellow
which
sits
lifts
brightly clothed torso
is
first
not build up the
time.
He
favors round
brushes, using a big brush to
block areas
draw
in
and a small one
details out.
complementaries and white

gray.
never use black
hut
always work
on a black or brown primed

canvas.
One of the
mistakes
is
to
biggest
use black as a
mixing color on the palette."
in
111
"In
no
my paintings
there are
lines as such.
Lines are defined where

one area of color stops
and another
starts."
Desmond Haughton
Self-portrait
with Yellow Vest, 1994

Oil
on canvas
34 x20in (86.5 x 51cm)
The choice
of color
and
style of
costume influences the design and
mood
of a portrait painting
and
conveys a tremendous amount

about the
is
an
Desmond Haughton
sitter.
artist
who
has painted several
self-portraits
from a simple seven-
color palette.
Lemon Yellow, used
with Titanium White and Burnt
Sienna for
tints
and shades, creates
the yellow vest around which the
composition revolves.
"If you are not honest to

the colors
you see and the
shapes you see, a painting

can start to go wrong. It is
all about logic, a logical
sense of seeing. Ask yourself
what color is this, what
shape
is
that?
"
112 Renaissance skin tones

The
Cennino Cennini's advice on painting
flesh on panel
and a little white lead... and lay two
coats all over the face, over the hands, over the feet, and over
the nudes. ... On a wall make your pinks with cinabrese, bear
in mind on a panel they should be made with vermilion. And
when you are putting on the first pinks, do not have straight
vermilion - have a little white lead in it. And also put a little
white lead into the verdaccio with which you shade at first -
Renaissance
Italian
that flourished
"Take a
from
the fourteenth to the
sixteenth centuries
still
its
is
recognized for
supreme
artistic
make
achievement and
little
terre verte
three values of flesh color, each lighter than the other,
laying each flesh color in its place on the areas of the face.
do not work up so close to the verdaccio shadows as to cover
them entirely; but work them out with the darkest flesh color,
fusing and softening them like a puff of smoke.
Bear in
mind that a panel needs to be laid in more times than a wall;
but not so much as not to need to have the green, which lies
under the flesh colors, always show through a little. When you
have got your flesh colors down so that the face is just about
right, make a flesh color a little bit lighter and pick out the
forms... until you finally come to touch in with pure white lead
any little relief more pronounced than the rest, such as there
would be on the eyebrow or the tip of the nose, etc."
.
technique. These are
Terre Verte
some of the
A common and
colors for
used
painting flesh that you
may come
across
looking
paintings by
at
when
in
inexpensive pigment
admixture with white lead
for underpainting flesh.
Known
in
English as "Green Earth."
masters of the
Renaissance.
The Craftsman's Handbook (Fifteenth Century)
Sinopia
A name
pigment
for a red iron-oxide
originating from the city of Sinope
in
Asia Minor. Similar colors are known
today by such names as Red
Iron
Oxide, Venetian Red and Red Ochre.
Verdaccio
composite color used
made
in
Florence,
of Burnt Sienna, ochre,
Black, chalk,
Umber, and used

shading.
In
was known
Lamp
green-brown and
for outlining
Raw
and
Siena a similar mixture

as "Bazzeo."
Cinabrese
An ancient red pigment
derived from
mercuric-sulfide ore, also
Cinnabar. Used
in
known as
admixtures with
white lead to create
warm
tones. Later superseded
flesh
in
popularity by the invention of
the far superior Vermilion.
Michelangelo Buonarroti (1475-1564)
Madonna,
Child and
St.
with Angels,
Oil
on
wood
41/ x30/m
c.
John
1506
panel (detail)
(105.4 x 76.8cm)
National Gallery, London
Lay two coats of terre
verte
work, the technique of using the mixture

of Terre Verte (literally, "green earth") and white lead for
underpainting flesh, as discussed by Ccnnini, above, can
In this partly finished
be clearly seen. The effect of using a complementary or

contrasting ground color in cool green enhances the warmth
o\ the
subsequent red-shade skin tones.
'See also
teen Earth 67
George Underwood
Portrait Fragments, 1997
Oil
lesh colors
90-93
on canvas
4 x4in (10.2 x 10.2cm) (actual
size)
Collection of Simon Jennings
A traditional approach
In these small detail studies, the artist has
coloring techniques. Green
is
been influenced by Renaissance
an unusual choice for underpainting skin
colors, but here, as in fifteenth-century paintings,
enhance the warmth and
it
solidity of the skin tones.
is
used effectively to
114 Massive color
in oils
Entering George Rowlett's intimate
"This
it
is
painting, not
London
(he has a studio on the east Kent coast, too)
sculpture. If I could do
getting right inside one of his paintings.
with thin paint, then I

would - but I can't."
atmosphere
is
presence of
it
floor, the
permeated by
oil paint.
studio
like
is
The whole
The physical
everywhere - on the walls, the
is
working surfaces and the equipment,
but.
most importantly, on the paintings themselves.
It is
s"
a privileged experience
anyone with an
for
says,
interest in
painting to find themselves
describes his
projected into this surprisingly
as
well-organized world,
dripping with colors.
The
known
well
artist is
for
his thickly painted views of

London's river and for his
seascapes and landscapes
of the east Kent coast. A
question people frequently
ask him is: "How long does
it take for the colors to dry?"
The artist's answer is that a
painting will skin over in one
to two weeks, and the reds
are the slowest colors to dry:

"I usually sell
when
my
they are touch-dry:
they will bruise
them
paintings
at first.
if
Then they
take
about four to six years to dry

through, and
become
as hard
as concrete."
is:
own
technique
board, usually white, but
work
stopped using brushes.

to
The artist feels compelled

work by believing, literally
and physically,
what he
and acting
in
calls "the deed'"
sometimes gray or a neutral

pink color.
palette.
Again, he likens his

to running as
instinctively as if "running
way of working
with the painting, following
hard as you can - mixing
the dramatic weather and
picking up pure colors, and
light
changes."
By
taking the
working wet-in-wet.
high concentration that such
chance and error play a part

when you are trying to push
things to the extreme.
an approach produces, he says

that
he becomes different, and

absorbed, as he
An
The
tries to
connect with nature.

act of self-censorship
paint
he
One
made 35
is
years ago
absolutely sound.
of the reasons for the
applied with
scraping wallpaper, about 4in
which he
scrapes back, removes, and
(10cm) wide for the broadest

marks. He works in as broad
rebuilds the paint, although
areas as possible, laying in
then takes place
in
lights first,
it
is
spatulas, the kind used for
darks
and
not
an accidental process, but
mistake
that
It is
first.
"losses" and the "gains" in
"Do
a painting
starts painting
works outward.
His main colors are mixed
on a piece of board used as a
he also accepts that every
the paintings crack?"
He
middle of the picture,

toward the top. and then
in the
Another recurring question
George has seen
Core palette
Method of working
George works on primed
the
drawing with color,

manipulating mass and bulk,
and he has deliberately
totally
you knock
He
drawn from
is
of the Impressionists.
is
a small part of the
whole painting. Most of his

landscapes are started and
finished in situ. Others are
completed
in the studio.
moving toward
in the painting.
Different sizes of spatulas

lin (2.5cm), 2in
(5cm). 4in
10cm) - are used to pick

up the individual colors.
(
that they are painted
on wellprimed framed hardboard
The thickness of the paint

produces a powerful drawing,
and the artist uses the edges
(bulk-branded Lead-Free Lemon)
instead of canvas. Also, he
of the spatula blades for
and Cadmium Red Medium
uses a simple palette of
marks and details.

George finds that he
George Rowlett's palette consists
of
- Ultramarine Blue,
Brunswick Green, Chrome Yellow
only four colors
(bulk-branded Bright Red)
Titanium White
plus
longevity of his pictures
colors, and this
means
is
that
applying increasingly larger
reactions taking place
amounts of paint and has

discovered that he can do
more with fewer marks and
between the pigments:
"I try
to be absolutely honest
and
straight about color."
The
artist
has always
^See also
ils
30-31
bigger drags of the spatula.
He
has also tried using pieces
his first inspiration
was van
of hardboard as spatulas, and

plasterer's trowels, but he
Gogh. His sense of
color, he
isn't
applied his paint thickly, and

Chor,
is
there are fewer chemical
comfortable with them.
Massive
or
115
in oils
"long" paint
The
uses a vast amount of
artist
paint at a ratio of about four cans of
white to any other
color, so
he buys
the most economical, high-quality
oil
George Rowlett
paint that
is
available.
Walmer Beach, Deal Pier,

Bathers and Crab Boat, 1997-98
Sunlit
His favorite
Stokes
is
manufactured by
Sheffield
in
in
the north of
Oil
England. He buys
it
in
bulk and
30 x48in (76x1 22cm)
shipped directly to him

cans.
Many
this paint,
quality
He has
in
gal
(51)
Collection of University of St
likes its
feel.
tried other brands, but the
colors are different and the textures
do not feel the same.
It
is
Dripping with colors
An
easel, paint-mixing table,
important
spatulas,
for his
still-life
in
studio are
familiar with the pull
it.
It
is
what
is
progress
He
elasticity provided by this paint.

is
objects and a
technique to have the

painting
of
Andrews
professional artists use
and George
and
on board
it is
all
in
the artist's
encrusted with color.
and stretch
termed a "long"
paint, with the feel of
an old-
fashioned formula. Modern paints

are "short" paints, and the artist
finds
them over-ground and too
fine.
George Rowlett
Sudden Storm over Thames,

Rotherhithe Pier, 1996
(above and detail overleaf)
Oil
on board
24 x 40in
(61 x
Private collection
101.5cm)
s?is
-J.
'
*
v.
>
'
-
'
>
'
.
.;
'
Site*
MS
b<*
eg
*=Sa'
>
rW
vi
M%s
i
-vM
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&
*"<
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5s
IV
'.
U Y^
>;
118 Rich color from acrylics

Sue Fitzgerald's vibrant, multilayered acrylic
paintings reflect her passion for southern France
and the Far East. She explores the richness of local

culture and
is
inspired by an enveloping wealth of
color and texture, from exotic fruits to rich carpets
and fabrics
to music.
Mediums and methods

Mediums are sometimes
useful
if
building up thick
more
you can
actually place a thick wedge
of paint on the canvas, one
layers, but, with the
buttery tube colors,
that holds
its
shape, without
using mediums. If you use gel
mediums
or texture pastes,
you have
to
make
sure you
use the correct acrylic-
compatible ones to avoid any
collects interesting china
She
textiles on her travels.
silks.
and
sheen
Eastern fabrics are
often threaded through with gold,
and many cloths have mirrors and

further patterns
sewn
Sometimes she
finds fabrics that
are
sewn from
bridal
into
them.
sections of old Indian
gowns, with
combined
in
many
artists,
she has
improvement in the quality

and range of artists' acrylic
colors since their general
piece of material.
inspiration for her paintings:
never
know what I'm going to paint

next, except may see an interesting
object or a piece of textile." A find,
really
can suggest a picture that
will
feature yellow on a bright blue
background:
"I've got a
mind-store
of subjects I'm going to paint
in
up more
some
Good artists'-quality acrylics

now compare favorably with
as Alizarin Crimson, that are
Some
of the
cheaper "hue" colors have

white or other additives in
them and seem

intensity
Sue
is
and
to lack the
clarity
of
oils.
not averse to student
colors, but thinks that
"when
you spend time creating

something a bit special,
worth making the effort
parts to
texture and reflection of color
Equally,
is
it's
to
She uses many different
the painting
picture over with a cloth, not

to obliterate
it
it
but just to give
some "knocking around":
throw paint at it, sometimes

shaking a loaded
brush at it to disturb it. You
"I
in blots, just
can get too precious with a

painting."
Sometimes she may
for three
days and then
destroy what she has done,
because she doesn't want to

continue working
at
an
unsatisfactory painting.
colors and brands, not
jfeffi
particularly favoring
if
not working, she rubs the
work
use good-quality paints."
ffiBjfiMWH
one
j
make over
another, but, in
general, she likes artists'quality paints that "have a
nice buttery consistency.'"
more liquid
comes in jars.
She also uses

acrylic that
&
off the surface.
such as a yellow Moroccan teapot,
it
actually polish
paint alizarins.
"I
medium
give a shine, accentuating the
similar to the traditional oil-
These treasures provide
little
and can give the surface

dramatic ridges and textures.
When the paint is dry, Sue
might rub a cloth over it and
She chooses colors, such
one
the paint will build
introduction in the 1960s.
oil paints.
a variety of
patterns and textures, gold and

silver thread all
Like
noticed the considerable
is
particularly attracted by the
found on
cracking.
Acrylic paints
Color inspiration
Sue
h$k
K T
iw
111
B9>
/'>
1/
Ti
E& 1
th
AM^HH
HTDt
'"
'
jflSnH
1 iHi
,^>
-,;
119
'
T&r^?'
"77zg reason zo/n/
%#_
my paintings
describe
mixed media
Îtfe
is
as
because
they are not just acrylic.

In addition to a spot of
watercolor, they have

some gold or silver leaf.
Ite,
Mixing media
Sue could never achieve the richness
and depth she was after, so started
Now
using acrylic with watercolor.
she mostly uses straight
which she applies very
Sometimes
medium and
paste.
is
it
acrylic,
thickly.
mixed with
a gel
texture or modeling
She works on canvas, with
palette knife, laying paint on quickly
When
and building up the textures.
the light catches the painting,
it
reflects off different planes of
texture, adding
an extra color
dimension to the work. Brushes are

used for broad areas and
detail.
Occasionally, she uses watercolor
with acrylic to create a fluid-wash

effect
and then,
everything
is
finally,
dry,
when
she works
in
gold or silver metallic color; this

a
powder suspended
is
in oil.
*'
Sue
Fitzgerald
Cardinal Grapes and Silken

Acrylic
Shawl
and mixed media on canvas
15x18in(38x46cm)
(detail, left)
121
"Do
not be afraid of using color

an unconventional way. Just
because yon think of leaves as
green, break the preconceptions.
If you think the leaves would look
good blue, then paint them blue.
Quite often when people look at
foliage they don 7 realize that
in
leaves are really blue or red or
purple anyway."
Mixing colors
Sue
Fitzgerald uses mostly pure colors,
but they
become blended and
overlaid to a
certain extent on the canvas as she paints.
Sometimes
but,
a dinner-plate palette
is
used
by and large, the color effects and
mixing, and the color differences, are
made and blended wet-in-wet on
all
the
painting instead of on the palette. For

instance, she might decide to add a
little
green over the top of another color,
although the one underneath
is still
wet.
Then she works them together. She has

always used color
working
Sue
in oils
in this
way, even when
or watercolors.
Fitzgerald
Two Dragons
Acrylic
and mixed media on canvas
36 x 48in
(91 x
122cm)
122
Rich color from acrylics

Colors and contrasts
Sue Fitzgerald likes contrast in painting, contrast between
thin and thick line, large and small shapes, rough and smooth
texture, dark and light, and bright and dull. She delights in the
juxtaposition of precise pattern against big blocks of color.
Her advice
not to be frightened of color, but to
is
experiment. Sometimes she might place a bright pink near a
Many artists like dealing with muted

muted colors need not look dull. You can use Burnt
Sienna or Indian Red and still get them to glow. Getting colors
to glow depends on their context, what you put them against
dark brown, for instance.

colors, but
^^5giHSIH
"Whenever
shop
go
an art
into
think, 'Oh! This is
an interesting color, and I

buy it. Often it's just because
'
and how they contrast. For example, placing Burnt Sienna next
to purple works well. You might think that these are strong
dark colors without much contrast, but you do not have to use
bright reds or bright yellows to create a glow. "People think
of
me
as using really bright colors
necessarily.
and
use an awful
lot
For example,
some
saffron silks,
the time, but
don't
of dark purple and Burnt
(From
left to right)
Alizarin
I've got
and I was
artist
uses old dinner plates as
palettes to put her colors on.
now
and again and
an
plates
tried to
Cadmium Red
Cadmium Orange
but squeezed out, with
Indanthrene Blue
really 'saffronlike'
Burnt
slightly transparent yellow,
in
in
any particular order,
two
or three
Organizing colors
Sue appreciates that a tidy
studio would make her
Umber
Cerulean Blue
one that would work well.

I don 't set out to buy a
standard set of colors, but
just pick them up as I go. It's
a haphazard method, but this
is the way I build up my
it
on one plate and some on another.
Ultramarine Blue
came across a
use
more acceptable. Colors are
not laid out
needed a
She
has employed a proper palette
orderly fashion, but finds china
Crimson
Dioxazine Purple
Improvised palettes
The
Permanent Rose
thinking to myself that I

color; then
Umber
Raw Umber, too."
of the color, or I may be

thinking of a piece of cloth or
china I want to include in a
picture.
all
W/&Z
painting
Burnt Sienna
life easier: "I
know
was more organized,

things would move along
if
Cadmium Yellow
Mars Black
at
quicker pace and everything
would be very
precise, but
that's not part of
repertoire of colors."
have
my
nature.
tried putting colors
in order, the
blues here, the
earth colors there and so on
and
Core colors
There are certain core
colors that
always keeps
ones that she
in
Sue
her studio,
likes to return
to in her paintings time
and again.
Siennas and purples
Essential colors
Alizarin
'
}/Acrylic
Crimson
relies
'
'net colors
a particularly
on Olive Green as a soft color
for glazing
'.'
is
important color for Sue. She also
33
it
stays like that for about
half an hour."
88
this color
and layering, although
does not tend
to
be
color,
such as Burnt Sienna, can
be used with purples

effects.
Never think
to create vivid
of
umbers and siennas as
such colors as
dull colors,
because they can be as bright and
'.
immediately evident
in
her paintings.
brilliant as, say,
Cadmium
Reds.
123
Mich color from acrylics

Planning the composition
She never makes measured or
preparatory drawings, or even
initial
the objects, or just roughly
color sketches before
starting a painting: "I set
Developing the painting

She might leave spaces for
still life,
paint in basic shapes
up
on the
canvas, then works over
but only vaguely;
it's
not ruled or measured.
them, or she might put some

white shapes in. Acrylic is a
If
want
versatile
do
to
that blue cloth
with that plant on
it
and those
for
up but not in
way, because
I might decide to change it
around or begin to move
away from it. I never draw,
I just go straight in with
pots,
I'll
set
medium that allows

many approaches. The
underneath texture tends to
it
a very precise
unify the painting. She works
over the top, going into

details, such as flowers and
surface decorations, studying
them and working them
brush or knife."
into
the rough surface textures.
Sometimes she works into

wet paint with the tip of
Starting points
It
the handle of the brush,
does not really matter
scratching into the paint.
which colors are put on first.

If two of the initial colors
work well, they might be
left
as part of the painting.
Brush care
Next, texture is introduced

onto the surface. To start,
Sue always washes her brushes

scrupulously and
Sue perhaps chooses one

section to do some thick
makes sure
day's painting that
all
after a
the brushes
are dry. Acrylic can ruin a brush even
painting with a palette knife.
in
a couple of hours.
This gives her an idea of
how
she might continue the
painting, but she leaves
it
Keeping brushes
and colors clean
to
dry before doing so.
Working on canvas
Sue
is
very conscientious
about making sure that her
She works on prestretched

and primed canvas. "The type
brushes are always cleaned,
of surface weave doesn't
dried off properly and
standing up after use.
because the
surface gets obliterated by
paint and texture anyway."
really matter,
When
to
new
some color
she starts a
canvas, she puts
on
She is also fussy about

changing the water frequently
when painting: "I have a big
pot of water, no little jam
jars. I always try and keep
the water as clean as possible.
I change the water a lot,
because, if you've used one
color and then you start to
break
it
up and get
of the white. She
rid
may cover
it all in Yellow Ochre, or just

use up whatever is left on the
palette. Sometimes more than

one color is brushed on.
Gold and silver

Sue uses gold or silver
the time
in
use another color, you are

leaf
most
of
painting, not with every picture, but

particularly for
still lifes. "I
use
it
in
powdered form mixed with oil.

suppose it is becoming my hallmark.
I
Unifying texture
The
overall textured surface brings a
put
it
unifying element to the variety of
might
colors and shapes
or
in
the painting.
on with an old brush, or

flick
it
on, or
whatever -
all
might rub
it
on,
very accidental, a
happy accident, but sometimes you

get an unhappy one."
sure to get elements of the
previous one spoiling the
the final stages of a
subsequent colors."
24 Transparency and luminosity
Marina Yedigaroff
am
"I
trying to
achieve a luminosity and
transparency of light
and
color. I call
it
is
a painter
who
is
fascinated by
surface and beyond. She paints on paper, canvas,
board, fabric, walls, doors, furniture, boxes and even
wooden bowls. Moving from
surface to surface, her
techniques and her attitudes toward color are
see-throughness."
constantly evolving.
Her
executed
of sizes and media.
in a variety
gallery paintings are
^_^:Mi
'If"
:'
V-
^^^^^^=^
I
-r
rl
Inspiration and media
Decorated house
Marina Yedigaroff's concerns
.
an
artist is
with what
lies
beyond
urface. Behind the painted
curtains of her house lies

r
and imagery.
The
artist paints figures, birds,
Visual themes
animals and flowers, creating
intense decorative compositions that she describes as being in

a "mood-affective colorist style."
She
is
inspired by stained
Flowers, figures, birds and animals
appear
in
the artist's work.
Among
her favorite subjects are tulips with
glass and the idea of light shining through objects from the
their variety of petal
back to the front - something that nature does all the time. The
paint is applied extremely wet, so that the work has fluidity
and transparency. "See-throughness" is an obsession, and she
is constantly seeking to achieve a luminosity in her painting.
inspirational colors.
shapes and
Transparency and luminosity
in
goua
Working
in
The
uses a technique that
ink
25
gouache and ink
is her own. She paints a picture

normal way. using gouache, and. when it is all clone, shedraws all over it with a technical pen. The process is not as
simple as it sounds, because the idea is to create another
dimension of see-throughness. This involves drawing a
transparent veil over the painting. She starts from the bottom
artist
in the
of the picture and progresses upward, working

Gouache, ink and technical pens
Marina Yedigaroff
Chrysanthemums
Gouache and
20 x 30in
ink
on paper
(51 x
91.5cm)
in parallel,
horizontal lines in colored inks.
The degree of transparency and color of the ink changes as

she proceeds: "I work over the whole surface of the painting
row after row, changing the ink color and transparency as I
all terribly time consuming. It is as if I am putting a
gauze curtain between the viewer and the image." She
leaves parts untouched, too, so the pure color of the gouache
can still be seen underneath. In the painting Chrysanthemums,
for example, areas of pure color are left and a frame within a
frame is created by leaving the border untouched.
go;
fine
it is
26
3ouache and
ink
IS
Working
In
in oils
some cases Marina
Yedigaroff works from
mix and mix my colors,

adding Alizarin Crimson,
Bengal Rose, anything. I use
Red
small brushes and strong
worked
"/
paper, but I
am
very
and
life
in others
The
imagination.
from her
tulips in
Tulips, for example,
from
in oils, are painted
life.
She often chooses
many
of
organized. I have to be to
to paint tulips, but
maintain clean, pure colors."
the flowers she depicts are
from her head. Birds are

another favorite subject.
Some
people are surprised
to find that these paintings
are oils and believe them to

be watercolors because of the
transparency of the effect,
The
never knows what
artist
going to happen as her

technique creates further
dimensions of diffusion: "It
is
does something to the
just
you look through it

same time. It
colors in and out."
painting;
and
at
at the
it
kicks the
wish to
do has this
behind
get
and
beyond
the surface
"Everything
through
not see
and look
something
to
else, yet
absolutely."
it
(30CMl25gsm) watercolor
paper with a smooth or Not
surface and works in a variety
of sizes. She is not particular
about the make of gouache or
ink she uses, simply judging
by personal preference.
The artist usually works
flat on a table. Colors are not
set out in any particular order,
and instead of a conventional
palette, she uses an old china
dinner plate. Favorite colors

to
which she
likes to return
time and again are Olive
The
point
is
not in the lines
on the painting, but about the

effect they have on the colors
underneath. The color of the
ink changes from blue to
black to brown. Although
Green, Burnt Sienna, Payne's
Gray and white. She makes

numerous mixtures of her
colors, adding any colors that
attract her
and are
at
hand.
the lines are evident in the
However, she is careful to

work methodically in order
finished work, the artist
to preserve clean mixtures.
sometimes wishes they were

not. as
it
is
the altering effect
that interests her instead
of
the physical appearance of the

lines.
She acknowledges
there
may
from
textiles, describing
that
be some influence
her work as "a kind of

these are not textile
they are paintings.

;ory of
;i
come
layer
uses
I,
into
mixed-media
strong surface
"lit
rtisl
the
always
OOlb
are framed behind glass to

protect them, but she
is
preparing the board with
white acrylic primer.
She starts with the image,

sometimes drawing it out
first, but not always. With
Red Tulips, the flowers were
painted on the board and
looked "rather ordinary" on
a white background, so she
started working into the
background, using a brush
in one hand and a hair dryer
in the other. Her painting
evolves subconsciously
without a plan
mind, using
painting such as this
worked
flat, sitting at
is
a table,
but for larger paintings an

easel
is
used. Oil painting
much
nonreflective glass, because
gouache and
seems to drain all the color

away from a painting.
in
very thin, diluted paint.
passionately averse to
it
the artist's
is
main medium when working

on board. Again, she paints
extremely wet to maintain
luminosity and transparency,
mostly on MDF, first
oil
is
faster than painting in

ink.
technique
because she
is
The
artist's
very precise,
is still
aiming for
transparency and movement.
roidery with a pen,"
e pictures
Ink and gouache works
but oil paint
wet
Color is not flooded on, but

she needs to work very fast
and the hair dryer helps to
move the paint, blowing it
around the surface. Although
working
in oils, the paint
tends to dry fairly quickly
because
it
is
so thin.
Transparency and luminosity

Mineral
used to
have to
spirits is
dilute the colors: "I
keep
my
brushes clean to
maintain clear, pure colors
and have to frequently

change the mineral spirits."
The
settle.
artist
believes that oils
finished painting
is
put straight up on a wall, and,

after a
few days,
it
looks as
if
the surface has changed. If
she thinks
it
just paints
over
looks awful, she

it.
"/ am very driven and always

planning what I am going to
paint next."
Marina Yedigaroff
Red Tulips
Oil
20 x 30in
on board
(51 x
91.5cm)
Choice of media
gouache and
Oil paint,
ink are the
main mediums used. Occasionally,

the artist paints with acrylics,
particularly for exterior mural work,
but she dislikes this
medium
for
conventional painting, finding
it
and piastic-looking. The
artificial
transparent effect that she achieves
with
oils,
colors,
is
using diluted mixtures of
more
usually associated
with watercolor paintings.
"See also
Choosing media/Gouache 34
Liquid colors 151
Dry color and line 152
in oils
27
28 Color contained
Daphne Jo Lowrie
"My work
is
about
simplification. I
am
trying to get to the

essence of the subject by
eliminating unnecessary
detail,
which may
between
oils
is
an
who moves
artist
freely
and watercolors. In her recent works,
she has used oils for painting
still-life
subjects and has concentrated
form and composition
to
and landscape
on simplicity of color,
convey the basic essence
of her subjects.
confuse the eye and

detract from the colors
and shapes of the

painting."
Choosing color
Working with
Although the artist does not

necessarily choose expensive
pigments, she insists on
having good-quality colors
in her primary color
selection. She always has an
artists'-quality red, yellow
and blue available, and there
are two core colors that are
essential to her palette and
color mixing range. These
Daphne Jo loves working
colors are white
- usually
oils.
Oil paint
Mixing color
The artist works with two
palettes, keeping her main
oils
is
in
malleable
and dries slowly, and she

particularly likes the
colors on one palette and
way
using another palette for
can be moved around,

allowing the artist to stroke
on smoothly or leave brush
mixing.
it
marks and
textures: "It
sheer joy every time
it
is
dip
my
brush into this lovely buttery

material.
and
its
enjoy
its
versatility
very
it
sometimes does not look so.

She may take half an hour
to mix a color, and it is an
important process for her:
and think about
"I sit quietly
my
sensuality."
It is all
organized, although
graduation of mixes that
Titanium White is selected and Yellow Ochre.

Colors are chosen
from the primary colors,
depending on the subject or
than practical, point of view,
painting." She mixes a lot of
the artist finds that oils have a
color
first in
work
in
mood, but
can take a gentle approach,
the artist often
chooses her primary hues at

random. Those she tends to
use are
Cadmium,
Alizarin
and Venetian Red, Cobalt,

Ultramarine and Cerulean
Blue, and a medium and a
light Cadmium Yellow, a
Lemon Yellow and a rich
From an emotional,
quality that takes her

is
a positive
rather
mood.
It
will create the
become
order not to stop
colors to create a mixture
is
equated to a marriage, with
dramatic and forceful.
the colors regarded as a
Getting it on clothing and

having to clean brushes
colors are taken from her
family.
little
of
all
those
afterward
basic palette through to her
oils offer
mixtures. These are modified
is a problem, but
something that
other painting media cannot.
all
the time, but because they
are
all
from
yellow, such as an
and
Aureolin. For a blue-
harmony
mauve
in the
midflow.
Picking up individual
medium, so she
yet within seconds
harmony
common
source
related, this creates

in the painting.
effect, for
example, she works

with Alizarin Red and
Ultramarine Blue.
Specific color
themes are often

developed.
coastal
series of paintings,
for instance, uses
Cadmium and
Venetian Red,
Cerulean and Cobalt
Blue, and a Cadmium
Yellow for warmth.
Her foundation
colors of white and
Lemon Yellow and Aureolin
Yellow Ochre are

always included.
"At the end of the day, with

the paints that are
left
over,
can create a lovely gray. And

I know that this gray is made
ap from all the relatives."
129
The
The
artist
pictorial
still-life
paintings
has been exploring a
theme
that
is
strong
and graphic with blocks of color

contained within defined
shapes.
In
these paintings the
negative or background and
in-between shapes are as

important to her as the positive
shapes of the objects. Her

starting points are simple
life
still-
arrangements set up on
table
in
front of a
window.
These become a basic
color,
shape and compositional

reference, and from this the
artist
can quickly start
interpreting
and improvising.
Daphne Jo Lowrie
Siblings, 2001
Oil
21^x
on canvas
17 /in (55
x45cm)
'See also
Black
76-79
30
Color contained
Daphne Jo Lowrie
Still Life
with Orange Flower

Oil
on canvas
21Mx17Kin(55x45cm)
Exploring a theme
In
these paintings the
artist started
by tinting the canvas with a thin
mix of Burnt Sienna, then very

aggressively painted
the outlines
in
She made a
of the objects.
dark-line
brush drawing of the entire setup.

Black
not normally used as a
is
mixing color, but here she used

pure black with a
Crimson to take
When
Alizarin
little
off the intensity.
you look closely, however,
you can see that the outline
is
black. Traces of other colors
have
been picked
up, so the line
not
wanes
and softens. Sometimes there

a
little
added and
is
the outline a
drawing
is
making the outline
red,
brownish. Sometimes a
Umber
all
little
little
Raw
makes
this, too,
gentler. This brush
used as a basis to give
is
the picture
its
structure.
Varying intensity
The intensity of the color and
texture within a painting
is
changed by applying color

either thickly or very thinly
way one would use

watercolors. The artist works
in
the
with paint straight from the

tube, without
mediums
except for turpentine or

mineral
spirits.
Working over
The
artist originally
still lifes
paintings of objects standing
space. Her plan
shapes
in
line, biting into
obliterating
makes
marks:
"I
do not tend
to
build up surfaces and layers
and transparent glazes.

like working directly and
to
fill
in
the
and overpaint them,
painted passages with thick,
almost three-dimensional
was
but she started painting up to the
or around "dribbly," thinly
"juicy"* paint, she
thought of these
as being very conventional
it
and occasionally
altogether, although
it
always leaving
it
as part of the
composition. On standing back and

looking at the outlines
in
relation to
the colors, she decided that she

liked the line
and that
it
worked
in
the painting. The outlines are very
(liately.
Processes and
worry inc."
successful
in
defining both color and
shape, particularly
color
bounces
in
off the
the
way
the
dark lines. The
pictures evolved accidentally from
Still
Daphne Jo Lowrie
Life with Bottles
Oil
on canvas
(55x45cm)
here, and she
went on
series of images.
to paint a
131
Coloi
Vivid solid-ground colors
Daphne Jo Lowrie
likes
painting on paper and started

the studies for the outlined
still lifes
on paper before
moving on
to canvas.
Sometimes the artist paints a whole cam as in a really Strong,

assertive ground color, and then everything that goes on top of
You have to work hard to get

and in that process you can come up
with some extraordinary and interesting hues. You are setting
yourself a challenge by starting with dominant and powerful
ground colors.
hard fight.
that color involves a
The
your colors
artist wanted the pictures to

be simple and unframed, so
is carried around the
edge of the canvas, too, and
the color
to register
she started thinking about the
whole painting as an object

itself. When you look into
these paintings, there
is
Working
Solid-color grounds
a lot
of pattern and abstraction

the forms.
in
drying, waiting for the
in
first
marks.
in oils
allows you to create lovely
movements
in the color,
which adds
to the design.
Interpreting color
Getting excited about the
The colors from
paint and the color overtakes
the still-life
setup are interpreted to the

rather than an objective,
concerns with the observation

of the image. The forms and
shapes become the vehicles
observational way. For
that allow the artist to play
example, in Still Life with

Orange Flower, there is a
clear white bottle and a blue
pot with an orange flower.
It is the orange flower that
around with color and the
painting in an emotional
texture of the surface.
"/
iMm ^^ssasss^
The
artist
may
decide to paint
strong grounds, not boats with
some boats on one of these

all their
rigging and equipment,
but the organic shapes and geometry of boats. These strong
ground colors are painted as a challenge for when she does the
final paintings, and they enable her to create color mixes and
combinations that "sock you in the eye." Strong and powerful
effects often cannot be achieved on a purely white ground.
sometimes pick up colors
unintentionally There are

.
attracted the artist in the first
place,
and she wanted
this to
take her into the painting.
So
she played with colors until
happy accidents that

take place, mishaps that can
transform a painting from the
often
mundane
to the
sublime."
she found a combination that
worked with
the orange
flower, mixing a blue for the
vase that complements the
orange of the flower. This

approach makes a starting
point and sets the code for the
rest
of the painting.
"As soon as
sensing
how
my first
am already
get
colors down, I
to
move
the
painting forward in color
and tone. I sometimes go

wrong with a painting and
have
but
to
scrape
it
back
I realize quite
is
going
in
progress
is
painted
on a solid Venetian Red ground,
and there
to zero,
quickly
whether a painting
to work or not."
Venetian Red ground

This painting
underpainting
is
also
in solid
some
local
Burnt Sienna.
The dark red and sienna peep

through the subsequent colors; these
little
areas that are
left attract
the
eye and create an excitement on the

surface of the picture.
^L
32 Broken color
John Reay
"I
work mosth/ with
oil
paint straight from the

tube, applying
it
with
a knife. I like the
simplicity of it.
do
little
preliminary work other

than a basic simple line
and brush drawing."
paintings.
is
an
Many
artist
who works on
of his works are populated with
hundreds of figures. Using a palette-knife technique,
worked over an
often
what he
calls "a
oilbar underpainting, he creates
broken prismatic effect"
Working methods
Composing the painting

With these very crowded
artist
works on primed
board, either hardboard,
subjects, the artist has an idea
plywood or MDF. He likes

working on board, because its
tough surface allows him "to
of the dynamics of the whole
how
it
when using
a knife."
to
prime the board with
He
then
tints the
prepared
like
oils.
a drawing tool. The
work can then be
thinned and blended to
make
transparent lines and washes.
"I find this preliminary oilbar
work can bring a glow to

the color. The underlying
transparency brings a
luminousness
subsequent layers ofpure

opaque color that I lay on
He
consistent lilac-gray tint color
when
painting directly. This
He
has an
it
all
out in
put in a very basic
brush-line drawing, but
not stick to
when
it
do
get going.
of color, the knifework and
is
idea of the drawing
is
to indicate the basic size
just
and
If
you look
closely,
you
will see that the application
no thinners or
make
what type of space the figures

and groups need to occupy.
With so many figures
appearing
in a
perspective
is
painting, correct
important and
the diminishing sizes
look right.
30-31
some
He does
must
not want
figures too small or
others too big, so he keeps an
152-153
eye on where these people

are in space.
lilac-gray lint color
provides a useful neutral ground.
The
painting
improvised within a
all
is
fairly tight
mental plan as he works.
make an
underpainting and to draft
in
the
forms and the composition. He makes
drawing with oilbar that looks
very crude at this stage, then he uses

a round brush to blend the drawing
with turpentine, so that
it
a painting. The oilbar
like
becomes very
thin
looks
more
work
and transparent,
and then he works over
it
with the
painting knife.
way
oilbar technique
of drawing, as an
intermediary stage to lay out the
composition and lay
The color is not filled in

between drawn outlines.
The artist knows roughly
oil
uses oilbar as a
He considers the
works onto a whiteprimed surface.

uses good-quality
artist often
basic drawing tool to
as another
brush marks create the figures.
He
Oilbar for underpainting
The
position of the figures."
underpainting with oilbars, he
media/Oilbars 31
line
as he paints.
colors in later years. If he
mixing 23
rand
them
The
the basic underpainting.
idia/Oils
<q
in the
ground color does not

influence the outcome of the
final picture greatly, and there
is little chance of it darkening
and influencing the subsequent
neutral
(oil-painting sticks) to
'ilor
composition, but he puts
detail: "I
mediums, except for paintings

where he has employed oilbar
*~See also
essential to
rough preparatory sketches

with a ballpoint pen to work
out the dynamics of the
he does not draw
tends to keep to a
paint, with
with a knife."
it is
a large
often
to the
confused, so
overall picture in his mind, but
neutral-colored acrylic or
used
the figures
all
figures as he goes, reinventing
need."
board with a thin wash of
basic drawing
drawing
scheme in place.
Sometimes he makes a few
roller to give the
surface texture
stick, is
started
one by one, he could become
he wants: "I use a coarse

surface a bit of tooth and,
oil-painting
each individual figure. If he
have an overall pattern and
depending on the speed and

density of primer application,
I can lay down whatever
known as
draw
painting, but he does not
the exact painting surface
lambswool
Oilbar, also
light.
The
Experience has shown him
oilbar
produce
to
luminous and vibrant surfaces of color and
attack
Working with
large oil
in color.
Sometimes he reverses the

for
example, he
color;
may have an
underpainting of green and then
work over
him
it
to build
with red. Oilbar enables
up layers quickly and to
create color contrasts of one color
over another, so he can create the
broken prismatic effect of the surface

of his paintings.
133
John Reay
Lowestoft Beach
Oil
36 x
48m
on board
(91.5 x
122cm)
John Reay pursues techniques established by the

Fauvists and Impressionists,
not through tonal
and juxtaposition.
means
who expressed
light
but through color contrasts
34
Broken prismatic
effect
light in a studio painting is
Colors and paints

The artist usually works with
more or less the same color
range. The reds are Alizarin
Crimson, Cadmium Red and
Vermilion. The yellows he
now automatic and
chooses are
Light
For about five years. John
Reay worked exclusively

outside, painting from nature.
\s a result his
In a
approach
to
intuitive.
complicated figure scene,
he finds that light
is
factor in a picture.
a unifying
pulls
It
everything together and brings

not
a logic to the color: "It
is
entirely this, of course.
There
are other factors to take into
account, but light
is
important for me. In
a set order,
my
layout,
and the way it strikes the

forms is an important part of
full
light
reds, grading
warm
blues,
then through to cooler blues
and on to yellows and greens.

Following this prismatic
approach is useful, particularly
because he works at a fast rate
when he starts painting. It

makes sense for the colors on
the palette to have some kind
Crimson and Viridian
Alizarin
to create a lovely dark that
from
through purples to
use black, preferring to mix
massed-figure compositions,
colors
Basically, he follows a visual
also likes Viridian, a
paintings, whether single or
some of the
can become mixed up.
For blues he selects

Cerulean Blue, Ultramarine
Blue and sometimes a Cobalt
He
lays out his colors in a
rough sequence. Because he

does not stick too carefully to
Cadmium Yellow,
Cadmium Yellow Light.
Lemon Yellow. Yellow Ochre
and, sometimes. Raw Sienna.
Blue.
prismatic palette layout
He
premixed green. He does not
so
all
of order and relationship, with
is
of color.
the reds next to the oranges
and the crimson closer
to the
the painting."
ultramarine, for instance.
"1
seldom mix color on the

palette. If I want a midtone,
pieces of board.
I pick up the
component colors and mix
them while spreading them on
but they eventually reach the
His palettes are disposable
for example,
the canvas."
He
uses the
same boards time and again,

point where they are unusable,
A mix
of Alizarin
creates a
and he simply throws them

away. Because the color
mixing takes place on the
Crimson and Viridian

soft, rich dark.
surface of the painting, there
He
is
nearly always chooses
that
good chance of colors
contaminating one another
Titanium White as it is a
strong opaque white. He finds
Flake White can often be a
little too heavy and textured
when used straight from the
tube. Titanium White has a
much smoother consistency
for knifework.
The color
on the
palette.
With
the colors
arranged prismatically, there

less
is
chance of contamination.
he tends to
use probably more than any

other
is
Yellow Ochre. He
describes
as
it
He
lovely, earthy
medium range
color and a
too. a
"'a
warm glowing
finds
it
one,
color."
brings a bronze
often pick
"ii
'lend
up two or three
one go
Crimson
Cadmium Red
Vermilion
underlying earthy, yet human.
Cadmium Yellow
Cadmium Yellow
Lemon Yellow
warmth
Yellow Ochre Dark
quality to llesh and an

1
Core colors
Alizarin
to figure painting.
the knife in
Light
Yellow Ochre
them wet-into-wet
Raw
face."
Cerulean Blue
"Sometimes you find
Ultramarine Blue
accidental color mixes on the
Cobalt Blue
palette are
Viridian
than those that are happening
Sienna
in the
Yellow Ochre
is
warm, resonant
color.
more
work."
interesting
135
Knife and brushwork
Most of the color mixing takes
place on the surface of the
painting. The artist frequently
Mow long does it take?

John never times how long a
painting takes. It can be weeks
blends his knifework with a

brush, particularly in parts of
where the forms

are small, and also where
using pure knifework would
overshadow the form and
the painting
make it look clumsy.

The outline of a form
"In this technique
or months, sometimes years:
ofpainting, accident
and chance can play
a large part."
"The
done
initial
laying
the picture has a

I
am
usually
in is
when
quite quickly, but.
redrawing
lot
it
going on.
all
the time,
building up the colors and
working
Lowestoft Beach
is
reestablished with a brush and
to get a greater
richness and balance."
John Reay
same-size detail)
He
tries to
complete the
knife-worked passages
the inside attacked with a
in
knife, creating a kind of visual
one session, but it is not

always possible. It is not
dialogue of brushed and knifed
so satisfactory to go over a
marks:
"You cannot
paint with
a knife in a tight, limited
painting again
way;
it has got to be used in blocks

and patches of color."
He
it is
when
it is
dry.
There is a different feeling

and a different blend of paints
when working over a dry,
finds that, with a knife,
encrusted surface.
a process of defining,
Sometimes he needs
to
go
losing and redefining the
over a painting or parts of
form throughout the whole
again to
composition, going over
best ones are often those done
it
again and again with the knife.
with
make
it
minimum overworking.
There is always a greater

obvious freshness in the
application of the color.
In this technique of painting, interesting effects can occur
a painting knife,
I can get amazing mixes,
because the individual colors
never quite blend, particularly
if you pick up two colors on
"I find with
different parts
blade. They
in the
mark
of the knife
become blended
that results.
chance.
It is
very
much
by
part of painting with a knife that the artist
can accidentally pick up a fleck of color, but the color does not
blend in the same way as it does with brushwork. The colors
showing through from underneath are important, making an

interaction between the different layers of color. Sometimes, if an
area of the painting has gone "dead," the artist will deliberately
change the color. If someone is wearing a blue shirt, for instance,
he may find that changing it to a red or green one brings some
sparkle back into the painting.
it
work, but the
36 Painting with nonart colors

Jessie Carr
'We tend
lot
to
get through a
of white;
it's
the greatest
probably
volume of
any of the eolors we

When working on
scale
tints
we
use a
use.
this
lot
of
- we don't need our
colors to be too bright.
paint
artists
huge backdrops or "cloths." Their work
mainly
is
and Lucy Dunsterville are two
in film, television
is
who
seen
and stage productions and
often used to decorate and provide atmosphere for
special events.
artists
working
create their
They
are, in a sense,
to order or
own
commercial
commission, but they also
works, for sale or
hire,
which they
post on their website.
They choose household
as a matter of course,
and use them successfully.
colors
Bulk-volume colors
There are many kinds of
colors - mainly with an
acrylic base
that are
available specifically for
and mural
However, through
large-scale, scenic
painting.
experience, these
found
artists
that ordinary
flat latex
have
household
paint suits their
working methods
House and
best.
industrial paints
While household paints are

inexpensive in comparison
with
artists' paint, the artist
needs to bear
in
mind
that
these paints are designed for

a specific purpose.
made
They are
rooms
for decorating
and houses where the colors

will be changed, on average,
every two to five years. Thus,
these products are aimed
at a
market where extreme

is not the prime
longevity
concern, so they are generally
composed of ingredients
Sound technique
Paint specialists generally
industrial,
there are
recommend
that artists
household and decorating paints
good reasons
for this advice.
pigments and binders used
do not use
in their
paintings, and
The main one is that the

compared to artists'
these paints,
in
colors, are less stable over time. Decorating paints, however,

arc perfectly
good products
in
themselves. They offer a huge
variety of colors and finishes, and they are available
perhaps thousands, of different hues,
For painters
work
is
who
lints
in
hundreds,
and shades.
use nonart colors, the longevity of their
an important consideration that requires them to follow
sound technique. By staying with one medium - that is, not

mixing alkyd, or oil-based, and latex or water-based, paints
and working on appropriate supports, artists can avoid future
problems. Works that are 20 years old can look as good as new
alter being vacuumed, then sprayed with water to tighten them.
.
that
can eventually
From an
fail.
artist's point
view, the binders and
of
fillers
they contain, particularly

in latex paints,
make
can often
colors look Hat and
chalky and, therefore,

lacking
in intensity
when used
painting a
picture.
for
unoosing nonart
coioi
37
Ihoosing a palette
Core colors
Decorating paints are given names that aim to create a mood

and emotional response in the buyer. The same hue may be
given one name one year and a different name the next.
Sometimes a color is discontinued altogether, which can lead
to difficulties with consistency. The core colors used by Jessie
Carr and Lucy Dunsterville all have commercial names, but
they have fairly well-matched equivalents in artists' paint-color
ranges, too. If you have a good eye and know your colors, you
can easily find hues that resemble artists' colors.
Their palette consists of

read) mixed paint bought
from the supplier.
directl)
and, with a chosen
set list
of
colors, the) can achieve a
multitude of effects without
having
complex
to resort to
color mixing
in the studio.
Obviously, they mix and

blend individual colors to
achieve specific detail and
the subtlety of effect they are
after in certain passages of a
painting, but, on the whole,
they find their set palette of
around
2 colors covers most
of their requirements. The

standard colors they use are:
black, white, three blues,
two reds, a
two greens and a
three browns,
pink,
yellow (see
left).
Preferred finish
Just as artists working on
conventional "easel" paintings
discover their preferred brand of
color, so
these two artists have
discovered theirs and always use
Trade
Name
Generic
Name
the paint brand Dulux. They only
Regatta
Cerulean Blue
use the flat-matte
2.
Aria
Cobalt Blue
for black,
3.
Apothecary
Ultramarine Blue
satin-gloss variety for
stronger pigmentation.
finish,
where they
4.
Poppy
Cadmium Red
5.
Fancy Dress
Naphthol Red Light
6.
Monarch
Quinacridone Red
7.
Gold Cup
Cadmium Yellow
8.
Bracken
Yellow Ochre
colors mix well
9.
Saddle
Burnt Sienna
evenly.
lO.VanDyke
11.
Hollybush
12. Goblin
Burnt
Light
Umber
Chrome Oxide Green

Perm. Green Light
except
prefer the
its
"We find this brand best for

consistency and flow; the
Some
and dry
other brands
can dry with a
bit
plastickyfilm."
of a
38
5tudio technique using nonart colors
Mixing and painting

The medium the artists use
thinning their colors
and a
lot
painting
is
for
water,
of it. At times their

method almost
becomes a
staining technique,
because they brush and scrub
unprimed
and absorbent support,
the color into the
flooding pure color into large
brushes, alternately picking
Color on a large scale

The scale of the work is
amazing when compared
up the shadow and
a conventional painting.
areas with big housepainter's
detail with
smaller brushes. They blend
to
An
average work would be 20ft
colors directly on the raw-
(6m) long and
calico cloth and create
The maximum scale the artists

prefer to work to is dictated
by the height of their studio -
special colors
their paints
by mixing
on the
floor.
3ft
(4m) high.
frame is
(4m) height but they have worked on huge
pieces up to 20ft (37m) long,
and these have to be tackled
their current painting
limited to a
3ft
in sections. If the
exceeds
to
3ft
height
(4m), they have
allow the calico to extend
down
the wall onto the floor,

and they often paint sections
working upside down. It tends

work out that Lucy, being
the taller, works on the top
to
sections, while Jessie tackles

the lower ones.
Painting surface
The support used

Studio techniques
ihes are
md
used as
at.
used
for
the floor
is
,;ilette.
to paint
artists'-quality calico. This
on
is
is
a fairly
lightweight cotton material, and they
work on
it
unprimed.
139
Planning a painting
On
approval, after discussing
details with the client, the

artists transfer a
preparatory
sketch onto the calico

support, using a measuring
system, then draw the whole

composition in with charcoal,
modifying it as they go.
When
painting the final
canvas, they keep color
hand, working
references
at
from
own
their
reference
photographs or magazine and

book references, depending
on the commission.
In this case an Indian
city
was
central to the
commission, and they had to

work from photographic
references for the scorched
city and the dry, sandy earth
colors of the landscape.
The
succulent green foreground

foliage
was taken from
references
made
Royal
at the
Botanic Gardens,
Kew,
in
England, and the final

success of the painting is left
to their skill and imagination.
Teamwork
The
artists
Preparatory sketch
work as a team - two
people as one. They tend to paint

their
own
sections, with different
spurts of energy.
measuring
two
painting
3 x 20ft (4 x
6m) takes
or three days to complete.
If
it
is
commission the
artists are
working on,
it
will
start off as a fairly detailed small sketch painting that

will
be done to the exact proportions of the
required size. They
may show some
final
alternative color
variation sketches, too, and the presentation sketches
are accompanied by a color swatch.
?L
Color swatches
When
painting the final canvas the
artists
make
color swatches,
planning the hues, tints and shades
they will require. They keep the

selection of colors as simple as
possible, having found through
experience that
if
too
many
colors
mj
are mixed together the overall effect

is
deadened and the
life
taken out of
fci.
the painting.
-
frjy
40 Colors from the mail

Judith Chestnutt describes herself as a papermaker,
and the raw material of her work

"I
admire the
recycling ethic
and work
with that in mind."
is
junk mail that
she makes into paper pulp. Judith utilizes the
mountain of printed advertising material

accumulates
leaflets
and
her
in
home -
flyers that are
that
the unsolicited coupons,
commonplace
in
every
manufacturers' colors for her creative pursuits,
medium
is
delivered for free through
her letter box every day.

Selecting the
The papers should not be too

glazed papers and those with
Some
heavily varnished inks do
printed
not recycle into pulp easily.
others in the recycling
process and produce a more
These papers do not absorb

water readily and this makes
successful finished work.
the process of conversion to
When
paper pulp more difficult than

it needs to be.
thinking of a
new
paper-pulp picture, she sorts

her papers for reuse, using
and tested
The
artist
This does not entirely

exclude the reuse of shiny
criteria.
avoids paper that
has previously been recycled,
and she can usually
Judith Chestnutt
Color sample
Paper pulp
6 x4in (15.2 x 10.2cm)
for an extremely long time.
tell
Or
papers these are. This usually
this helps accelerate the
precludes the use of
water-absorption process that
newsprint, which
is
often,
is
but not always, on recycled
The problems with
can
Hank envelopes with blue

patterns printed inside make
get.
nice skies."
can be boiled, because
essential in
making
good
Shredding
Having selected the papers for
recycling, the next process
is
Hand shredding
is
pulp, but boiling results in
color loss and, in turn, leads
of more
and the
artist
such papers are that the fibers
to a
you think
about it, the paper has been
shredded once before in the
subdued color.
materials for the paper-pulp
for destroying
original recycling process;
medium
shredder
and shred it
again and the fibers have
become even shorter. The
paper pulp does not blend
easily and join together in the
finished work."
get hold of
whatever paper
it
shredding.
are too short: "If
"1 use
paper for recycling; it can be

used, but it has to be soaked
through experience which
paper.
it
materials.
shiny. Gloss art and machine-
papers perform better than
tried
raw
raw materials
developed a sharp eye for

the type of junk mail she is
for.
workable pulp that will

blend and stick together in
the final artwork requires
experience and a good eye
for the right
Judith Chestnutt has
looking
and shredded color by color,

and, from this selection of
raw material, the artist
manufactures her paper pulp.
It is a simple enough
process, but achieving a
household. She rarely needs to buy any
because her
Shredding and pulping

The selected paper is torn
pulp that
is
Selection of the raw
is
a continuous
paper
into small pieces.
Sometimes
she uses a shredder, the type you

can buy
in
an office-supply store
is
documents. Using a
less labor intensive
when working on
process, and the artist sorts
saves time
the junk paper systematically
piece, but on the
by color into her storage

system - reds in one drawer,
blues in another, yellows in
another, and so forth.
best,
simply tears up the
whole the
and
a large
artist
has found hand shredding to be a
more
satisfactory method. Torn-
edged paper breaks down more

easily than paper with cut edges,
and the
for the
fibers tend to
remain intact
pulp-making process.
Recycling envelopes
Bank and junk-mail envelope
interiors provide a
for recycling to
wealth of blues
paper pulp.
Colors from paper pulp
41
,-
a*
It.^
V"
?
i.
V'.rfc
..'.-
/;
'.31
<**
"TV
*<%
i-WL
*,".#'
-'.a
'
>/
...
^
The
J-.:
artist is
committed
to conservation,
and the materials seen
Judith Chestnutt
paper-pulp images of shorelines celebrate this passion.
Shoreline, 2001
seemingly useless paper
Paper pulp
I2x12in(30x30cm)
and creative
skills to
into individual artworks,
In
in
her
recycling
she combines her practical
create pictures that she describes as paperworks. Her
fresh, unpolluted shoreline studies
make
a positive stand against
wastefulness and overt consumption.
42
Colors from paper pulp

Working with colored-paper pulp
is working on shoreline sea and sky
compositions, and, from her collection of papers, she selects
Currently. Judith
various blues, and both cool and warm yellows, for shredding
and pulping. Fortunately, she says, blue and yellow are
predominant junk-mail colors, so she has a lot of color choice
for her subject matter.
Before she starts a pulp picture, the artist thinks a lot about
and what she wants to do. She makes preparatory paintings
and drawings and has a design for the composition in mind.
All her themes - sea, sky and horizon - are inspired by nature.
it
She often works on a back piece,
a prepared piece of paper,
to act as a support for the paper-pulp composition. This is
particularly helpful
if
it
is
"I
a larger work, but the pictures in the
shoreline series are fairly small, about 12 x 12in (30 x 30cm),
so for these the
artist
works
Remnants
like
of the original
some
seeing
it
made
is
of
an envelope there."
**.:*
/**>
very important to use
"It is
or chemicals, and
colored pulp
is
of water. My ingredients
are very pure and simple. I
do not use any glues, binders
lots
0^
my final
stored
in
recycled plastic containers.
in
is
'
%?*&*'
^
Soaking and pulping

The shredded paper
what
a bit of type here, the
lining pattern of
directly with the paper pulp.
of the original
material and being able to see
then soaked
buckets with lots of water. After
^v
about three or four days, the wet

paper
is
ready for pulping and
transferred
in
is
small amounts to an
ordinary kitchen blender. Again, this
where the artist's experience

comes into play, and she has
is
learned through
trial
and
error the
The
artist
works
on a table,
flat
laying
down an absorbent
in this
case tough, absorbent
and lays
press really hard to take the water
using a fork to pick
up, the
it
way
work
the exact amount of pulping time -
with the colored pulps, picking them
to
make
It
is
seconds - that
is
needed
is
the right consistency for working
with on the
final picture.
shredded paper
is
If
them down on the
the pulp just as

until
feel the
if
was
work
is
on one side to
is,
blended) for more than five seconds,
leave
it
finished
to dry overnight."
work
is,
by
its
like paint."
The
very nature,
handmade piece
highly textured, a
Once the completed

dry,
another process
is
picture
is
employed
to
various parts of the composition. The

artist often irons parts of the
and the work
She uses
will not hold together.
es not pulp after five seconds,
paper has not been soaked for
work
to
another textural dimension.
the short fibers will disintegrate
in
a hot, ordinary
domestic
areas of the
iron to flatten certain
surface and uses the hot
tip to
indent small local areas to add to
lough.
the texture and
fibers
have
If
II
Mill
relief.
Using the blender
and lock
the shredded paper
more than
five
is
blended
for
seconds, the paper
fibers will break

will not bind
the sky and sea, there are
just like paint
"I
created with no grain or direction.
bring
holds
dry:
and compact the pulp, and then
using paint,
finished."
it
modify the surface and accentuate
the
pulped (that
up, laying
"I
absorbent cloth, laying and blending
the perfect paper pulp.
important that the pulp
sorts of colors.
is
one would use a paintbrush:
five
"In
squeezes out the surplus moisture
disposable paper towels. The work

started by
Junk-mail colors
paper towel over the whole work,
with the colored pulp
exact amount of shredded paper and
about
Then she puts another absorbent
first
surface,
up and the work
together properly.
all
can mix the pulps
- use them
1
just
143
Waste-paper collages
In addition to
pulping junk
mail, old newspapers and
magazines are an endless
free
source of colors and materials

for collage work.
You
will be
surprised at the large areas of
pure color to be found that

are uninterrupted
images.
To
by
text or
avoid what
is
known as "show through" when print or type
this is
matter shows through from the

back - paste the collages onto
gray or black backgrounds.
Judith Chestnutt
Color samples
Paper pulp
8 x6in (20.3x1 5.2cm)
"It is
a very simple process,
using very simple equipment.
Anyone can do
it
anywhere.
~
Print editions
If
you have a home computer setup,
you can make convincing lithographlike prints
by scanning junk-paper
collages and printing
them onto
heavy-quality papers or special

printer-compatible canvas.
short, signed
*"*
Make
and numbered editions,
using archive-quality inks
in
the
printer for longevity.
Collage samples
Magazine cuttings
and envelope
interiors
5 x 6in (12.7 x 15.2cm) (above)

5 x 7in (12.7 x 17.7cm) (above right)
-'
5 x7in (10.2 x 17.7cm) (right)
f&l
44 Colors
Many
artists
experiment with found materials and
primitive societies
in their
and fun
for free
still
use naturally occurring colors
work. In developed societies, too,

to find colors
it
easy
is
from animal, vegetable and
mineral sources around the house and yard.
Mustard powder
Early
ash and charcoal

known examples of pigment
used
for
in
matte acrylic medium
Fat, saliva,
Blood
Myths exist
of
deranged
painted with blood.
It is
artists
who
said that
El
own
some 15,000 years
blood,
old, reveals the
ash and
because he was often seen with
use of animal
bandaged hands, thought
charcoal. Pigments derived from
to be a
fat, saliva,
now
It
is
the earth
more probable the bandaging was
to
categorized as oxides, ochres and
result of
drawing
protect skin
Red wine (Cabernet Sauvignon)
his
least
cave paintings of southwest Europe,
Greco (Domenikos Theotocopoulos)
(1541-1614) used
images date back at
35,000 years. Analysis of the famous
turpentine.
his
own
blood.
damage caused by
It is known that blood
useless for painting, because
it
becomes dark brown within
few
siennas
colors that are
are also
commonly
Mustard powder
in
red
wine
found.
is
days and eventually turns black.
Mustard powder
English mustard
makes
Custom
tinting
You can create warm
tints,
wine, tea, coffee and
cola.
using
Cochineal mask
This graphite drawing
is
tinted with
cochineal food color. Foodstuffs and
food colorings provide good sources

of tinting materials.
El
tural
'i
Greco (1541-1614)
complementaries
leaves of Rhus tnchocarpa
arth 72-
75
-143
Cochineal and vanilla essence
in
powder form
good transparent ochre.
145
Vegetable colors
Color can be obtained from
vegetable matter. Grass, petals
and berries can be rubbed
into the
surface of the paper to impart

of their original pigment.
colors tend to go
brown
fade. However, the
some
Many
or quickly
samples here
are at least one year old.
Coal ash
Grass
Coal ash plus Titanium White
Blackberry and Titanium White
Simon Jennings
Rose hip
Dust to Dust
Teak wood dust
and
Terra-cotta in matte acrylic
medium
Mineral colors
Colors can easily be obtained by
drilling into bricks
masonry
drill bit.
and stones with a
The
or dust, can then be

acrylic
resulting spoil,
bound
medium and used
in
an
like paint.
Red-hot poker (Kniphofia)
medium on canvas
1Mx8in (29.3 x 20.5cm)
acrylic
46 Traveling color
Beach color
was
The beach
in this
composed
of gray volcanic pebbles,
location
creating a mottled carpet of
shadows and
There
is
textures.
a great tradition
of painting outdoors and

observing
directly
When
litiht
and color
from nature.
traveling
may be
it
impractical to carry fullscale painting equipment,
but successful results
can be achieved with a

limited selection of colors
and materials.
Primary Blue
An inexpensive and
versatile middle blue.
It
the most dominant color
is
in
Neutral Gray, value 5
Parchment
An
Avery
excellent neutral gray,
used here
for the
and distant
hills.
beach
It
was
neutral lightish
green, almost white; very

useful
when
traveling
the picture above, but any
mainly applied thinned
light.
mid-blue would suffice.
with water, sometimes
here-applied
Primary Blue
with a
in
hue
to
is
fairly
close
Cerulean Blue.
little
white added.
It
proved versatile
thickly for
the sea,
in
washes
and
in
admixture to
sky,
for the
lighten the other colors.
Naples Yellow (Hue)

An opaque lightish yellow;
excellent for mixing. Subtle
and not too dominant;

here,
it
suggests the
transparency and reflective

qualities of the sea.
also used
in its
It
was
pure state
for the distant shore.
ng ahead
a
r
es
and
sunny
example,
come
to
mind
ur palette
accord
media ano
_M J
OZVHOHH'J
re JmvA
gmovHC
u-t-imrism
ZI-30W
AS"WH li
jnovdo
ancvdo
147
Traveling light
A color sketching trip to the

Mediterranean coast of the
south of France necessitated
traveling light.
The
artist,
anticipating the opportunity to

paint the sea
and sky, took a
wooden box containing

tubes of acrylic paint -
small
five
the four colors
shown
opposite, and white. In

addition to a few brushes, the
Sketchbook page
join (Sketchbook
is
50 percent actual
travel-painting kit included a
size
small watercolor box to
From Castel Plage

Acrylic
in
and watercolor
Abandoned rope fragments from
colors.
nets and boats are
sketchbook
8'/ x 21 in (21
Color inspiration
provide a wider range of
x53cm)
to
The beach scene above takes up
double-page spread of a sketchbook,
and
size.
shown here at about half

Acrylics were the predominant
it
is
materials used, but watercolor,
applied fairly thickly, provided the
small red and green color accents

that are
shown
details on the
in
the actual-size
left.
"See also
Choosing media/Acrylics 33
Dry color and line 152-
among
the colors and textures
be found on most
beaches.
A red came
in
handy
for the sails of the dinghies
and the roofs of distant

buildings, and a touch of green
depicted the foliage in the
and the shoreline palms.
hills
48 Color on cloth
A
strong relationship
exists in the
"I
am
a painter
not a dyer.
Rl
IH
MBRANDT'S
III
M'l'l
II
Kl
II
sim\si ro Mil CRITK

Ills
OLORS KM)
MK
making of
artwork between the use
of color
painting and
in
ls\l
Kl
Cotton and
in textiles.
linen canvas has always
provided a traditional
base for the
artist's
creations. Fabric dyes,

too, share
many
color
sources and similarities
with paints used in fine

art painting.
In addition to straightforward
painting, the techniques of
dyeing, embroidery and
applique can be used

effectively in
making
colorful
most manufacturers*
catalogs today, you will find
textile and fabric paints, and
art. In
general art materials

Helen Dougall
suppliers even provide plain
(below)
Set Aside
Wall hanging,
Wax-resisted dyes on
silk
3/x25/m(47x64cm)
white cotton T-shirts for

painting on.
find a
You
will also
wide range of
silk
and
encaustic paints suitable for

fabric applications.
Helen Banzhaf
(left and far left)
Vessels
Machine embroideries
Cotton thread on calico
149
is an artist whose background is in film animation,
where he learned about colors and color mixing. These skills
have infuenced his work as an illustrator, painter, paper
sculptor and textile artist. For inspiration for his work, he
develops drawings and paintings from his sketchbook. Many
of his images include people and animals, which he uses to
communicate an environmental message.
Chris Perry
Chris Perry
Homage
to Paul
Australian birds
(left)
(far left)
Acrylic fabric paints on cotton
T-shirt designs
The
artist
washes the
T-shirt to
remove the starch used
the
in
manufacturing process. He then

inserts plastic-covered cardboard the
same
|fjj&
size as the shirt to act
stiffener
and
as a
barrier for the paint.
black marker sketch on white paper

,
J*""'""
'"*"'
'
p( C/Cf}""
may be
inserted under the shirt for a
drawing guide. Otherwise, paint

applied directly onto the
is
shirt.
Acrylic-based screen and fabric
"The advantage of painting on

T-shirts is that one can wear
and communicate one's art
and message to the rest of the
world. It feels like a mix of
watercolor and canvas
painting; it is cheap and fun.
I have a love of nature and
I work for a range of
environment charities; on
occasions I produce limited
editions of approximately
100 hand-painted shirts."
-SS-
The
printing colors are used.
mainly treats the paint

watercolor, mixing
with water
it
using sable brushes, but,
the color to be
uses
flat
artist
like
if
he wants
and opaque, he
bristle brushes.
Sometimes black defining
lines
are required, so he leaves the areas

of color to dry overnight
after
two
and paints
When
the black the next day.
dry,
days, he irons the reverse
of the fabric to fix the design.
Acrylic fabric paints are extremely

bright
and washfast. Chris
colors to
Lemon Yellow,
limits his
Brilliant
Yellow, Vermilion, Crimson, Cobalt,

Ultramarine, black and white, and he
finds these are
wide range
enough
of mixes.
to
The
produce a
artist is
an
ardent fan of primary colors, and he

particularly likes to use a
tfincent
fa P;r-y
down
Cobalt,
which
Gogh
Chris Perry
Homage
to
watered-
excellent for
sea and sky.
90
There are many
Vincent van
is
on
textile paints
the market, as well as a special
Vincent {above and
Acrylic fabric paints on cotton
left)
textile
medium
that,
when added
ordinary acrylic paint, renders

flexible
it
to
more
and increases washfastness.
50 Smooth color
Cel painting
Painting techniques are often associated with

qualities of surface texture, involving impasto,
Prior to the
mark
nearly
making, glazes, washes and conscious brushwork.
There
are.
flatter,
however, many
artists
more controlled approach
who
practice a
to color.
were produced by the
"paint and
trace" method. This
where the
design
These
advent of computers,
animated cartoon films
all
is
traced
is
black outline onto
in
transparent celuloid, hence the

abbreviation "cel." Each cel
methods of applying paint smoothly are sometimes

born of necessity, and
this is particularly so
was
then
passed to the painting department,
when
and the colors were
filled in
by hand.
This process required a high degree of
color images have to be considered for reproduction
by photography or direct
painting
digital scanning.
to
skill,
because the
artists
keep the paint extremely
flood
it
into the
flat
had
and
image, making sure
the liquid paint did not overrun the
In traditional,
animated-film eel-painting techniques, before
traced outline. Painters had to work
the use of computers, a special type of liquid acrylic paint
with strong pigments and good covering power,
Yin\ or Cartoon Paint, was the

more viscous colors of this type
l
artists
who
known
quickly,
as Cel
preferred medium. Thinner,

are
still
more
fluid
photographed onto movie
Although a
little
murals, as well as designers and illustrators whose work has
35 years
storage, this original eel
photographed or scanned for reproduction.
thousands
which were then

film.
Flatness and density
technique, and they are also used by painters of large-scale

to be
of hundreds of
of individual eels,
often favored by
are pursuing a flatter, graphic or
because cartoon films were
composed
in
battered after nearly
from the film Yellow Submarine

(1
968)
shows the
flatness and
density of color achieved by painting

in
opaque colors on the reverse
of
transparent materials, such as glass
and clear
plastic.
The
detail
above
shows the not-so-smooth and more

painterly effect on the reverse, or
working side, of the
cel.
To make certain
and evenness
of
complete flatness
of color for photo-
graphy, the outline designs
were
traced on the front of the cel and th

color
was
Painting
painted onto the back
opaque colors on the
reverse of transparent materials is
an invaluable tech-
nique that ensures an

absolutely smooth
surface effect.
quid colors
Enamel paint
the paintings of the building
In
fascias, the flatness of the
surface has been achieved by

using hobby enamel paints. The
fluid
consistency and easy brush
make enamel an
medium for painting
application
ideal
details
and
flat
areas alike.
Often associated with

decorative applications, enamel
paints can also be mixed and
blended
for painterly effects
and take about 24 hours to
dry.
Simon Jennings
Building Fascias
Enamel on board
24
x61cm)
x 24in (61
Liquid opaque colors
Opaque
colors similar
in consistency to those
favored by traditional
animation
artists are
available today
and
can be found
many
in
manufacturers' catalogs in
jar
and
bottle form.
These
paints are suitable for
application to a wide range
of surfaces and are

in acrylic,
made
water-based or
solvent-based enamel paint

varieties.
Most have strong
pigments, good covering
power and adhesion,
are
readily intermixable
and
are waterproof. Colors of

this
type are usually listed
in the craft sections
catalogs,
but
more
where
of
similar,
specialized,
colors for painting onto
and textiles
shown, too.
glass, ceramics
are often
'':
'.'.
*~See also
Communicating with color 43

Painting with
id
nonart colors 136-139

Color on cloth
148-149
51
52 Dry color and
There
is
is
huge variety
media available
dry
that
line
easy to use
and transportable,
suitable for use alone
or in mixed-media
Charcoal sticks and pencil
These
applications.
Graphite pencil drawing
materials cross the
divide between drawing
and painting.
'\\
Blending and mixing with colored pencils
Charcoal using linear and
wash
effects
Charcoal
The
These two pages show some

of the dry media that can be
used for both color and line:
colored pencils (regular and
u atcr-soluble). pastels, oil
pastels, oilbars (sometimes
known
wide range
products available, such as
flowing. Others are thinner and of a
for
Much
may be produced
shades and soft grays. Charcoal
Colored pencils
highk suitable
and grades.
Some
in
is
various thicknesses.
many
water-soluble types available,

suitable for mixing and blending and
soluble
water or solvent and can be

used to create fluid painterly
in
Many media
effects.
liquids, such as
that use
pen and inks
iber-tips for color-linear
ques, are available, too.

il
availability varies
maker
ie
to the next,
pigments
painl colors.
Mi
Mixing media
iifacturers
Oil pastel
offtt
in the
products
and graphite pencil are used
here. Turpentine
pastel,
is
used
pencil form. Graphite, like
charcoal,
a
is
available
in sticks, too.
white paper stump or torchon
for blending
for creating watercolorlike effects.
of this media
selection of graphite and charcoal
in
is
brands are soft and free
harder consistency. There are
Graphite and charcoal
Use
also soluble for use as washes.
These come
that arc
of tones
in
in
by blending and rubbing to create
There are many other

pencil and sticklike, dry-color
Creative color expression.
artist's
and pencil form
variety of thicknesses
graphite and charcoal.
sticks.
and time-honored
traditional sticks
as oil-painting sticks),
wax crayons and conte
classic
drawing medium, charcoal comes
to blend the
and pencil worked over the
top.
and gradating tones.
txpenmenting with color and
Water-soluble colored pencil selection
Oil pastels
These, too, can be used for linear
and
fluid
produce
techniques, enabling you to

oil-like
surface effects.
Water-soluble colored pencil

You can move freely between linear
and
fluid
techniques, creating
and dry effects
in
the
same
wet
piece.
Oil pastels are versatile
and transportable,
highly suitable for outdoor color work.
Pastels
mr
2.2-
\-ur~7
-O
Soft pastels, or chalk pastels, are
Oilbar
Z-
Also known as oil-painting

oilbars
A
\\ I
.*.
V*
sticks,
like oil paint.
You can
the artist's traditional choice

selecting a dry
when
medium. Pastels
whose
mix and blend them with solvent and
come
use them to create surface texture
pigments match those of paints, and
and impasto
most
effects.
in
hundreds
of the
of colors,
major manufacturers
SUfa*.
offer quality pastels in a
C*n** t>'M*c /JeeoM
behave
wide color
arfUtciy*
range. They can be used to produce

large areas of color or finer lines.
The technique
is
known as
of
working
in
~See also
Choosing media/
Pastels
Sketchbook experiments
Experiment with mixing and blending water-soluble colored pencils.
&
pastels
pastel "painting."
colored pencils 35
'<
i4
j>
1
1
<
:i
*
'
y
,/
k
V
56
Color index
of the Color index

\
isual reference
the ones
common
source of the popular
you are most
artists' colors,
likely to see in the
painting media
and gouache -
to provide a
is
oils,
watercolor, acrylics
in the
is
various manufacturers' color

to help
you get
to
know your
same basic
in
Colors have been reviewed by hue. By "hue," we mean
be given the same
name and
As
far as
possible within the Color index, colors have been grouped for example, into Neutrals, Reds, Yellows, Blues, Greens,
colors and to demonstrate that, although artists'
may
content that vary considerably in color.
most
color or variation of color (see Glossary of terms).
charts. This index
colors
of different pigments or, more importantly for an artist when

considering color, you will see colors with the same pigment
contain the
Browns, Earths and Ochres, etc. This provides a direct visual

comparison and enables you to see the differences between,
say, a Cobalt Blue, a Phthalo Blue and an Ultramarine.
ingredients, they can vary dramatically
reviewed for variety. In Chapter Two,

"Color by color," we looked at the main color groups and
learned something of the history, background, character and
handling of various hues, and, in many cases, how professional
artists have mixed and used color in their work. However, it
was not possible to show as many colors as we would have
liked. The Color index acts as an invaluable backup reference.
appearance.
Color behavior. The Color index has used flat colors for
sampling and most of the colors have been shown in what is
known as top or mass tone. In short this means they have been
applied thickly as
if
seen straight from the tube or sitting as
solid blocks in the watercolor pan.
pigments, particularly
at the
The
true character of
many
darker end of the scale, only
becomes apparent when diluted or mixed with a medium. In

some cases color samples have been shown applied thickly as
top tone and with a touch of white to create a
tint to
reveal
something of the true character of the color.

Color accuracy. The only accurate color charts are hand
making and
In the
selecting of colors for the Color index, the
have reviewed and sampled more than ,500 colors

from
of the world's leading manufacturers. Of the ,500
colors reviewed, over 400 have been selected for the index and
the following criteria have been applied in the selection.
art editors
1
colored, and most manufacturers supply these on request.
Unfortunately, this book

process. While this
is
is
restricted to the four-color printing
a sophisticated and accurate technological
ave been reviewed by name. In certain

circumstances you will see the same name repeated in the
index - for example. Cadmium Red Deep. The purpose of this
is to show how the same-named color from two, or sometimes
more, different manufacturers may vary
in
hue.
process, bear in
mind
that the colors
you see here
are not actual
pigments but are made up from printing inks (see pages 20-2
so there will be variations between the colors shown and the
actual manufacturers'
).
pigment colors.
-Note
The following manufacturers have
kindly supplied colors for use in the
Colors have been reviewed by medium. The Color index
Color index and throughout this book:
also provides the opportunity for the reader to see variations
Winsor & Newton, Daler-Rowney,
in
same name but in different media - for

ample, how Cadmium Red Deep will look in oil color,
colors of the
Golden, Tri-Art, Royal Talens,

Sennelier, Schmincke, Liquitex,
Maimeri, Lukas, Old Holland.

Seepages 180-1'81 for details.
lache or acrylic.
ave been reviewed by pigment.
All major
disclose the pigment content of their colors.
mon
pad
be I"
index
e
yi
It
on the tube or
Mils, the pigment declaration can usually
maker's color chart or catalog. In the Color
to see this information printed
olors of the
same name
that are
composed
COLOR INDEX
Naples Yellow 2
PW4/PW6/PY1/PR9/PY42
Rowney Artists' Oi
Naples Yellow 3
PW4/PW6/PY1/PR9/PY42
Rowney Artists' Oi
Naples Yellow Light
PW4/PY35
TalensVan Gogh
Oil
Naples Yellow
PBr24/PW6
Winsor & Newton Finity Acrylic
Naples Yellow Light
PW5/PY1/PY42/PR101
Lukas Studio
Oil
Naples Yellow Light

PW4/PY42/PY37
Maimeri Classico
Oil
Naples Yellow Deep

PW6/PBr24/PY53
Talens Rembrandt Acrylic
Naples Yellow Deep

PW4/PY42/PY37/PO20
Maimeri
Artisti Oil
Naples Yellow Extra
PW4/PW6/PY42
Old Holland Classic Oil
Naples Yellow (Hue

PW6/PY42/PR101
Tri-Art Acrylic
Naples Yellow Deep

PBr24
Winsor
& Newton
Finity Acrylic
Naples Yellow Deep Extra

PBr24
Cadmium Lemon Yellow

PY37
Maimeri
Artisti Oil
Scheveningen Yellow Lemon

PY3
Lemon Yellow Hue

PY53
Winsor & Newton
Artists' Oil
Lemon Yellow
PY4/PY3/PW6
Sennelier Etude Art Student
Oil
Primary Yellow
PY74/PW6
Tri-Art Acrylic
Primary Yellow
PY97
Maimeri Puro
Oil
Primary Yellow
PY3
Lukas Studio
Oil
Process Yellow
PY74/PY3
Daler-Rowney System 3 Acrylic
Titanate Yellow
PY53
Golden Acrylic
Nickel Titanate Yellow

PY53
Maimeri
C.P.
Artistr Oil
Cadmium Yellow Primrose

PY35
Golden Acrylic
Rowney Primrose
PY184/PW4
Rowney Artists' Oil
Naples to Primrose Yellows
'
57
58
Yellows Azo
to Brilliant
COLOR INDEX
Azo Yellow Medium

PY74
Winsor & Newton
Finity Acrylic
Yellow Medium Azo

PY74 LF
Liquitex Acrylic
Azo Yellow Medium

PY74
Talens Van Gogh Acrylic
Azo Yellow Deep

PY74/P043
Bismuth Yellow Medium

PY184
Tn-Art Acrylic
Bismuth Yellow Deep

PY184
Tri-Art Acrylic
Hansa Yellow
Light
PY3
Golden Acrylic
Hansa Yellow Medium

PY73
Golden Acrylic
Cadmium Yellow Deep

P020/PY35
Winsor & Newton
Artists' Oil
Cadmium Yellow Deep

PY37
Old Holland Classic
Oil
Cadmium Yellow Deep

PO20/PY35
Rowney
Artists' Oil
Cadmium Yellow Deep

PO20/PY35
Talens Van Gogh
Oil
Cadmium Yellow
PY35
Rowney
C.P.
Artists' Oil
Cadmium Yellow Medium
PY35
Tri-Art Acrylic

PY37
Maimeri
C.P.
Artisti Oil
PY35
Golden Acrylic
Cadmium Yellow Pale

PY35
Daler-Rowney Cryla Acrylic
Cadmium Yellow
Light
PW4/PY1
Lukas Studio
Oil
Cadmium Yellow
Light
PY35
Golden Acrylic
Cadmium Yellow
Light
PY35
Talens Van Gogh
Brilliant
Oil
Yellow
PY83/PY97/PW6
Maimeri Brera Acrylic
Yellow
PY83/PW6/PW4
Brilliant
Sennelier Artists'
Oil
Yellow Deep
PW4/PY83/P043
Brilliant
Maimeri Classico
Oil
Yellow Light
PW4/PW5/PY1
Brilliant
Lukas Studio
Oil
COLOR INDEX
Chromes
to
Ochres Yellows
59
Chrome Yellow (Hue)

PY1
Rowney Artists' Oil

Chrome Yellow Light
o
cz
PY34
Ki
^5
Maimeri
Artisti Oil
Chrome Yellow Hue

PY74/P062
Winsor & Newton
Artists' Oil
Zinc Yellow
E
o
PW5/PY3/PY42
Lukas Studio
Oil
Aureolin
PY40
Rowney
Artists' Oil
Aureolin
PY40
Maimeri
Artisti Oil
Aureolin
o
CD
PY40
Winsor & Newton
Artists' Oil
Transparent Yellow
PY17
Maimeri
Artisti Oil
Indian Yellow
PY100/PBk11/PR9
Rowney
Artists' Oil
Indian Yellow
PY139/PR101
Winsor & Newton
Artists'
OH
Indian Yellow
PY74/PR8.
Lukas Studio
Oil
Indian Yellow
PY110
Talens Van Gogh
Oil
Indian Yellow Green Lake Extra
PY153/PY129
Old Holland Classic
Indian Yellow
Brown Lake
Oil
cz
Extra
PY153/PY42
Old Holland Classic
Oil
Indian Yellow Orange Lake Extra
PY153/PR260
Old Holland Classic
Oil
Indian Yellow
PY1:1/P013
Rowney
Designers' Gouache
Italian
Pink
PY100/PR83:1/PBk9
Rowney
Artists' Oil
Rowney Golden Yellow

PY53/PR101
Rowney
CD
O)
O
-O
E
CO
CD
Artists' Oil
(Hue)
cz
CD
PY17/PY83
;o
Gamboge
Maimeri
Artisti Oil
Gamboge Lake
Extra
CD
PY153/PY3
Transparent Gold Ochre

PR101/PY43
Rowney Artists' Oil

Yellow Ochre Light
PY43/PW6/PY42
Maimeri Classico
Oil
Yellow Ochre
PY42
Talens Van Gogh
Oil
co
Yellow Ochre Light

PY43
Oo
60
Flesh Tints
&
Reddish Yellows
COLOR INDEX
Flesh Color
PW5/PY35/P020
Lukas Studio
Oil
Flesh Color 2
PW5/PR108/PO20
Lukas Sorte
Oil
Flesh Color 4
PW5/PR108/PO20
Lukas Sorte
Oil
Flesh Tint
PW4/PY42/PR101
Schmincke Mussini
Oil
Flesh Tint
PW6/PW4/PY42/PR101
Schmincke Norma Oil
Flesh Tint
PW4/PR101/PY42
Rowney
Artists' Oil
Flesh Tint
PY42/PR101/PW6
Flesh Tint
PW4/PY42/PV19
Winsor & Newton
Artists' Oil
Flesh Tint
PW4/PW6/PY119/PR214
Light Portrait Pink
PR188/P036/PW6
Liquitex Acrylic
Flesh Ochre
PR102/PY43/PW4
Sennelier Artists'
Oil
Flesh Ochre
in
Titanium White
tint
Flesh Ochre
PY42/PR188/PR102
Old Holland Classic
Oil
Flesh Ochre
in Titanium White tint
PW5/PY3/PY42/P034
Lukas Studio
Oil

in
Titanium White
tint
Naples Yellow Red

PW4/PY35/PR108
Talens Van Gogh Oil
Naples Yellow Reddish Extra

PW4/PW6/PY53/PO43/PR260
Old Holland Classic
Oil
PW4/PW6/P043
Mairnen Classico
Oil

PW4/PY37/PR108
Maimeri
Artisti Oil
Yellow Reddish
PW4/PW6/PY53/P069/P043
Brilliant
Old Holland Classic
Oil
Yellow Light
PW4/PW6/PY83/P069
Brilliant
Old Holland Classic
Jaune
Oil
Brillant
PY1 38/PY42/PR1
88/PW6
Winsor & Newton
Artists' Oil
Sandstone
R101/PY11/PW6
Daler-Rowney Designers' Gouache
COLOR INDEX
Helio Genuine Yellow
Deep
P062/P034/PY1
Lukas Sorte
Oi
Tangerine
PR4
P062
Winsor & Newton
Finity Acrylic
Azo Orange
PY74/P034
Cadmium Orange
PO20
Schmincke Horadam Gouache
C.P.
Cadmium Orange
PO20
Golden Acrylic
Cadmium Orange
P020
Old Holland Classic Oi
Naphthol Orange
PY65/PR112
Tri-Art Acrylic
Helio Genuine Orange
P062/P013
Lukas Sorte
Oil
Pyrrole Orange
P073
Tri-Art Acrylic
Chrome Orange
PW5/P036
Lukas Studio
Oil
Chrome Orange Deep (Hue)

P034/PY74/PY42
Daler-Rowney Georgian
Oil
Coral Orange
P067
Translucent Orange
P071
Schmincke Mussini
Oil
Winsor Orange
P073
& Newton Artists' Oil

Cadmium Red Orange
Winsor
P020
Maimen
Artisti Oil
Red Orange
PR4/P013/PW6/PY42
Vermilion Red Light
P034
Lukas Studio
Oil
Vermilion
P034/PR57:1
Talens Van Gogh
Oil
Vermilion Red
PR4/PR9
Naphthol Red Light

PR112/P034
Scarlet Lake
PR255
Winsor & Newton
Artists' Oi
Scarlet Lake Extra
PR168/PR209
Old Holland Classic
Oil
Pyrrole Red Light
PR255
Golden Acrylic
Light
Reds
& Oranges I
61
16"
Reds: Mediunr
COLOR INDEX
Cadmium Red
Lightest
PR 108
Lukas Sorte
Oil
Cadmium Red
Light
PR 108
Winsor & Newton
Finity Acrylic
Cadmium Red
C. P.
Light
PR 108
Tri-Art Acrylic
Cadmium Red
Light
PR108
Old Holland Classic
Oil
Quinacridone Red Light

PR207
Golden Acrylic
Helio Genuine Red
PR9/P035
Lukas Sorte
Oil
Old Holland Bright Red

PR 168
Old Holland Classic
Oil
Bright Red
PR254
Winsor & Newton
Artists' Oil
Winsor Red
PR255/PR254
Winsor
& Newton
Artists' Oil
Quinacridone Red
PR209
Winsor & Newton
Finity Acrylic
Lukas Red
PR9
Lukas Sorte
Pyrrole Red
Oil
Medium
PR254
Tri-Art Acrylic
Cadmium Red
PR 108
Daler-Rowney Cryla
Artists' Acrylic
Cadmium Red Medium

PR108
Liquitex Acrylic
Cadmium Red Medium

PR 108
Maimeri
Artisti Oil
Cadmium Red Middle

PR108/PW21
Schmincke Mussini
Oil
Scheveningen Red Medium

PR 188
Old Holland Classic
Oil
Permanent Red
PR112
TalensVan Gogh
Oil
Naphthol Red Medium

PR5
Golden Acrylic
Perylene Red
PR149
Winsor & Newton
Finity Acrylic
Cadmium Red Deep

PR188/PR112
Lukas Berlin Water-Mixable
Oil
Cadmium Red Deep

PR 108
Maimeri
C.P.
Artisti Oil
Cadmium Red Dark
PR 108
Golden Acrylic
Cadmium Red Deep

PR108/PW21
:ii
hiniiiili'
Mir, miii
Oil
COLOR INDFX
Dark
to
Denp Reds
163
Old Holland Red Gold Lake
PY153/PV19R
Old Holland Classic
Oil
Chinese Vermilion
PR108/PR242
Sennelier Artists'
Oil
Scarlet Lake
PR9/PR5
Rowney
Artists' Oil
Scarlet Alizarin
PR4/PR83:1
Rowney
Artists' Oil
Geranium Lake
PR8/PY74
CO
Q.
<D
CD
J*.
1_
CT3
Lukas Studio
Oil
Ruby Red
PV19/PR48:2
Sennelier Gouache Extra-Fine
Cadmium Red Purple

PR 108
Sennelier Artists'
Oil
Cadmium Red Purple

PR 108
Old Holland Classic
Alizarin
Oil
Carmine
PV19/PR206
Maimeri ClassicoOil
Permanent Alizarin Crimson

PR117
Alizarin
cc
Madder Lake
PR83:1
Schmmcke Mussini Oil

Alizarin Crimson
PR83
Winsor & Newton
Artists' Oil
Antique Rose Madder

PR122/PY83
Maimeri
Artisti Oil
Madder Lake Red

PR112/PR176
CD
Lukascryl Artists' Acrylic
-o
Madder Lake Deep
03
PR101/PR176/PBk11
Oil
Madder Lake Deepest

PR83/PR176
Lukas Sorte
Oil
Carmine
PV19/PR83:1
Rowney Artists' Oil

Carmine Deep
PR12/PV19
CD
Carmine Lake Extra

PV19B/PV19R/PR83/PR88
Old Holland Classic
Oil
cc
Permanent Carmine
Quinacridone/Pyrrol
Winsor & Newton
Artists' Oil
Maroon
PR12/BV10:BR2/PV1
Daler-Rowney Designer's Gouache
Permanent Maroon
_CD
Q-
PV19/PR101/PB15:3
Tri-Art Acrylic
a.
Caeser Purple
PV19
Schmincke Mussini
Oil
Purple Lake
PR83:1/PR88
Rowney
Artists' Oi
Reds:
Pinks
&
Roses
to
Magentas
Pink
PR4/PV2
Lukas Designer Gouache
Deep Pink
BV10:BR2/PR3
Rose Pink
BV10BR2/PR3/PW6
Pink
Brilliant
PW4/PW6/PR188
Old Holland Classic
Oil
Rose Oore (Madder Lake
Antique Extra)
PR175/PR168/PR83
Old Holland Classic
Oil
Quinacridone Rose
PV19
Maimeri
Artisti Oil
Permanent Rose
PV19/PR122
Daler-Rowney Cryla
Artists' Acrylic
Scheveningen Rose Deep

PV19R
Old Holland Classic
Oil
Permanent Rose
PR122/PV19
Talens Van Gogh
Oil
Permanent Rose
PR122
Brilliant
Rose Light
PR4/PV2
Brilliant
Rose
PR112/PR176/PV2
Light
Magenta
PR112/PW6/PR207
Golden Acrylic
Magenta
Light
PR122/PW6
Tri-Art Acrylic
Medium Magenta
PR122/PW6
Liquitex Acrylic
Primary Red
PR 122
Maimeri Classico
Oil
Primary Magenta
PV19
Golden Acrylic
Process Magenta
PV19/PR122
Daler-Rowney System 3 Acrylic
Process Magenta
BV10BR2/PR3/PR9
ACRA Magenta
PR122
Liquitex Acrylic
Deep Magenta
PR122/PV19DL/PW6
Liquitex Acrylic
Magenta
BV10BR2/PR3/PR9
Magenta
PV23/PR122
& Newton Artists'

Magenta Lake
Winsor
PV19/PR81
Maimeri
Artisti Oil
Oil
COLOR INDEX
Red
to Blue
Violets
165
Quinacridone Violet
PV19
Tri-Art Acrylic
Verzino Violet
PV19
Maimen
Puro
Oil
Indanthrene Violet
PR88/PR122
Maimen Artisti Oil

Deep Violet
CC
PR122/PV19DL
Liquitex Acrylic
Brilliant Lilac
PV2/PV23
Cobalt Violet Pale
PV14
Maimeri Puro
Oil
Cobalt Violet
PV14
Rowney
Artists' Oil
Cobalt Violet Dark
-O
PV14
Purple
PV2
Purple Lake
PV3/BV10:BR2/PVl
Brilliant Purple
PV15/PV19/PV23
Tri-Art Acrylic
Purple Lake
PV23/PBr25
& Newton
Winsor
Manganese
Artists' Oil
Violet Reddish
PV16
Old Holland Classic
Manganese
Oil
Violet
PV16
Sennelier Artists'
Oil
Prism Violet
PV23/PW6/PR122
Liquitex Acrylic
Permanent Violet Dark

PB60/PR122
Golden Acrylic
Light Violet
PV23/PW6
Golden Acrylic
Old Holland Bright Violet
PV15/PV19R/PV23:1R
Old Holland Classic
Oil
Dioxazine Violet
PV23
Tri-Art Acrylic
Violet
PV23
Permanent Blue Violet

PV23/PR122
TalensVan Gogh
Oil
Permanent Mauve
PV16
Winsor & Newton
Mauve
Artists' Oil
(Blue Shade)
PV19/PV23/PB15
Winsor
i_
Q_
& Newton
Artists' Oil
Ultramarine Violet
PV15
Winsor & Newton
Artists' Oil
6G
Blues Blue
Violet to Ultramarine
COLOR
INI
Old Holland Blue Violet

15:1/PV23:1R
Old Holland Classic
Oil
Faience Blue
PB60
Maimeri Puro
Oil
Indanthrene Blue
PB60
Daler-Rowney Cryla
Artists' Acrylic
Old Holland Blue Deep
PB29/PB60/PBk7
Old Holland Classic
Oil
Indigo
PG7/PBk7/PB29
Rowney Artists'
Paris Blue
Oil
PB27
Lukas Studio
Oil
Prussian Blue
PB27
Rowney
Artists' Oil
Prussian Blue
PB27
Liquitex Acrylic
Prussian Blue (Hue)

PB15:1/PV23
Tri-Art Acrylic
Prussian Blue Phthalo

PB15:4/PBk11
TalensVan Gogh
Acrylic
Old Holland Blue
PB15
Old Holland Classic
Oil
Winsor Blue (Red Shade)

PB15
& Newton
Winsor
Artists' Oil
Phthalo Blue (Red Shade)
PB151
Tri-Art Acrylic
Phthalo Blue (Red Shade)
PB151
& Newton Finity

Scheveningen Blue
Winsor
Acrylic
PB15
Old Holland Classic
Oil
Phthalo Blue
PB15
TalensVan Gogh
Acrylic
Phthalo Blue (Green Shade)
PB15
Daler-Rowney Cryla
Artists' Acrylic
Rowney Blue
"'B29/PB15
aler-Rowney Designers' Gouache

elio
Genuine Blue
15 3
Helio Blue
B15.3
Ultramarine Deep
B29
Maimeri Puro
Oil
Ultramarine Deep
B29
I,
ilun:; Hi.miiIiuikII
(III
Ultramarine Deep
29
French Ultramarine
B29
Winsor & Newton
Artists' Oil
COLOR INDEX
Mid Blues]
Ultramarine
PB29/PB15
Ultramarine Blue
PB29
Golden Acrylic
Ultramarine Middle
PW5/PB29
Ultramarine Light
PB29
Permanent Blue
PB29
Rowney Artists' Oil

Ultramarine Blue (Green Shade)
PB29
Liquitex Acrylic
Cobalt Blue Deep
PB29/PB16
Lukas Studio
Oil
Cobalt Blue Deep
PB74
Winsor & Newton
Artists' Oil
Cobalt Blue Deep
PB28
Maimeri
Artisti Oil
Cobalt Blue
PB28
Talens Van Gogh
Oil
Cobalt Blue
PB28
Rowney
Artists' Oil
Cobalt Blue
PB28
Golden Acrylic
Cobalt Blue Hue
PB29/PW6
Liquitex Acrylic
Cobalt Blue Light
PB28
Schmincke Mussini
Oil
Cobalt Blue Light
PB28
Maimeri
Artisti Oil
Cobalt Blue Light
PB28
Delft Blue
PB29/PB15/PW6

Brilliant
Blue
PB29
Cerulean Blue
PB36:1
Tri-Art Acrylic
Cerulean Blue
PB35
Talens Van Gogh
Oil
Cerulean Blue
PB35
Winsor & Newton
Artists' Oil
Cerulean Blue
PW4/PB15/PB16.
Lukas Studio
Oil
Cerulean Blue Deep

-
PB36
Cerulean Blue Deep

PB36
Golden Acrylic
167
61
Blues Manganese
to Turq uoise
COLOR INDEX
Manganese Blue
PB33
Old Holland Classic
Oil
Azure Blue
PB15:4/PG7
Sennelier Artists'
Oil
Scheveningen Blue
PB15/PW4/PW6
Old Holland Classic
Light
Oil
Powder Blue
PB29/PW6
Daler-Bowney Designers' Gouache
Kings Blue Deep
PB29/PW4/PW6
Old Holland Classic
Oil
Light Ultramarine Blue
PB29/PW6
Golden Acrylic
Royal Blue Light
PB29/PW5
Lukas Sorte
Oil
Sky Blue
PB29/PB151/PW4
Oil
Sky Blue
PW4/PB15
Talens Van Gogh
Oil
Sky Blue
PB15:3/PW4
Maimeri Classico Acqua
Oil
Primary Blue
PB15:1/PBk7
Primary Blue
PB153
Oil
Primary Cyan
PB15:3/PW6
Tri-Art Acrylic
Process Cyan
FB2:1
Daler-Bowney Designers' Gouache
Primary Blue-Cyan
PB15:3/PB16
Maimeri Classico
Brilliant
Oil
Blue
PG15/PG7/PW6
Caribbean Blue
PB16
Old Holland Classic
Oil
Turquoise Deep
PB153/PG7
Liquitex Acrylic
Phthalo Turquoise
PB15 3/PG7
Tri-Art Acrylic
Phthalo Turquoise Light
PW6/PG7/PB15.3
Tri-Art Acrylic
Turquoise
PB15/PG7
Turquoise Blue
PW4/PB15/PG7
Talens Van Gogh Oil
Permanent Light Blue
PB15 3/PG7/PW6
Turquoise Blue
PW4/PG7/PB16
Maimeri Classico
Oil
COLOR INDEX
Cobalt Blue Turquoise
PB36
Old Holland Classic
Oil
Cobalt Turquoise (Hue)
PB15/PW4/PG7
Daler-Rowney Cryla
Artists' Acrylic
Cobalt Turquoise
PB36
Golden Acrylic
Brilliant
Green Blue
PB16
Cobalt Turquoise
PB36
Liquitex Acrylic
Cobalt Blue Turquoise Light
PG50
Ultramarine Green
PG29/PG7
Maimeri
Artisti Oil
Cobalt Teal
PG50
Tri-Art Acrylic
Aqua Green
PG7/PB15/PW6
Bright
Liquitex Acrylic
Light Turquoise (Phthalo)
PB15:4/PW6/PG7
Golden Acrylic
Winsor Green
PG7
Winsor
& Newton
Artists' Oil
Emerald Green
PW5/PG7
Lukas Studio Oi
Emerald Green
PG7/PY74/PW4
Winsor & Newton Winton
Oil
Emerald Green
PY3/PB15/PW4
Maimeri
Artisti Oil
Rowney Emerald
PW4/PG7/PY3/PY53
Rowney
Artists' Oil
Barite Green
PG7/PY3/PW6
Sennelier Artists'
Oil
Viridian
PG7
Sennelier Etude Art Student
Oil
Monestial Turquoise (Phthalo)

PB15
Rowney
Artists' Oil
Viridian
PG18
Rowney
Artists' Oil
Viridian
PG7/PY43
Talens Van Gogh
Oil
Cobalt Green Light
PG50
Maimeri PuroOil
Cobalt Green
PG26/PG50
Winsor & Newton
Artists' Oil
Cobalt Green
PG50
Liquitex Acrylic
Cobalt Green Deep
PG26
Old Holland Classic
Oil
Turquoise to
Deep Green Blue-Greens
69
70
Greens
illiant
to
Cinnabar
Brilliant
Green
PG7/PY3
Helio Green Yellowish
PG36
Winsor Green (Yellow Shade)

PG36
Winsor & Newton
Artists' Oil
Phthalo Green
PG7
TalensVan Gogh
Oil
Permanent Green Light

PG7/PY74
TalensVan Gogh
CD
Acrylic
Permanent Green
PW4/PW6/PY151/PB15
Old Holland Classic
Oil
Permanent Green Medium

PG7/PY74
CD
Q_
TalensVan Gogh
Acrylic
Permanent Green Deep

PY138/PG7/PW6
Winsor & Newton Artists'
Oil
Cadmium Green Pale

PY35/PG18
Winsor & Newton
Artists' Oil
Cadmium Green
PG18/PY37
Maimeri
Artisti Oil
Cadmium Green
PY35/PG18
Winsor & Newton
Artists' Oil
Cadmium Green Deep

PY37/PG18
Old Holland Classic
Oil
Saffron Green
PG7/PY3
Vivid Lime Green
0>
PY97/PG7/PW6
Liquitex Acrylic
Bright Green
PG7/PY3
Daler-Rowney Cryla
Artists' Acrylic
Green (Yellow Shade)

PG7/PY3/PW6
Light
Golden Acrylic
Light
Green
PG7/PY3
Yellow Green
PG7/PY3/PW6/PY42
Yellowish Green
PG7/PY74/PW4
TalensVan Gogh Oil
Yellowish Green
PG7/PY74
Cinnabar Green Lightest

PY1/PG7
Cinnabar Green Light Extra

PY35/PG18/PB29
Old Holland Classic
Oil
Cinnabar Green Light

PY1/PB15
Artisti Oil
Mai
Cinnabar Green Deep
ri
PY1/PB16
COLOR INDEX
Opaque Oxide
Chromium
of
PG17
Chrome Oxide Green

PG17
Maimeri Puro
Oil

PG17
Liquitex Acrylic
Chrome Green Deep Hue

PB15/PG7/PY42
Winsor
& Newton
Artists' Oil
Sap Green
Light
PY42/PG7
Tri-Art Acrylic
Sap Green
PB60/PY150
Schmincke Mussini
Oi
Hooker's Green No. 2

PY3/PR101/PG7
Rowney Artists' Oil

Hooker's Green Lake Deep Extra
PR101/PG7/PBk7
Old Holland Classic
Stil
Oil
De Grain Yellow
PY1/PG10
Maimeri
Artisti Oil
Green Gold
PY150/PG36/PY3
Golden Acrylic
Old Holland Golden Green
PY129
Old Holland Classic
Oil
Old Holland Green Deep
PY129/PG36
Old Holland Classic
Oil
Green Earth
PG23
Old Holland Classic
Bohemian Green
Oil
Earth
PY42/PG17
Terre Verte
PY43/PBr7/PB15,
Talens Van Gogh
Bohemian Green
Oil
Earth
PY42/PR1 01 /PBkl 1 /PG7

Lukas Studio
Rowney
Oil
Olive
PY153/PG7
Rowney
Artists' Oil
Olive Green
PG7/PY17
Talens Van Gogh
Oil
Olive Green
PG7/PY3/P013
Olive Green
PB60/PO49
Winsor & Newton
Finity Acrylic
Olive Green Dark
PY129/PB60/PG7/PBr7
Greenish Umber
PY42/PBk1
Talens Rembrandt
Oil
Green Umber
PY42/P8k11/PG17
Green Umber
PY42/PR1
01 /PBk1
/PG7
Lukas Studio
Oil
Oxides to Olives
& Umbers Greens I 171
72
Earths Yellow Ochres
to
Raw
Siennas
COLOR INDEX
Yellow Ochre
PY43
Winsor & Newton
Artists' Oil
Yellow Ochre
PY43
Winsor & Newton
Finity Acrylic
Yellow Ochre
PY43/PW4/PY42
Maimeri ClassicoOil
Yellow Ochre
PY42
Yellow Ochre Light

PY42
Lukas Studio
Oil
Attish Light
Ochre
PY42
Schmincke Mussini
Oil
Yellow Ochre Pale

PY43/PW4
Maimeri
Artisti Oil
Yellow Ochre Light

PBr24
Gold Ochre
PY43
Old Holland Classic
Oil
Gold Ochre
PY42/PR101/PBk11
Lukas Studio
Oil
Gold Ochre
PY42
Winsor & Newton
Finity Acrylic
Golden Ochre
PY53/PFI101
Mars Yellow
PY42
Rowney Artists'
Gold Ochre
Oil
PY42
Winsor
& Newton
Artists' Oil
Mars Yellow
PBr6
Golden Acrylic
Mars Yellow
PY42
Old Holland Classic
Oil
Bronze Yellow
PY42/PBr7
Liquitex Acrylic
Bronze Yellow
PY42/PBr7
Yellow Oxide
PY42
Liquitex Acrylic
Yellow Oxide
PY42
Golden Acrylic
Raw
Sienna
PY43
Talens Van Gogh
Raw
Oil
Sienna
PY42
Lukas Studio
Raw
Oil
Sienna
PY42/PR101 Trans/PBk9
Raw
Sienna
PY42
Rowney Egg Tempera
II
OR INDEX
Brown Ochres
to
Red Oxides Earths
173
Red Ochre
PR 102
Old Holland Classic
CD
Oil
.c:
Red Ochre
PR101
Maimeri Puro
Brown Ochre
Oil
Light
D
CC
PBr7
Old Holland Classic
Oil
Brown Ochre
PR101/PBk11
CO
Talens Rembrandt
Oil
Deep Ochre
PR102
Old Holland Classic
Oil
Terra Rosa
CD
PR101
Winsor
& Newton
Artists' Oil
03
Mars Orange
PY42
Maimeri
Artisti Oil
Id
en
Pouzzoles Red
PR101/PY154
Sennelier Artists'
Oil
Quinacridone Gold
Winsor
P049
Newton Finity Acrylic
Quinacridone Gold
P048/P049
^5
Golden Acrylic
ACRA
Gold
P048/PY83
Liquitex Acrylic
Chinese Orange
PR83/PY13
Sennelier Artists'
CQ
Oil
Quinacridone Burnt Orange

PO206
Winsor & Newton
Finity Acrylic
Transparent Oxide Orange

PY42/PR101
Transparent Oxide Red

PR101
Translucent Red Oxide

PR101
Schmincke Mussini
CD
a
OX
o
CD
CC
Id
c:
CC
Oil
Transparent Brown
PBr25
Tri-Art Acrylic
Italian
Brown Pink Lake
CO
PR101/PY83
Oil
Q_
Transparent Mars Brown
Old Holland Classic
PR101
Maimeri Puro
Oil
Transparent Oxide Red Lake
CQ
PR101
Light
Red Oxide
PR101
Talens Van Gogh
Oil
Red Oxide
CC
PR101
UJ
Liquitex Acrylic
Red Oxide
PR101
Golden Acrylic
Red Earth
PR5/PR8/PR101
74 1 Earths English
Reds
to Burnt
)R
Siennas
INDEX
English Red Light
PY42/PR101
English Red
PR 102
Maimeri
Artisti Oil
English Red
PR101
Old Holland Classic
English Red
Oil
Deep
PY42/PR101
Indian Red
PY101/PY43
Maimeri
Artisti Oil
Indian Red
PR101
Rowney Egg Tempera

Indian Red
PR101
Indian Red
PR101
Winsor & Newton
Artists' Oil
Venetian Red
PR101
Rowney Egg Tempera

Venetian Red
PR101/PY42
Maimeri
Artisti Oil
Mars Red
PR101
Rowney Artists' Oil

Caput Mortuum Light
PR101
Lukas Studio
Oil
Violet Oxide
PR101
Golden Acrylic
Mars
Violet
PR101
Maimeri PuroOil
Mars
Violet
PR101
Rowney
Artists' Oil
Mars Brown
PR 101
Burnt Sienna
PR101/PR206
Daler-Rowney Cryla
Artists' Acrylic
Burnt Sienna
PR101
Winsor & Newton
Finity Acrylic
Burnt Sienna
PBr7
Maimeri ClassicoOil
Burnt Sienna
PBr7
Oil
Burnt Sienna
PY42/PR101
Burnt Sienna
PBr7/PR101/PBk11
Burnt Sienna
PR101
ukascryl Artists' Acrylic
Burnt Sienna
PBr7
I
iquitex Acrylic
Brown Madder
Brown Madder
(Alizarin)
PBr7/PR83
Rowney
Artists' Oil
Burnt
Umber
PR101/PBM1
TalensVan Gogh Acrylic
Burnt
Umber
PY42/PRl01/PBk7
Burnt
Umber
Light
PBr7
Golden Acrylic
Red Umber
PBr7
Old Holland Classic
Burnt
Oil
Umber
PBr7
Liquitex Acrylic
Burnt
Umber
PBk11/PBr6
Burnt
Umber
PBr7
Maimeri Puro
Oil
Vandyke Brown (Hue)

PY42/PBr7
Vandyke Brown
PBk1 1/PR101
TalensVan Gogh
Acrylic
Vandyke Brown
PY42/PR101/PBk11
Vandyke Brown
NBr8/PBr7
WinsorS Newton
Artists' Oil
Cassel Earth
PR176/PY74/PBk7
Lukas Studio
Oil
Cassel Earth
PBr7/PBk7
Maimeri
Artisti Oil
Bitumen
Bk6
Maimeri
Artisti Oil
Sepia
PR101/PG7
Tri-Art Acrylic
Sepia
Warm
Extra
PBk7/PR102/PBr7
Old Holland Classic
Oil
Sepia
PY42/PR101/PBk11
Talens Rembrandt
Oil
Raw Umber
PY42/PBr7
Raw Umber
PY42/PR101/PBk11
Raw Umber
PY42/PBk1
TalensVan Gogh
Acrylic
Raw Umber
PBr7/P.G17
Maimeri
Artisti Oil
Raw Umber
PBr7
Winsor & Newton
Artists' Oil
Neutral Tint
PB15/PV19B/PBr7
Old Holland Classic
Oil
to Neuti
Earth*
175
76 1 Blacks Vine to
COLOR INDEX
Davy's Gray
Note
Vine Black
PBk7
? Lukas
Sorte
Vine Black
Oil
Titanium White
in
tint
Mars Black
>-PBk11
Maimeri Puro
Mars Black
Oil
in
Titanium White
tint
Ivory Black
j,PBk9
alens Van Gogh
Oil
vory Black inTitanium White
tint
Lamp Black
CO
PBk7
K
Rowney
Artists' Oil
Lamp Black
Titanium White
in
tint
Payne's Gray
PBk1 1/PB15/PV19
Talens Van Gogh
Payne's Gray
Oil
in
Titanium White
tint
in
Titanium White
tint
Payne's Gray
PB29/PBk7
Golden Acrylic
Payne's Gray
CO
Blue Black
CO
PB29
Winsor
& Newton
Blue Black
in
Artists' Oil
Titanium White
tint
Graphite Gray
PBklO
Tri-Art Acrylic
Graphite Gray
in
Titanium White
Atrament Black
PBk31
Schmincke Mussini
Oil
Atrament Black
in Titanium White
tint
Davy's Gray
PG23/PW4/PBk9/PBr7
Davy's Gray
in Titanium White
tint
Davy's Gray
PBk19/PY42/PBk7
Winsor & Newton
Artists' Oil
Davy's Gray
in Titanium White
tint
Davy's Gray
PBk19/PY42/
Winsor & Newton
Finity Acrylic
Davy's Gray
in Titanium White
tint
tint
COLOR INDEX
Titan Buff
PW6
Golden Acrylic
Unbleached Titanium
PBr7/PY42/PW6
Liquitex Acrylic
Buff Titanium
PY42/PW6
Winsor & Newton
Old Holland
Finity Acrylic
Warm
Gray Light
PW4/PW6/PBk7/PBr7
Warm
Gray
PBr7/PBk9/PW6
Warm
Gray 2
PBr7/PBk9/PW6
Warm
Gray 3
PBr7/PBk9/PW6
Gray
(Warm
Gray)
PW5/PBk7/PY42
Lukas Sorte
Oil
Scheveningen Warm Gray

PW4/PW6/PBk9/PBr7
Old Holland Classic
Scheveningen
Oil
Warm Gray in
Titanium White
Warm
tint
Gray
PW4/PR101/PBr9
Talens Rembrandt
Warm Gray in
Titanium White
Oil
tint
Middle Gray
PW6/PBk9/PBr7
N5 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylic
N4 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylic
Neutral Gray
PBk7/PW6
N8 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylics
N6 Neutral Gray
PW6/PBk9/PBr7
Golden Acrylics
Gray 2 (Cold Gray)
PW5/PBk9/PY42
Lukas Sorte
Oil
Old Holland Cold Gray
PW4/PW6/PBk7/PB29
Old Holland Classic
Oil
Cold Gray 3
PW6/PG7/PBk7
Lukas Gouache
Gray
PW6/PBk9
Lukas Gouach
Cool Gray
PB29/PBk9/PWI
Cool Gray 3
PG7/PBk9/PW6
Titan to Cool
Grays
177
73
Metallic
& special-effect colors
COLOR INDEX
Rich Gold
Mica-coated titanium dioxide/Iron oxide
Liquitex Acrylic
Iridescent Gold
Deep
(Mixed pigment/vehicle content)

Tri-Art Acrylic
Renaissance Gold
Titanium dioxide-coated mica/Iron oxide
Winsor & Newton
Finity Acrylic
Pale Gold

Iridescent Rich Bronze
Mica-coated titanium dioxide/Iron oxide
Liquitex Acrylic
Iridescent Bronze (Fine)

Iron
oxide-coated mica particles
Golden Acrylic
Antique Bronze
Mica-coated titanium dioxide /Iron oxide/P8k9
Liquitex Acrylic
Bronze (Imitation)
Copper
Copper
(Imitation)
Daler-Rowney Cryla
Acrylic
Iridescent Copper (Coarse)

Golden Acrylic
Iridescent Copper

Tri-Art Acrylic
Iridescent Bright Silver

Mica-coated titanium dioxide/Iron oxide/Stainless
steel
Liquitex Acrylic
Silver
Dark Silver
Titanium dioxidecoated mica/Iron oxide
Winsor & Newton
Finity Acrylic
Iridescent Stainless Steel (Coarse)
Golden Acrylic
Interference Violet (Fine)
Golden Acrylic
Interference Red (Coarse)
Golden Acrylic
Interference Blue (Coarse)
Golden Acrylic
Interference Green (Fine)
Golden Acrylic
Spectral Fuchsia
Tri-Art Acrylic
Spectral Brilliant Red

In
An
Acrylic
Spectral Brilliant Blue

Tri-Art Acrylic
Spectral Brilliant Green

In
An
Ai
COLOR INDEX
179
Whites
SAMPLE WHITES
(From
bottom!
Cremnitz White
PW1
Old Holland Classic
Oil
Flake White
PW1/PW4
Zinc White
PW6
Wmsor & Newton
Artists' Oil
Titanium White
PW6/PW4
Rowney
Artists' Oil
Mixed White
PW6/PW4
TalensVan Gogh
Oil
"Note
Whites given the same
name can vary considerably

in opacity,
consistency,
mixing and handling
Underpainting White
PW6/PW4
Wmsor & Newton
Artists' Oil
Mixing White
PW6
Rowney
properties. There are
commonly two types

of white
seen
in
manufacturers' color
Artists' Oil
Opaque White
PW4
Lukas Studio
Oil
Warm White
These are Zinc
charts.
White and Titanium White

in oils
and
acrylics. In
watercolors you will
come
PW6
Tri-Art Acrylic
Iridescent White
Mica-coaled titanium dioxide
Liquitex Acrylic
across Chinese White, and,

in
many artists'-quality
oil-color ranges,
you
will
see the traditional Cremnitz
Iridescent Pearl
Mica-coated titanium dioxide
Tri-Art Acrylic
Iridescent Pearl (Coarse)

Mica-coated titanium dioxide
White and Flake White..
Many products
are labeled
as "mixing" whites and

"underpainting" whites,
Golden Acrylic
and
in
acrylic
ranges pearl
and iridescent whites are

available, too.
86-87
NOTE: Metallic and

special-effect colors
All metallic
and special-effect
samples (opposite) are
shown against
black for tonal
impossible to
variation,
it
show the
true light-scattering
is
effects of these samples.
Refer to manufacturers'
hand-painted color charts and
see more details on
pages 88-89.
See pages
for details
80
Guide to main suppliers

& Newton
Winsor
P.O.
Lukas
Avenue
11 Constitution
Lukas
Box 1396
Liquitex
was founded
Schoenfeld
NJ 08855
1862 by
in
The
Dr. Franz
Dusseldorf and the company
in
water-borne
first
we
acrylic color
has enjoyed prominence as a manufacturer
and launched
Telephone: (732) 562-0770
and supplier
words
www.winsornewton.com
the nineteenth century.
Piscataway,
of colors
and materials since
named
Van Gogh
requested colors from Schoenfelds
Royal Talens
letters to his brother
Talens, founded
producer of
name
that
in
artists'
is
1899,
a prestigious
is
materials and
known throughout
Royal Talens
based
is
in
the world.
The Netherlands
in his
Theo. Saint Lukas
is
the patron protector of painters and the
brand
is
name Lukas came
into
being
1900, becoming the trademark of
the
Schoenfeld. Lukas
brand names Rembrandt, Van Gogh
international reputation as suppliers
and Amsterdam.
of quality art materials.
USA
Canson
Lukas
South Hadley,
record
was
artists'
by Henry Levinson
a family-owned business
in
a firm
and one with an impressive
the development of permanence
in
and lightfastness
enjoy an
in
pigments. Liquitex
has become known worldwide as the

original heavy-bodied, solvent-free
Artarama
medium.
Liquitex
5325 Departure Drive
MA 01075
an
USA
Jerry's
Inc.
21 Industrial Drive
texture, the product
named Permanent Pigments,
artists'
Royal Talens
1955. Combining the
was developed
USA
early 1930s,
Fr.
and produces color materials under the
in
and
Liquitex. Liquitex as
material
in
was developed
with a pedigree dating back to the
in
all
products from the manufacturer Dr.
now
liquid
the type of
acrylic,
use today,
Raleigh,
Avenue
Constitution
1 1
NC 27616
P.O.
Box 1396
Telephone: (413) 533-6554
Telephone: (919) 790-6676
Piscataway,
www.talens.com
www.lukas-online.com
Telephone: (800) 445-4278
Golden
Schmincke
NJ 08855
www.liquitex.com
There are hundreds of art

materials manufacturers,
and Josef Horadam imported raw
The company
materials, particularly ultramarine, to
producing
colors and
who
heavy-body acrylics were available only
pigments using time-honored
in jars
mediums.
and sold
Manhattan
In
the 1980s Golden
As they gained
recognized throughout the
wider and ever-growing market. They
Many European and
North American manufacturers

have assisted with images,
materials and information
in the
heavy-body
and the following have been

particularly generous in
acrylic colors in
years. Turner
are said to have used Daler-Rowney colors

and. to this day, the
company
comprehensive range
offers a
of high-quality art
materials throughout Britain, continental
benchmark
for
manufacturing
and the Mussini name, along
with Horadam, has become synonymous
Golden
of quality
and
Road
Sennelier products are
artists.
Schmincke
13411
USA
USA
Savoir Faire
Artist Mercantile Inc.
www.goldenpaints.com
192 Thomas Lane
Novato,
Stowe, VT 05672
Telephone:
Telephone: (802) 253-6338
www.savoir-fair.com
www.schmincke.de
www.max-sauer.com
Maimeri was an
own
colors. His
brother, a chemist,
Maimeri
to
in
artist
who
1923 he and
Old Holland
his
art colors in
later,
Maimeri
is still
a family
into a
company
major player
in
the world of artists' colors and materials.
Europe and beyond.
in
Oil
Color Association
1664 and
USA
was
continuing
is still
a tradition of nearly 300 years
(41 5)
884-8090
in
the oldest
Tri-Art
is
modern Canadian-based
company established
in
1984. They have
been manufacturing new-generation
Canada and North
artists' paint factory in
the world. Old
acrylic paints in
Holland paints are
manufactured
America since the mid-1990s and are now
still
according to seventeenth-century
methods, using natural
Maimeri
CA 94949
Tri-Art
The Old Holland

established
competitive domestic market. Eighty years
and has developed
40 Leveroni Court
methods were
founded the company
produce fine
combining
twenty-first-century innovations.
Telephone: (800) 959-6543
his
for
nineteenth-century traditions with
Sennelier
NY
Berlin,
reliability
with quality art materials from Schmincke.
Artist Colors, Inc.
Bell
New
became
his palette
of Florence,
tints.
so satisfactory that
and Constable
resin-oil
and soon
shades and
Painter Gianni
more than 200
now
and transport. The
colors,
now admired worldwide
ground
dates back
to store
a chemist
developed a distinctive and
meticulous process
among
Daler-Rowney
art materials
the invention of the tube had been difficult
who
recipes obtained from Prof. Cesare Mussini
Maimeri
Daler-Rowney's reputation as a
tubes for a
which before
France since
in
was
1887. Gustave Sennelier
established, particularly
have been
materials
formulations are based on old master
supplying samples.
manufacturer of
manufacture
of Sennelier
artists'
produce a range of 94 different colors,
188
making of this book,
to
was
artists' colors.
for resin-oil formulations,
in
popularity.
Golden started
produce hiqh-quality
reputation
directly to professional
artists.
methods to well-known brands

that are household names
world.
Sennelier
In
reputation for their heavy-body acrylic
ranging from small specialists
produce traditional
1881 the chemists Herman Schmincke
Golden have gained a worldwide
ground on stone
oils
and pigments
rollers to create strong
exporting to 10 countries.
liquid acrylics
92 colors
and
In
addition to
inks, Tri-Art
in artist-quality,
produce
high-viscosity
Daler-Rowney
4321 North United Parkway
pure colors that are a
2 Corporate Drive
Schiller Park
than other brands. Old Holland enjoys
acrylic paint to
Cranbury.NJ 08512
Chicago,
an international reputation and
with drastically improved properties
IL
601 76
Telephone: (609) 655-5252
Telephone: (847) 678-6845
classic
oil
www.daler-rowney com
wwwmaimeri.it/index_enasp
to over
56 countries.
Winsor
& Newton
r
t)
was founded
in
London
er the years, the
ofreli.;
in
names
USA
&
Armadillo Arts
Building 2, Unit
Belle
more expensive
their
and watercolors are exported
Old Holland
Winsor and Henry Newton
little
acrylic colors.
that
They use 100 percent
mimic the
of older lake
produce many colors
rich,
transparent hues
pigments.
Tn-Art
Crafts
,
Homestead Road
Mead, NJ 08502
Woolfitt's Art Enterprises

11
Inc.
53 Queen Street West
Toronto, Ontario
M6J
1J4
have become
Telephone: (908) 874-331
nous with many ranges
wwwarmadilloart.com
Telephone: (416) 536-7878
wwwoldholland.com
wwwwoolfitts.com
me art materials
Canada
Guide
_;<
ÎWliBliiilkiWiliilillllliiiliiiliiiiilillllillilliillllliiilllllWfi
to
fj
'
main suppliers
1 81
82 Glossary of terms
ASTM
paint
iat
Acronym
contains acrylic resin
for the
American Society
for
Blue wool scale

An international standard
Chiaroscuro
that
(Italian for "light/dark")
Testing and Materials. Provides an
measures the lightfastness
The use
of light
independent and international paint
colors by dyeing samples of blue
painting
where strong
mixed with water, but dries to a hard,
qualities standard recognized by
wool. The highest rating of 8
are a feature, particularly applied to
plasticky film.
major manufacturers.
regarded as permanent. Originally
ained by the polymerization of

jcrylic acid. Acrylic color
can be
used
Azo
Additive mixing
The mixing of colored
When
light.
the
word pertaining
Descriptive
to
three primary additive colors of red,
synthetic organic pigments, short
green and blue are mixed together,
for "diazotized
they produce white
A term
move toward
used mainly
an
the front of the picture plane. These
blotch that
may
tend to be the "warm" colors, such as
is
and oranges. (See also
watercolor
in
unwanted
irregular,
occur
when wet
introduced into a previous layer
environments.
the technique of using cooler,
toward the back of the
arrangement and
overall
distribution of shapes, colors
tones
in
canvas or cotton, usually already
CMYK
primed for use with
Acronym
recession and depth.
Sometimes
known as "atmospheric
also
perspective."
oils or acrylics.
Body color
paint,
Cockling
refer to the density of a color.
The unwanted wrinkling
or puckering
when
too heavy a
of a paper support
of other colors
Layer of paint that acts as a ground
maximum
wash
show through
Bice
from the 1860s.
obtained from combining copper
The
word
carbonates with
pertaining to colors
silver.
Used
in
the
Alkyd resin
seventeenth century, these blue
synthetic resin, usually clear, used
or green colors
in
paints and mediums. Alkyd resins
to as "ashes."
were also
referred
Used
made
to describe a painting
in
Aniline pigment
dye synthesized from coal
Aniline dyes
1850s were
first
produced
medium mixed with
drawing material.
In
oil
acrylics
is
it
paints
is
gum
and
is oil,
it
in
the
and red range.
in
Bleeding
color
moving past
its
rating that ensures
it
with age The term
may
will not
pH
yellow
also be
layer
Blending
permanence.
of
two adjacent
colors together to create a
smooth
gradation where they meet.
quality colors
.
ith
Blocking
contain
md
initial
picture
the best-quality
maximum
binders.
it
may be used
for the
of stretched
canvas
on a frame.
color
in
when
in
paper that
is
not
Collage
in
pasted onto a support.
Color
visual sensation
and attributes
wavelengths
refracted or reflected
A full-size
drawing from which a
of
light.
final
copied. The term
is
which pieces
of paper, fabric or other items are
of distinguishable
Renaissance
Colorcast
Mainly a printing term referring
particular bias of color
Charcoal
in
to a
an image.
Color field painting
Carbonized, burned
available
sizes.
wood
for art use.
in
specially
Charcoal sticks
different grades
The best
quality
nongritty, often
is
process
is,
Artwork composition
The
painting a
the basic shapes of
and tone are broadly placed.
This provides a foundation for

refining the composition.
also available
is
soft
made from
but also from vine
The
canvas,
linen, cotton or jute
produce a dark mark and are
Merging the edges
(that
required
another color,
applied to paints and inks with

eel to their
The term
refer to the actual fabric used,
prepared
acid free with a neutral
Not paper
slightly
known as CP
textured surface. Also

or
fresco works.
limit or leaking into
term particularly applied to paper

is
painting and acrylics.
fresco or tapestry
Archive-quality
that
oil
particularly applies to
that an artist
Cartoon
acrylic resin.
sometimes from a previous
way
watercolor
and gouache, the binder

arabic, in
the
Canvas
whole support
to form a painting
tar.
the mauve, purple
in
or
when
hot pressed).
or calico, or
powdered pigment
one session, with no underpainting.
liquid
occurs with watercolor
Watercolor paper that has a
characteristic
such as
particularly
It
optical effect.
applies paint with a brush.
may
Binder
first")
painted on.
paper has not been stretched.
for
Traditional ground or support used for
most solvents.
the
is
Cold-pressed paper
One of the constituent dyes of the

madder root, produced synthetically
(Italian for "at
the
designers' color. "Body" can also
Brushwork
Alia prima
in
process.)
Applying color so that previous layers
Alizarin
in
magenta, yellow
gouache, also known as
for a painting.
are soluble
for cyan,
printing process. (See also Four-color
Base coat
Descriptive
chroma
or no gray. (See also
and black, the four colors used
Broken color
picture plane to give an impression of
little
board covered with
and
a painting.
to designate the purity
color with high
Saturation.)
artists'
particularly
The
in
tonal contrasts
painting.
Chroma
A term used
of a color. A
also used as a
Opaque water-based
that has not completely dried.
Balance
lighter colors
commercial paint and
in
paint
colors.)
Aerial perspective
is
is
measure
Prepared
to describe
This
now
wool scale
print
oil
and shade
the textiles industry, the blue
Board
Advancing colors
Receding
is
contains
Backrun
reds, yellows
dye
amines."
light.
Colors that appear to
in
of
in
.i
by American Abstract Expressionist

artists of the 1950s. Artists
and
and
willow,
wood. Charcoal
Mark Rothko painted
such as
large areas of
pure color to give the sensation that

the field of color
seemed
to
go
beyond the picture plane.
pencil form.
medium smudges easily and

drawings made in charcoal need to
fix.itivi!
In: spmycd with
This
Style of abstract painting developed
Color swatch
small sample of a particular color
that can be used for matching,
experimenting or reference purposes.
183
may be
described as "warm"
hue may
or "cool." Colors within a
warm
also be described as
in
relation to
Warm
colors
Encaustic
Cyan
Color temperature
Colors
or cool
each other. (See also
and Cool
bright greenish blue that
is
used
with magenta, yellow and black
in
the
wax
CMYK
or support.
and Four-color process.)
underpainted colors
to refer to the
in
to enlarge the
a basic device to
A
oil
used to thin down
liquid
of tone
paint. For
paints, liquids such as turpentine

spirits are
The plate
is
of green, yellow of
of dots are produced for
of orange. Similarly,
separate color
on the enlarged color wheel, redthe complementary of blue-
to describe the
does
the four-color
printing process. (See also
of red-violet.
CMYK
Dry brush
amount
of subject matter
It
involves the
is
brushed
lightly
Can be used
A coloring
Similar to pastels, conte crayons
water, used for coloring fabrics. Dyes
little
Genre
on top of lean,
(French for "kind")
thinned paint that
likely to dry first.
The type
grease. They have a harder
agent that dissolves
produce pigment "lakes" and
"pinks." (See also Lake
and
of difference
the light and dark tones
have domestic subjects.
paint effect that gives the illusion
or painting.
Low
between
a
drawing
contrast has fairly
The term "genre"
varnishlike solution that
onto pictures worked

likely to
medium
pigment
It
to
used traditionally as a ground
and primer
painting.
in
tempera and
The term
is
Colors traditionally produced from
Flocculation
naturally occurring pigments, such as
An
umbers and siennas.
Although regarded as the most stable
enables the
adhere
Gilding
fully
The application of
thin gold leaf,
many
now
even tones throughout, while high
pigments,
contrast has bright highlights and
replicated by synthesized ingredients.
earth colors are
effect particularly found
appearance
to give a
high sheen.
in
Glaze
watercolor where particles of
pigment settle
oil
also used to
describe modern acrylic primers.
smudge, such as pastels,
particles of
Pink.)
in
mixture of chalk whiting and glue
size
is
which may be burnished
oxides, ochres,
is
of being real.
to the support.
in
subject
particularly applied to paintings that
Earth colors
The degree
its
landscape
or portrait.
charcoal or graphite.
consistency than pastels.
Contrast
still life,
Faux
sprayed by aerosol or mouth diffuser
in
powder
are also used to color white
of painting that a picture
can be categorized as by
(French for "false")
A thin
Conte crayons
to
and Permanence.)
traditionally applied
is
fade with
Modern methods
Gesso
Dye
made from pigment and

gum and a
liable to
light.
of
Fixative
graphite bound with
plaster.
problem considerably. (See also

Lightfast
it
kept dry.
is literally
the various elements.
are sticks
takes
To prevent the problem
exposure to
matter, such as
any medium, but with watercolor
the brush
of painting using water-
of manufacture have reduced this
has not
it
Fat, oil-rich paint
which a minimum
slightly textured effect.
shade and considered placing
of
in
of paint
in
so.
oil
(See also Lean.)
across the painting surface for a
planning of color, use of light and
when
content of
the surface cracking, fat layers are
and Optical mixing.)
A technique
Composition
oil
a long time to dry and shrinks as
each
green, yellow-orange of blue-violet,
within a picture.
full-
and
Description given to pigments and
been thinned.
The arrangement
CMYK
based colors applied to wet
dyes that are
Used
in
into acid.
Fat
paint, particularly
and yellow-green
magenta and
Fresco
Fugitive
Screens from which regular patterns
is
cyan,
(Italian for "fresh")
through a printing or etching press.
Dot screens
orange
black to produce a
then inked and passed
Colors that are opposite each other
and blue
- and
A method
and texture may be
on the color wheel. Red
violet,
metal plate.
used; for
Complementary colors
the
produced from a
into a
added by dipping the plate
water-based media, water.
complementary
yellow
color effect. (See also
print or impression
Areas
Diluent
and mineral
explain color theory.
is
The printing process that uses three

process colors
binds the pigment to the ground
drawing scratched
a painting.
into a circle in the
order of the spectrum. Intermediary
Used as
melted the
Dot screens.)
Sometimes used
circle.
When
is
Etching
Color wheel
may be added
which the pigment
colors.)
The arrangement of primary and
colors
Four-color process
in
bound with wax.
four-color printing process. (See also
Dead color
secondary colors
technique
in
A transparent
groups. The
of the dried paint
or semitransparent
layer of color painted over another
is
grainy rather than evenly dispersed.
color to modify or
Gouache
enhance
its
effect.
dark shadows.
Egg tempera
Form
Contre-jour
Pure pigment bound with egg yolk and
The three-dimensional appearance
(French for "against day")
distilled
photographic term, meaning a
painting or drawing
light is
in
which the
water. As the paint dries
was
applied to
over a gesso ground.
The term "tempera" actually
Cool colors
Colors
in
binder,
the green/blue/violet sector
a subject that produces
its
shape.
leaves a hard, silky surface, and,

traditionally, this paint
wooden panels
behind the subject.
it
of
and
for other
it
is
bound
also
refers to
sometimes used
paints, such as
Opaque water-based body color,

known as designers' colors.
also
In
Format
The
size
inexpensive student ranges,
also
known as poster
paint.
and proportions of a painting
or drawing.
traditionally
The two most popular are

landscape and
portrait,
but square and round are frequently
Granulation
An
effect particularly found
in
watercolor where coarse particles of
also chosen. (See also Landscape
pigment give a speckled appearance
format and Portrait format.)
when
made
Found colors
Colors that may be obtained from
shading by crisscrossing close
outdoors, usually directly from the
nonpaint sources, such as natural
graded from soft to hard. Also
parallel lines. (See also Hatching.)
subject
of the color
wheel are generally
gouache, or "body"
color.
described as cool.
En plein
Crosshatching
A method
of indicating tone
(French for "in open air")
and
Used
to describe a painting
in
dry.
air
the landscape.
materials, liquids
and foodstuffs.
Graphite
form of carbon used
available
in
in
solid stick or
pencils,
as powdei
84
Glossary of terms
Gridding up
s of
isition to
rawing a
Landscape format
Icon
transferring a drawing or
another support. By
grid over the original
stylized
Mary
of Christ, the Virgin
or a saint, particularly as
and
painted
new
used
a larger or smaller grid onto the
image
in
Now also
Byzantine style.
who
to describe a figure
surface, the drawing can be copied
become symbolic
section by section to an enlarged or
of a particular era or fashion.
reduced
size.
provides a surface for painting
where the
in oils
Ground color
A color applied
to
enhance the
paint
is
applied
to the paint
effect.
prepared
in
the 1870s.
Renoir, Sisley and Pissarro,
background
whom were
perceived
when working
gum made from

added as
a binder for watercolor pigment.
can also be used as a medium
to describe thinned
outdoors.
Imprimatura
coat of diluted color applied to a
primed surface to tone down
Medium
painting. (See also Fat.)
The type
its
material used, such as
This technique relates particularly to
watercolor or pastel
damp
can be used to
It
create highlights or to soften edges,
Medium
also used to refer to
is
be added to paint to change

character
Silicates
Description of pigments that are not
in
liable to
fade after exposure to
light.
to a particular choice
of colors that
an
artist
the color balance
known as
of a
in
is
Interference colors
Hatching
in
use
in
such
that they give a varying effect
used
in
paint
coated onto the mica to give
is
no added effects of
light or
known
painting or drawing, generally
wing
as interference colors, they produce
or bird's feather. Also
to describe the
a color, such as
also be used
comparative character
a color; for instance, Vermilion
mium Red maybe said to

hue. Modern color
rers also
use the term to
.'ithetic
pigment has
no the color of a
Monochrome
using different
Munsell scale
three-dimensional scale used
in
Munsell (1858-1918), where color
shown
in
where
watercolor,
Key
Key may also
when
the
painting
made
directly
on a wall,
as with fresco.
named
in
1859 after the battle
Italy.
is
one
in
Negative shapes
of the three primary
The shapes around
the four-color printing
main objects
in
process. (See also
CMYK
and Four-
in
or
between the
a drawing or painting.
(See also Positive shapes.)
color process.)
Not paper
surface to receive a heavier layer,
mural painting,
hue and brightness.
of
colors used
of a painting,
is
both degrees of saturation
Mural
the layers of paint.
It
in
show through
Bright violet-red aniline color,
for
ink.
of reflecting light,
Interference colors.)
such as
different
Luminosity
Magenta
refer to the process of abrading the

for
more
The quality
a pearlized effect. (See also
Watercolor paper that has a smooth
Hue may
or
specifying color, developed by Albert
describing reflected
light or dark.
two
a painting, such as
watercolor with pastel or
particularly
The general name
shade
or reflected color.
areas of white paper
whether
of
in
or a single color.
iridescence typical of an insect's
Hue
Mixed media
The use
an object with
of
Paints that mimic the effect of
The dominant tone
when viewed.
An image made
Highlights
(See also Cold-pressed paper.)
control over
a "restricted" palette.
The
paper.
particle or flake form
a picture. Also
as the viewer moves.
Iridescent colors
known as HP
its
"mediums").
(plural
metallic and iridescent paints. The
media
of
(See also Palette.)
The actual color
shading, using close parallel lines.
Hot-pressed paper
may
tones of either black and white
Paints that disperse the light
light.
to
Local color
no more than two primary colors.
lightest areas of tone within a
chooses
number
colors, so that there
the color wheel, generally involving
and
Term applied
Intensity
also links to purity of color.
of indicating tone
acrylic,
oil,
(plural "media").
the various substances that
Lightfast
use, usually a small
Colors that are near each other on
traditiM
drawing or painting
of
Lifting out
brightness prior to painting.
way
the fingers.
oil
Limited palette
color, also called saturation. Intensity
red or green.
away with
peeled
dry, the
is
simply rubbed off or
is
Mica
painting
The brightness and strength
if
paint,
oil
the underlayers of an
in
the paint
often
is
or to create effects, such as clouds.
Harmonious colors
surface. Also
When
protective coat
of
watercolor to increase gloss
and transparency.
A method
watercolor a rubbery
In
a varying effect
water-soluble
for
in
for further
applied to reserve the white paper as
arabic
certain acacia trees,
It
interested
all
the changing impressions of light
of brilliant white.
Gum
Among
a painting
in
it
also Portrait format.)
brush or a tissue.
were Monet,
the principal artists
support to give a more sympathetic

to a painting instead
France
an area
of
or reserve
solution called masking fluid
paint from the paper with a

in
it
applications.
watercolor and involves removing
Impressionism
A movement in painting
that developed
to a
the traditional shape for
to protect
painting a landscape or vista. (See
applied
or
colored to set a key for the
subsequent painting.
This
thickly to create a textural surface.
Mediums may be added

It
is
Used
technique of painting
acrylics
that protects the support and
narrower than the width.
height
is
The covering
highlights.
Impasto
priming or preparation
Masking
where the
painting or drawing
Lean
may be
or representational
Also sometimes called
squaring up.
Ground
A layer of
has
Maquette
Slightly textured watercolor paper.
sketch or model for a painting
wall must be prepared by adding a
Initial
layer of plaster.
or sculpture.
Lake
Mars colors
Oil
The pigment color produced by
Applied to colors with iron oxide
by combining pigment and
dyeing a white inorganic mineral
as their source. Mars
powder such as gypsum
alchemical
(See also Cold-pressed paper)
Oilbars
or chalk with
name
was
for iron.
the
colors
in solid stick
form,
made
oil
with
waxes. Also called oil-painting
sticks.
They may be applied as drawing
organic coloring matter through the
instruments, but the
use of a mordant. (See also Pink.)
with knife or brush.
oil
worked
into
185
Glossary of terms
Opacity
The degree
which a medium
to
what
color can obliterate
or
is
underneath. Different media and
them vary
colors within
in
Phthalocyanine
Primer
pigment synthesized from copper
A base
in
the
their
covering power.
930s.
number
of
provides the base for
It
modern blue
and
Rough paper
coat, usually required for
oil
acrylic painting, to protect the
support and to provide a suitable
colors,
mainly greenish, but sometimes
foundation for paint. Gesso
with a reddish bias.
traditionally
Picture plane
The technique
of painting small areas
The
are
vertical surface or area of a
or dots of color close to
each other so
drawing or painting
that they appear to mix
when viewed
composition
from a distance. This
the method
used
in
is
four-color printing
where
colors are screened to be reproduced

in
dot form. (See also Dot screens and
Four-color process.)
is
in
is
used to prime surfaces
The
which colors
Pigment
Receding colors
natural plant and mineral sources,
Colors that appear to
in
powder form.
are arranged and mixed. Palette also
colors that an artist chooses.
color produced by dyeing a white
inorganic powder, such as chalk, with
Pantone
A proprietary
plants.
Many
yellows were produced
standards and quality that describes
by the this method, and the term
each color
"pink"
in
in
and
natural materials, such as berries
system of color
terms of
its
composition
percentages. The system, therefore,
was used
to describe
Pointillism
specified color.
style of painting in
mix optically
made from
a hardened
distance.
into the
opaque media.
particularly blues. (See also
painting so that the layers
underneath show through.
colors.)
Secco
Recession
The impression
of depth
in
a picture.
This can be achieved both through

linear perspective
and
use.
is
fade on exposure
lightfast or liable to
when viewed from
Reflected color
yellow and blue, and violet from
light reflected
blue and red.
from a colored
surface onto another object, so
23).
(See also Local
own
Series no.
local
A number that
color.)
Usually a sculpture or carving
is
painting or drawing
taller
where the
than the width. As
manufacturers
name
suggests, this
supply details about the permanence
shape
for painting a portrait.
of individual colors in their ranges.
also Landscape format.)
to light. Art materials'
is
its
the traditional
(See
of
its
depth
in
The actual shapes
of establishing
space and
a painting or drawing by
describing objects
in
in
drawing or painting. (See also
Negative shapes.)
the distance as
converge to a vanishing
Primary colors
The three primary colors -
point as they
meet the horizon (eye
yellow and blue
level).
in
which
this
is
to
apparent. The term
may
the foreground.
Also called linear perspective.
(See also Aerial perspective.)
all
In
paint applied thickly, as with impasto.
(See also Impasto.)
or "misty")
light to
dark
with no noticeable change from one

to the other.
Sgraffito
(Italian for
period of history
color
"scratched")
in
Europe that
is
the top layer of
scratched or incised to reveal
the layer or ground beneath.
lasted from the fourteenth to the
sixteenth centuries. The Renaissance
was
a rebirth and flowering of the
arts,
science and culture,
much
of
master
Italian painters.
are so-called
theory, however,
other colors can be mixed from
Shade
A color that
has been darkened by
the addition of black.
Shaped canvas
A canvas that is not
rectangular.
Resist
material, such as wax, placed on a
support to repel water. The technique
primaries. All three primaries mixed
is
together produce "black." (See also
texture and highlights.
Subtractive mixing.)
"smoked"
gradual transition from
which was associated with the great

red,
because they cannot be mixed from

other colors.
also be used to describe the effect of
A
of the objects
Parallel lines
smaller than those
depending on the extent
Renaissance
Positive shapes
A method
relief,
(Italian for
A technique where
(See also Lightfast.)
Perspective
denotes the quality
price range of the pigment.
Sfumato
in
which the image stands proud
applied as a base for gilding.
is
two
produced
Relief
red iron-oxide pigment that
height
is
from red and yellow, green from
The
The nineteenth-century
Poliment
dampened.
primary colors. Orange
which dots of
Portrait format
The degree to which a pigment
dry plaster
slightly
Colors obtained by mixing
background, described as high or low
Permanence
made on
is
Mixing a color with white paint.
and
painting
(See also Fresco.)
available as soft (chalk) or hard sticks,
in
A wall
or plaster that
aerial
Reduction
modifying the object's
have a different character
(Italian for "dry")
of lighter, cooler colors.
color.
made
oil
consists of dragging
It
Advancing
French artist Georges Seurat used the
and wax, so they
Scumbling
A technique originally applied to
painting, but now used with all
dryish paint over the surface of a
to be the "cool" colors,
technique successfully (see page
fat
Chroma
Intensity.)
distance within the picture plane.
paste of pigment bound together
or in pencil form. Oil pastels are
saturated or
These tend
with chalk or clay and gum. They are
from pigments,
"net fully
ti
Secondary colors
color are juxtaposed so that they
Sticks of color
move
(See also Lake.)
the printer to match an exact
low saturation, while
of
is
purity of
may be
CMYK.)
perspective, involving the use
them.
provides a method that enables
Pastels
and
the four-color
in
printing process. (See also
synthetic.
and
of vividness
light color or tint
of high saturation. (See also
painting media. Originally from
Pink
regarded as
drawing and
in
The degree
a color.
Process colors
The colors used
refers to the particular selection of
and
Saturation
pure color
placed.
The coloring agent
oil
acrylic paints.
Pigment also refers to pure color
tray or surface on
available for both
which the
most pigments are now

Palette
now
a rough,
ted surface texture.
for oils, but synthetic preparations
Optical mixing
Unpressed watercolor paper, perhaps
handmade, which has
used effectively
in
watercolors for
Sinopia
red iron-oxide color used by
Renaissance
artists to
make
preliminary drawing prior to painting,

itself referred to
as the sinopia.
186
Trompe
Thinner
Size
ke liquid that
.invas support to
applied
is
make
it
mpermeable before applying a

layer of
added
liquid
it
Many
are available, depending on the
easier to apply to the support.
The
required.
paint
oil
rough drawing, sometimes
the consistency
The impression given
or
a drawing or
in
viewer
is
so realistic that the
fooled into thinking the
is
medium
volume, as well as height and width.
that thins or
Spectrum
The arrangement
of colors
when white
passes through a
light
produced
Seven separate colors are
distinguished
red, orange, yellow,
green, blue, indigo and violet.
color that has
been lightened by
complementary of a
complementaries
water. (See also Gouache.)
Underpaying
Water-soluble pencils
The degree
which a pigment can
to
color mixtures.
in
Wet-in-wet
may
colors are
made
from very finely ground particles of
may be
In
Tone
the horizon. There
in
an
or darkness of
vanishing points
called value.
its
local color.
The term tonal value
is
particularly in
oil
surplus paint by
for the surface texture or
when
painting with pastels
may be
held.
Top tone
blue and yellow are mixed together,
The obvious hue
they produce black.
red or blue. (See also Undertone.)
Support
Torchon
wood
panel.
produced by mixing equal

primary color with
ondary color. For

ixed with green
creati
tightly rolled
paper stump used
end can be used
The degree
to
which
light
in
the painting.
transparent medium, but thinned

glazes of oils and acrylics
allow transparency.
may
dry.
such as ox
liquid,
gall,
added
it
to
to flow
easily on the paper.
White
light
This effect
is
produced when
red,
in
Whiting
liquid, including
the binder and
which holds pigment
suspension so that
it
in
to a surface in the form of paint.
Vignette
make whitewash and
gesso.
Yellowing of paint
An effect of yellow discoloration on
too
oil paintings that may occur
much linseed oil is added to the
paint. Some varnishes may cause a
if
painting or drawing of which the

off or
fade away,
painting to take on a yellow tinge or
the shape of an oval.
in
Ground and washed white chalk used

to
can be applied
the surface of the varnish
become
by an element
The space
filled
object
drawing
in
oi
in
may
grimy. Oil paintings kept
the dark also tend to take on a
yellowish look.
or painting
Warm
Colors
Yellowing
colors
in
the red/orange/yellow
also
of
paper
Gradual darkening of paper toward a
sector of the color wheel are
yellowish or brownish shade. This
generally described as warm.
especially noticeable
such as those
can pass
is
completely
is
for
for detail.
through a color Watercolor
after the first
blue and green light are combined
and specific
Volume
blending pastels and charcoal. The

[jointed
film.
matte
such as
Transparency
tiary colors
which
in
mixing and Subtractive mixing.)
often
of a color,
watercolor
in
applied on top of another
medium used
edges are shaded
the
made, such as paper,
in
is
three primary pigment colors of red,
canvas, board or
is
equal proportions. (See also Additive
additives,
so that the dry pigment
wash
formulations are available for the
Subtractive mixing
technique
more
transparent liquid applied to the
Vehicle
painting.
interweave of fibers of the paper.
or glossy finishes,
paper with pronounced tooth
is
which
in
wet.
watercolor that enables
Varnishes are available
part or parts of a composition.
The surface on which a drawing or
first is still
Varnish
form a transparent protective
to another.
Tooth
Term used
When
while the
watercolor
in
applied on top of another
Wetting agent
a picture.
in
one tone
in oils or acrylics.
of pigments.
is
several
surface of a painting, which dries to
pressing a sheet of paper over the
The mixing
may be
also used to describe the relation of
required
wash
Also
surface of the painting, used
detailed drawing or painting of a
converge as they meet
a drawing or painting,
Stretcher
Study
technique
tone.)
perspective the point at which
relief carving.
The wooden frame on which canvas

stretched and fixed to provide a
Wet-on-dry
Tonking
A means of removing
from the paper.
support for painting
reddish or
Top
Vanishing point
pigment and may not be completely

"lifted out"
which
of a color,
veer toward another hue. For
instance, a blue
circular easel painting or
irrespective of
term that refers particularly to
produce
to
watercolor effects.
Undertone
The underlying tone
Tinting strength
The lightness
Staining colors
Some
may be used with water
down.
laid
the addition of white.
element
watercolors.
Colored pencils and crayons that
of a painting
the color balance, tone
parallel lines
of blue are red-
orange and yellow-orange.
rs
color,
such as chalk,
are also applied by diluting with
and composition are
color. For instance, the split
painting
"body"
or
fillers,
or guidelines for the composition.
Tondo
complementaries
to the true
which contain
a surface or
which
when
support to indicate the basic positions
when
dominate
These are colors that are adjacent
is
arabic,
However, opaque watercolors,
known as gouache
yellowish. (See also
gum
produces a transparent color

dry.
The early stages

Tint
Split
substance, such as
pigment
to
painting of objects having depth or
dissolves undiluted paint or pigment.
prism.
bound with a water-soluble
painting that
Underdrawing
A drawing made on
Three-dimensional
Solvent
The term mainly applies
traditional thinner for
turpentine.
is
Watercolor
I'oeil
(French for "deception of the eye")
objects or a scene are real.
made as
a preliminary to a composition
Agent
and
it
make
medium used and
gesso or primer.
Sketch
to paint to dilute
Wash
A
layer of transparent or thinly diluted
paint or ink, usually applied
sweeps. Color may be

layering
built
in
broad
up by
one wash over another.
in
is
acidic papers,
made from wood
pulp.
Bibliography
Much
of the material contained
and
further reading
87
in
manual was formed by firsthand

experience, curiosity and experimentation, and through talking to practicing
artists and manufacturers of artists'
colors. Many hundreds of books have
been browsed through, too, and the
following were of particular interest.
Some are standard works of reference
on color, and some just tell a fascinating
story. Many of the older works contain
practical information on coloring
techniques from bygone ages and may
encourage more curious readers to
experiment for their own amusement.
this
Advice to Artists
Leonardo da Vinci
The Materials and Techniques of Painting

Jonathan Stephenson
Thames and Hudson, London, 1989
Color for the Artist
Pocket
How
to
Do
It
Edited/Annotated by Emery Kelen
Hans Schwarz
Running Press, Philadelphia, 1990
Studio Vista, London, 1980
The Art of Color

Johannes Ittens
Color and Culture
German
& Meaning
John Gage
from Antiquity
Practice
Van Nostrand/Reinhold,
(Original
Mauve
How One Man
New
Edition,
York, 1961
Kunst der Farbe,
to
Abstraction
Faber
Invented a Color That Changed the World
Garfield
&
Faber, London,
2000
Studienausgabe, 1961)
Methods and Materials
Handbook of Materials & Techniques

Ralph Meyer
Fifth Edition, Faber & Faber, London, 1991
The
Simon
Artist's
Revised and expanded by Steven Sheehan
Color and Meaning

Art,
of Painting
of the Great Schools and Masters
Science and Symbolism
Sir
John Gage
Charles Lock Eastlake
(Two volumes bound as one, paperback)
New
Dover Publications,
York, 2001
(Original edition, Materials for a History of Oil Painting,
Artists'
Concerning the Spiritual
Materials
Which,
Why and How
Emma
Pearce
A&C
in
Longmans, London, 1847)
Art
Wassily Kandinsky
Dover,
Black (Publishers) Limited, London, 1992
New
Notes on the Composition and Permanence
York, 1977
(Original edition, trans,
of Artists' Colors
from German, 1914)
Winsor
Artists'
Pigments
The Elements
F.W.Webber
Van Nostrand,
New
of Color
A Treatise Based on
Johannes Ittens
York, 1923
John Wiley
The Invention of Color
&
Sons
Inc.,
2001
First
Translation: Daniel V.
Thompson
Inc.
(paperback),
Yale University Press,
Mark David Gottsegen

Watson
New
York, 1960
Roy Osbourne
Painting Materials
John Murray, London, 1980
Short Encyclopedia
Rutherford
Art and Design
Anderson Feisner
Laurence King, London, 2001
Translated by Sophie
Hawkes
Thames & Hudson, London, 2000

(Original edition, Gallimard, Paris 1999)
Color
Travels Through the Paintbox
Victoria Finlay
Sceptre/Hodder and Stoughton, London, 2002
Gettens
Dover Publications,
The Definitive Guide to Color Palettes Through the Ages
(Original edition, D.
& George
New
L.
Stout
York, 1966
Van Nostrand
Co. Inc.
New York,
1942)
Margaret Walch and Augustine Hope
The Primary Colors

Three Essays
Making and Using Dyes and Pigments
& Bernard Guineau
J.
Living Colors
Chronicle Books, San Francisco, 1995
Color
Francois Delamare
1993
Guptill,
Color Principles for Artists
Color
Edith
published 1970, nineteenth impression 1999
The Painter's Handbook

A Complete Reference
963
Lights and Pigments
Jr.
Yale University Press, 1933
in
1997
Oxford University Press
Josef Albers
Use Color
Ltd,
Interaction of Color
The Craftsman's Handbook

// Libro dell 'Arte, Cennino d 'Andrea Cenmni
How to
Graphics
The Oxford Companion to Art

Edited by Harold Osborne
Philip Ball
Viking, London, 2001
Dover Publications
&
the Art of Color
Edited by Faber Birren
Bright Earth
& Newton
ColArt Fine Art
The Materials
of the Artist
and Their Use
in
Painting
Alexander Theroux
With Notes on the Techniques of the Old Masters
Picador,
Max Doerner
(Original edition,
Harcourt Brace
London 1995
& Co
Every Artist Needs to
Harvest Paperback edition, 1984
What
German edition, Maltmaterial und seine

Verwendung im Bilde, 1934)
about Paint
(Original
Henry Holt
Inc.,
& Company, 1949
&
Know
Colors
David Pyle
Krause Publications, Wisconsin, 2000
New
York, 1994)
88 Index
charcoal 82
Breuil 12
Expressionism 59
let
Abstract Painting No.
5,
1962
Indigofera tinctorum 51
CMYK
industrial technology
21
cadmium
52
coal tar 81
International Klein Blue 53
12, 13, 59, 60,
Color index 176
Isatis tinctoria
50
calico 138
lapis lazuli 15,
50-52
canvas123, 148
Elephant Black 77
lazurite 51
experimenting with 78
Leyden Blue
Flame Black 77
Manganese Blue 53
carbon black 84
brushmarks 33
Gilsonite 75
Middle Ages
Cardinal Grapes
diluents 33
granulation 80
Monastral Blue
Reinhardt) 79
acrylics
156-79
artists' colors
Caravaggio,
Michelangelo Merisi da 79
51
50, 51
and Silken Shawl
(Sue Fitzgerald) 118-19
14, 15
Douglas Wilson 38
Grape Black 77
Mountain Blue 50
carmine
drying times 33
gray scale 81
obsessions 53
Carnevale di Venezia
flow improvers 37
history
impasto 33
intense darks 82, 83
industrial
development 33
mediums
33.
Paris Blue 52
30,32,77,78
Ivory Black
33
liquid
77
37
58
15,
Simmonds) 38
136-39
(Jackie
Phthalo Blue 14, 52-53
Carr, Jessie
pigments 50-53
cars 14
Kernel Black 77
Primary Blue 53, 146
Cartoon Paint 150
Lamp
Prussian Blue 13, 32, 52
cave paintings 12, 72, 144
Black 77, 78
mistakes 33
London colors 82
Renaissance 50, 51
Cel Vinyl 150
palettes 40
making 76
Romans
Celadonite 67
permanence 33
manipulating 105
Smalt
portable 147
Mars Black
Ultramarine 13, 50-53, 77
resin
33
Sue
77, 78
Fitzgerald
versatility
33
118-23
50, 51
Cennini, Cennino 57, 61, 62, 63, 68,
51
woad 50
mixing 82
starter palette
Oil
72,73,77,112
ceramics 30, 35
nearly black 83
33
chalk 35, 56
Blue Horse
Black 77
Payne's Gray 77, 78, 80
1,
charcoal 82, 84. 139. 144, 152
1911
(Franz Marc) 53
charcoal pencils 35
pigments 76-83
blue jeans 51
additive color mixing 25
ready-made darks 83
Blue Rider group, The 53
additive primary colors 25
shades 76. 78. 81
boat paintings 104-05
chemistry 13, 14, 15
chiaroscuro 79
Check Headband
additive secondary colors 25
staining
additives 36
tints 76, 78, 81
BookofKellsbQ
Bowering Nick 104-05
Sea 74
Adriatic
power 80
(Tim Riddihough) 38, 107

Chestnutt, Judith 38, 140-43
145
powder 144
transparency 80
brick dust
Afghanistan 51
undertone 78
British
alkyd oils
variations 80
Britons 50
chlorophyll 68
Vine Black 77, 78
broken prismatic effect 132-35
chrocoite 69
watercolor 32
bronze 88
chromium 58, 60,

Chrysanthemums
31
alkyd resin 36
alia
prima
30, 31
Altamira cave paintings 62
American Society
aniline pigments 58, 81
chili
Chinese
Standards Institute 17
working without 104-05
for Testing
and Materials (ASTM) 17
brown
Black Suprematist Square,
1914-15 (Kasimir Malevich) 79
12, 56,
68
64,
69
(Marina Yedigaroff) 125
Winston 74
Bistre 75
Churchill,
bitumen 75
Cinabrese 112
animation 150, 151
blackberry 145
blancfixe 34
Brown Madder 74, 75

brown ochre 72
cinnabar 12, 57, 69, 112
applique 148
aquarelle pencils 35
bleeding 16
Burnt Sienna 12, 72, 75
CMYK
Armenian stone 50
Blind
Umber 13, 72, 75

Caput Mortuum 74
Cassel Brown 74
coal ash 145
Cologne Earth 74
cobalt 51. 54
crocus mart is 74
cobalt aluminate 52
arsenic 14. 68. 70

art
masking
fluid
Girl,
The
blood 144
156-79
ash 144
clay 72
(cyan/magenta/yellow/black) 21
Burnt
(John Everett Millais) 24
32
artists' colors 30,
blue
coal tar 70, 75. 81
Asia 68
Alexandrian Blue 50
history
Asia Minor 67
Antwerp Blue 52
Kassel Earth 74
cochineal 15, 58, 144
asphaltum 75, 83
atmosphere 42, 43, 98
azurite 12. 50. 51.
coffee 144
Australian Birds (Chris Perry) 149
Berlin Blue 52
azo dyes 64
Blue Bice 55
Mars Black 74
Mars Brown 72, 74
Mars colors 74
Mars Violet 74
Mars Yellow 74
Mummy Brown 75
pigments 72-75
azzurro della
Aztecs 54, 58
68
magna 50
Cerulean Blue 13, 52, 53
azurite 12. 50. 51.
68
chemical blues 53
cobalt 51
Cobalt Blue 13. 52. 53
Color index
backdrops 136
core 53
/ill.
Ray
38,
98-101
Boats (Nick Bowering) 105
ten 75,
166-69
71,50,53
Egyptian Blue 12, 50
83
I
'|/|iti,m\
!)()
French Ultramarine 13, 52

h
frit
al
Black 77
in
83
64
Caesar, Julius 50
dark hues 83
Ad
(After
indigo 51
chiaroscuro 79
72-73
cobalt oxide 13
cola 144
Coldstream,
William 102
color
additive color mixing 25
Raw Sienna 72, 75

Raw Umber 72, 75
animal sources 144
Rubens' Brown 74
atmosphere
Rubens' Madder 75
bias 16, 26
Sepia 74
bleeding 16
artists'
156-79
43
42,
Spanish Brown 72
blending 96
Vandyke Brown
broken 132-35
cadmium 12, 59,
72, 74
Violet Oxide 74
50
Sir
collages 143
60, 64
clean 123
fugitive 51
148-49
Greeks 50-51
brushes 123, 138
cloth
history 50
brushwork 132, 135
code 42-43
communication 42-43
51
Indanthrene Blue 52-53
Building Fascias (Simon Jennings)
51
Index 189
Bates, Joan
102-03
themes 128, 130
Elliott
three-dimensional 43
embroidery 148
top tone 27
en plein
contained 128-131
traditional 14
contrast 122, 133
transparency 16, 31, 32,
enamel paint 151

Euston Road School 102
complementary
complementary
26,
27
primaries 110
air
Marina Yedigaroff 125-26
146
poster paints 34
Tun Riddihough 106

students'-quality 30
36,37,124-27
control 21
Graebe, Carl 58
cool 27
twelve-color division 26
creative directions 96
undertone 27
designers' 30, 34, 37
vegetable sources 67,
dry 152
warm
earth 14, 56, 72
wheel
148-49
fabric paints
Graves,
148-49
work 108-09
flesh 90-93, 106-09
Color index 156-79
Fauvists 59, 133
fast
Color Index International 16, 18-19
felt tips
Color samples
ferric
ferrocyanide 52
Field,
George
"fat over lean"
(Judith Chestnutt) 140, 143
wheel
26-27
25,
ground 131
colored pencils 30, 35, 152
harmony
columbine 67
27, 128
household paints 136-39
Field's
Roben
36
gray
35
15,
Cool Gray 85
Davy's Gray 84
58
Gerhard Richter 85
Sue 118-23
graphite 84
grisaille
flesh colors
communication 42, 43
76-77
Color inch
Chromatography^
Fitzgerald,
2021
luction
grass 145
fabric 35,
color
'16,32
i
graphite 84, 152
144
fat
Color field painting 59
144-45
148-49
work 108-09
fast
26-27
experimenting 26, 45
fugitive 51, 56, 58
graphic
fabrics 30, 35, 51,70, 118,
27
25,
Graham, Peter 28-29

granulal
144-45
diagrammatic 26
for free
gumarabic 37
84
guazzo 84
history 84
composition 110, 123, 132
combination pigments
information 42-43
Constable, John 58, 180
Green Earth 67
homage
inspiration 118
contrast 122, 133
Jaune
Neutral Gray 84
intensity 130
conte sticks 34
mixing 92
Payne's Gray 84
interference 88
copper 68, 69, 70
Naples Yellow Reddish 90
interpreting 44-45, 131
copper carbonate 50, 51
pigments 90, 92, 93
pigments 84-85
veneda 84
Warm Gray 84-85
identification
26
Brillant
90
iridescent 25, 88
copper phosphate 54
prepared 93
juxtaposition 133
copper silicates 50
language 42-43
corrosion 74
large scale 114-17, 138
crimson 15, 58
ready-made 90
Renaissance
skin tones 112-13
light-scattering 88
cuttlefish
limited range
luminosity
110-11
124-27
93
Tim Riddihough 106-08
74
cyan 21, 50, 53
Unbleached Titanium 90
Cyprus 67
warm
neutrals 90
156-79
flint
media 96
floral artists
33
Daler-Rowney156, 180
flow improvers 37
metallic 88, 178
dammar
four-color printing
mineral sources 144-45
Dark Side of the Moon, The
mixing 23, 26, 35, 121,128
resin 31
Oxide Green 69, 70
darks 27, 83, 104-05
Freud, Lucian 82
da Vinci, Leonardo 76
Friedlander,
frit
nonart 136-39
Dead Sea 75
Delacroix, Eugene 72
opaque 150, 151
Delftware 51
43
natural 146
23
P.
Cobalt Green 13, 70
designers' colors 30, 34, 37
fugitive color 51, 56,
Diesbach
88-89
portable 14, 146-47
digital
prehistoric primary 62
20-21
13,
Creta
Max 20
experimenting 71
Gauguin, Paul 70
Green Earth 67, 70
drawing 152-53
Germany 74
Green Umber 67
Dresden 74
gesso 34
history
media 34-35
Renaissance
drying times 16, 30, 31, 33, 36, 37, 40
112-13
reproduction 20-21
Dunsterville, Lucy
selection 96
dye 51, 56, 58, 64, 148
Dust
to
gilding
136-39
Dust (Simon Jennings)
45
26
172-75
spectrum 24
earth colors 56, 72,
subdued 102-03
earth pigments 12, 14,72,73, 144
subtractive
East Anglian Estuary
color mixing 25, 26
27
texture 130
Hungarian Green 68
Gilsonite 75
1965-66
malachite 68
Mineral Green 68
(Sigmar Polke) 23
glass painting 30, 35, 104
mixing 71
Glauconite 67
Mountain Green 68
Munich Green 70
glazing 31, 34, 36, 58, 77,
special-effect 88
(Joan
Elliott
Bates) 103
68-69
Hooker's Green 70
88-89
Girlfriends,
smooth 150-51
tertiary
67
dot screen 22-23
dry painting
six-color division
viridis
Emerald Green 13, 70
scanning 150
Doerner,
71
copper green 68
58
52
process 20-21, 23
skin tones
complementary
copper 69, 70
(Simon Jennings) 147
paper pulp 140-43
42
Color index 169-71
From Castel Plage
organizing 122
practical use of
Cinnabar Green 70
50
fuchsin 58
pearlizing
cinnabar 69
12
Derain, Andre 59
techniques 96
green
chrysocolla 68
fresco 72
mood
printing
(Tim Riddihough)109
Chromium Green 69
Chromium
20-21
France 66, 72
(George Hardie) 24
modern 14
optical mixing
57
Cadmium Green 70
Chrome Green 70
37
mediums 36
42,
12, 43. 50, 56.
Green-outlined figure
arsenic 13, 68, 70
manufacturers'
color charts
Greeks
85
to
glycerine 37
Naphthol Green 68, 70
gold leaf 63. 88, 123
Olive Green 70
Golden 156, 180
Paris
gouache
Green 70
Permanent Green 70
Phthalo Green 68, 70
pigments 66-71
egg tempera 30, 34, 84
artists' colors
Egyptians 12, 34, 50, 56. 68, 75, 86
body color 34
Royal Green 69
design studios 34
Sap Green
El
Greco 144
30,156-79
69, 70
90 Index
Scheele's Green 68
alkyd 36
Schweinfurt Green 70
TerreVerte 13,67. 112
Kandinsky, Wassily 51
vegetable greens 69
kermes insect
verdigris
53, 60, 61
65
58
56,
Verona Green Earth 67
(Giotto
Joan
linseed
gloss 37
Klee, Paul 9
Vienna Green 70
Klein,
Viridian 68, 71
knifework 37, 132, 134, 135
gum
Yves 53
38,
114-17
Bates 102-03
oil
30, 31, 34, 36,
40
gouache 37
Vert-antique 69
Elliott
John Reay 132-35
37
flow improvers 37
Bondone)57
di
George Rowlett
drying 37
flint
Kiss of Judas, The
69
drying times 30
color 36
Marina Yedigaroff 38,

126-27
arabic 37
interference 37
mediums 36-37
NickBowering 104-05
Winsor Green 15
iridescent 37
oil
Yellowish Green 70
marble dust 37
oilbars 30. 31. 132. 153
lac insect
matte 37
oil-painting sticks 132,153
lake
oils
Zmnober Green 69
Gries, Patrick
impasto 37
Green 70
Viridian
56
making 12-13, 56
landscapes 102-03, 131
25
15,50,51,52
36
pastels 35, 153
palettes 30, 40
oxgall 37
resin
paint characteristics 36
saff lower
pearlescent 37
solvents 31
colors 31
oil
ground color 131
lapis lazuli 13,
Guimet. J.-B. 13, 52
Lascaux cave paintings 62
gum
layering 104
retarding 37
starter palette
LeChahut, 1889-90
sand 37
students'-quality 30
arabic 37
;ypsum 56
(Georges-Pierre Seurat) 23
H
Hand of Nature, The (Patrick
Gries)
25
sunflower
thinners 36
Lemon (Douglas Wilson) 38
texture gels 37
walnut
Levinson, Henry 180
texture pastes 37
water-mixable 31
watercolor 37
white 31
Colorum, Jean Lebegue 52
Libri
Hardie, George 24
Lichtenstein,
Haughton, Desmond 96, 110-11
life
Helios 63
light 86, 134.
hematite 72-73
lightfastness
Homage
Homage
to Vincent (Chris Perry)
to
64
146
Paul (Chris Perry) 149
149
linseed
oil
metallic colors 88, 178
Old Holland 156, 180
mica 86, 88
optical illusions
Micaceous
152-53
30, 31,34, 36,
40
Iron
Oxide 88
Michelangelo Buonarroti
Millais,
linear techniques 104,
30,
37
37
yellowing 36, 37
13-15,16-17,35,66,70,84,180
15.
oil
oil
Mesopotamia 56
Roy 22
painting 106-08
limonite 66, 73
Hoechst
30
texture 36
Liebermann, Carl 58
Damien43
37
special-effects 37
hardboard 34
Hirst,
31,
lead chromate 69
hard pastels 34
highlighting 31, 32
oil
12,
12
John Everett 24
20
23
optical mixing
Orange Boat Essaouira

(Nick Bowering) 105
mineral spirits 30, 36
orange
minerals 66, 72
Benzimidazolone
Liquin 31
mistakes 30, 33
Hooker, William 70
Liquitex 156, 180
mixed media 39, 45, 98-99,
Hbpfner 52
London colors 84
106,119,125-26,152
Hopi mdians 54
Lowestoft Beach John Reay) 133, 135
molding 37
Horadam, Josef 180

household paints 136-39
hue 14. 27, 156
low-odor thinners 30, 36

Lowrie, Daphne Jo 96, 128-31
Monet, Claude 55
cadmium 60
Cadmium Orange 60
Chrome Orange 60
Monfreid, George Daniel de 70
chromium 60
Lukas 156, 180
monochrome
mood 42, 98
Color index 161
Hunt, William
Hymn [Damen
luminosity 124-27
Holman 58
Hirst)
M
madder 15, 58. 74, 75
Madonna, Child and St. John
with Angels (Michelangelo
ICI14
illustrators 33,
34
impasto 31, 37. 153

Impressionists 30, 70, 133
67
Indigo 51
industrial paints
ink 74. 107, 108.
125-26
Iridescent Stainless Steel
Italian Girl,
i6,
74
1887 (Vincent van Gogh) 91
67
Pyrrole
magnetite 73
Navajo Indians 54
Our Lady of Czestochowa (Anon) 83
Maimeri, Gianni 156, 180
Neutral Gray 146
oxgall 37
malachite 12, 68
Newton and
(Peter
(After
the Prism
George Romney) 24
Marc, Franz 53
Newton, Henry 180

Newton, Sir Isaac 24
Newton's Rings 24
Mars
Night Cafe (Vincent van Gogh) 71
acrylics 33,
nonart colors 136-39
eel
colors 14, 74
Matisse, Henri 59
ochre 12, 14, 62, 63, 65, 66. 72-74
145, 151
enamel 151
fabric 148-49
fat 31
81
flow 36
oils
39,
45
generic
alkyri 31
name 137
cracking 36, 37
gouache 34
household 136-39
acrylic 33, 37,
Daphne Jo Lowrie 128-31
industrial
;irlrlitives36
diluents 31
long 115
artists' colors
>,,
118-23
150
egg tempera 30, 34,
materials' suppliers 180
mauvine 13
media 30-35,
"Judas hair" 57
junkmail 140. 14?
paint
characteristics 36
(Roy Lichtenstein) 22
mauve
Jennif
Orange 60
realgar 60, 61
Masterpiece 1 962
88
iron oxide 14. 66, 67. 72. 73,
pigments 60-61
Oranges, 1863 (Antonio Mensaque)
massicot 62
iridescence 25. 88
Perinone Orange 60
mustard powder 144
orpiment 62, 63, 64
marble dust 37
Ingres paper 35
Mussini, Professor Cesare 31, 180
Napoleon Bonaparte 13
Graham) 29
manufacturers' color charts 1 56-79
42-43
Mars Orange 74
38
magenta 14,21,58
Manhattan
136
Industrial Revolution 13
information
history 60
Balkwill)
Naples 75
Buonarroti) 12, 112
mpasto gel 37
India 51. 56. 66.
painting 104
Morning Mist (Ray
43
Orange 60
mediums
156
136
Index 191
oil
30-31
short 115
trade
name 137
poliment 89
Polke,
Henry
Perkin, William
13, 58, 81
permanence 12-14, 16, 33,

35,66,70,72,74,180
watercolor 32
palette
Perylene Red 59
Pompeii 12, 67
pigment 56-59
oil
Portrait
37
primary color 58
Fragments
Woman (Anon)
realgar 56
choosing 40-41, 102
perspective 132
Portrait of a
color range 41
pewter 88
poster paints 34
core 114, 122
photography 150
Post-Impressionists 70
red ochre 72
homemade
phthalocyanine 54
potash 13, 52
Renaissance 56
Ro
57
41
linseed
oil
40
process colors 20, 21, 23
Scarlet La
arylide 14
projected light 25
symbolism 56-57
pumice 37
toxicity 56,
76-83
mahogany 40
management 41
black
mixing area 40
blue
"mud" 27
muffin-tin style 40
brown 72-75
cadmium 14
nonart colors 137
characteristics
plastic
40
50-53
wavelength 57
WinsorRed57
Quayside (Ray Balkwill) 100
16-17
red earth
quinacridones 14, 32, 59
Alizarin
chrome 13
Burnt Sienna 72, 75
cobalt 13
color bias
seven-color 110-11
drying rate 16
spectrum order 41
earth 12, 14, 72, 73, 144
Burnt
16
starter 30. 32, 33, 41
Egyptians 12
Stay-Wet Palette 40
tear-off paper 40
flesh
thumbhole40
gray 84-85
90-93
rainbow 24
realgar 60-61
Italian Earth
Reay.John 96,132-35
recycling 140-43
Mars Red 74
pigments 74-75
iron ores
travelling 147
green 67-71
watercolor 40
Hansa yellows 14
history 2-14
white porcelain 41
inorganic 14
Crimson
Raw Sienna 72, 75

Raw Umber 72, 75
14, 15,
reddish browns 73
30, 32, 57, 58, 59
Rubens' Madder 75
aniline 58, 81
cadmium 59, 60, 64

Cadmium Red 13, 57,
Sinopia 73
Terra
58,
di
paper pulp 140-43
lake
paperworks 140-43
lightfastness 13-15,16-17,
Cardinal Red 56
red-hot poker 145
parsley 67
35,66,70,84,180
madder 58
natural 144-45
carmine
red lake 13
natural organic 14
Chinese Red 58
pastels
buying 35
58
chemical pigments 59
red lead 12, 56,62
China 56
Red man crossed legs,

Red man, standing
Chrome Red 58
permanence 12-14, 16,33,

35,66,70,72,74,180
cochineal 15, 58
red poliment 89
Color index 161-65
Red
perylene 14
crimson 15, 58
hard pastels 34
pyrrole 14
Daemonorops draco 57
red
Ingres paper 35
quinacridones 14
Dragon's Blood 57
reflected light 25
dye 58
Reinhardt,
conte sticks 34
fixing
35
Jackie
Simmonds 38
linear techniques
oil
red
153
35
paper 34-35
34-35
34
starter palette
35
tooth 34, 35
Paul and Ringo
[Hem
Edelman) 150
Payne, William 77, 84
Emma
earth reds 56,
Renaissance
Egyptians 56
Romans
pastel pencils
pastel sticks
56-59
red lake 13, 56

12, 13
73-75
wine 144
Ad 79
Rembrandt,
Harmensz van
Rijn 74, 79,
staining properties 16, 32
fuchsin 58
resin
standards 16-17
fugitive 56, 58
retarding
synthetic iron oxides 14
Genuine Rose Madder 15
Richter, Gerhard
synthetic organic 14
Greeks 56, 57
Riddihough, Tim 38, 96
transparency 16
history
turquoise 54
India
55
white 86-87
12
Tulips
(Marina Yedigaroff) 38, 126-27
Renaissance
violet
yellow 62-66
107
(Tim Riddihough) 106
Fauves 59
12
zinc 14
pencils
aquarelle 35
Pissarro, Camille 23
charcoal 35
Plate of Fruit (Anon) 44-45
colored 30, 35, 152
Pliny 57,
graphite 152
pointillism
62
23
leaning back
(Tim Riddihough) 109
cinnabar 57
35
color mixing 35
ink
15,
orange 60-61
color choice
Siena 75
59
opacity 16
charcoal pencils 35
pen and
12-13,56
75
73
Pozzuoli 75
Alizarin
warm
75
72,
hematite 73
red
Greeks 12
Umber
rabbit-skin size 34
granulation 16
to cool colors 41
Crimson 75
Chinese 12
prismatic layout 134
40
59
Vermilion 57, 59
priming 40
traditional
20
bleeding 16
40
oils
lead 12, 56,62
aniline 58, 81
pigment
limited 104
'I
Rose Madder 57, 58

Rubia
"iimbS
printing
dark colors 41
red lake 13
prism 24
layout 96, 102

light to
12
primary colors 25-27
71,84
Picasso, Pablo 53,
kidney-shaped 40
Pearce,
Red 59
Pyrrole
(George Underwood) 113
Persian Gulf 72
40
Permanent Madder 57
Permanent Rose 14
Sigmar 23
polychrome sculpture 43
poppy
149
Perry, Chris
acrylics
pastel 34, 35
watercolor 35, 153
56-57
56
oil
12, 34, 43, 50,
colors 31
mediums 37
Riley, Bridget
Romans
85
85
12, 43, 50, 57, 67,
lightfastness 59
Romney, George 24
madder 58, 74, 75

Madder Lake 58
magenta 14,21,58
Mars Red 74
Mesopotamia 56
Middle Ages 56
Naphthol Red 59
Permanent Carmine 15
rose hip 145
Rothko,
148
56,75,84
74
Mark 59
Rowlett, George 38, 96, 114-17
Royal Talens 156, 180

Royal Watercolor Society 35
Rubens, Peter Paul 74

rue 67
192 Index
BOSTON PUBLIC LIBRARY
(lilWlllllUll
3,9889:03952 63611
Bathers and CraD boat,
-aff lower oil 31.
99 /-98
JSf^Wte^ property
37
saliva 144
Sce'lM Boston Pu Wic
sand 37
sandstone 145
material
Sardinia 75
100
of theJo Lowrie
Library^,tazmg
Dr. Franz
180
Science of Art, The
(Winsor& Newton) 15
secondary colors 25-27
Self-portrait aged 34 (Rembrandt) 79
Self-portrait with Yellow Waistcoat
1994 (Desmond Haughton), 111

Sennelier 156, 180
128-31
Yedigaroff Marina 124-27
yellow
32
Antimony Yellow 64
Arsenic Yellow 62
Aureolin 64
beneffldt|s;#ry
Scheele, Carl Wilhelm 68
Schoenfeld,
boxes 32
eld
mediums 37
Schmincke 156. 180

Schmincke, Herman 180
boxes 32
mixed media 98-99
azo dyes 64
tea 144
mood 98
terra-cotta 145
opacity 32, 100
Terre Verte 13, 67. 112
palettes 30, 40, 100
Azo Yellow Medium 14

Cadmium Yellow 13, 64
Chinese Yellow 62
tertiary colors
27
texture 36. 37,
paper 99, 100
Chrome Lemon 64
Chrome Yellow 13,
pencils 35, 153
Cobalt Yellow 13
permanence 32
Ray Balkwill 38, 98-101
Color index 158-60
pans 32
textiles 30. 35. 51. 70. 118.
23.
30.
148-49
50,
53
Thenard, Louis Jacques 13, 52
TheophrastusThe History of Stones 57
Sennelier, Gustave 180
tints 27,
tonalism 102-03
sticks
31,32
Crocus sativus 62
Egyptians 62
staining 32
four-color printing 21
35
SeMsK/e|HelenDougall)148
top tone 27
texture 100
Seurat, Georges-Pierre 23
trade 13, 51
transparency 32, 100
Gamboge 63
Gamboge Genuine 65
Seydelmann, Professor Jacob C 74
transparency
wet-in-wet 100
gold 63
shades 27
Tri-Art 156,
(Ray Balkwill) 99
Trinidad 75
Shoreline, 2001
Siberian Red Lead 69
75
73
Greeks 62
wax
Hansa14, 64
crayons 35
"wet-in-wet" 37, 121
Helios 63
whelks 12
history
turpentine 30, 31, 36
artists'
turquoise 54
baryta white 87
Two Dragons (Sue
paints 33, 35
120-21
silver leaf
Simmonds, Jackie 38
Sinope 73
underpainting
Sinopia 73, 112
84,104,110,112-13,132
six-color division
- see
13. 86,
Color index 179
Mars Yellow
Cremnitz White 12, 86
massicot 62
Dutch White 86
Mineral Yellow 62
Flake
flesh colors
Underwood (George) 113
glazing 86
orpiment 62, 63, 64
USA 66
ground work 86
Oxford Ochre 66
history 86
Paris
South Africa 66
van Dyck,
Southern Sun (Peter Graham) 28
van Gogh, Vincent 65, 71,91, 180
Spain 72
vanilla
special-effect colors 88, 178
White
Iridescent
soot 145
Sir
Anthony
74,
75
12,
86
White 86
"pinks" 64
prehistoric primary 62
Permanent White 87
pigments 86
spectrum 24
verdaccio 112
reserved white 87
spontaneity 98, 100
Vermilion 12. 57, 112
resists
stained glass 84
Verona 67
Titanium White 14,31,
staining properties 16,32
Vessels (Helen Banzhat) 148
44-45, 128-30
with Bottles
(Daphne Jo Lowrie) 130

Still Life with Orange Flower
Vesuvius,
Mount 64
violet 55.
165-66
Virgin
Mary
Vladimli
51, 83,
Madonna,
Friedrich 13,
/jr.
-ictive color
59
mixing 25, 26
89
c
Inn Storm over Thames,

Rotherhithe
Pier.
1996
<
sunligl
Sunlit
white
Underpainting White 86
yellowing 36, 37
Young Bison (Abbe Breuil) 12

Young Scientist Anatomy Toy
light
White
12,
86
31, 86
(Joustra/Humbrol Ltd) 43
24
Winsor & Newton

13,15,58,69,70,86,156,180
washes 152
waste-paper collages 143
Winsor, William 64, 180
watercolor
artists' colors
Walmer Beach Deal Pier,
14,
156-79
atmosphere 98
64
Yellow Ochre 62, 65. 66
Wilson, Douglas 38
37
'(38.115
(Geoi
sunflower
Winsor Yellow
watercolor 32
white lead
125 (Anon) 89
w
oil
turmeric 62
underpainting 86
Zinc
walnut
Stone Age 62
symbolism 62
van Gogh 65
87
67,86

Straight paint [T\m Riddihough) 109
realgar 63
saffron 62
oils 31
vegetable dyes 12
mediums 37
Yellow 64
lead white 13
Mixing White 86
144
146
pigments 62-65
mica 86
Vauquelin, Nicolas 64, 69
Still Life
13, 64,
ochre 72
undertone 27
"smike"(CMYK)21
still life
62, 74
Naples Yellow
Egyptians 86
51,52
special-effects
62-63
87
26
Slade School of Fine Art 102

12,
manuscript illumination
Chinese White
123
skin tones
87
China 86
123
silver 88,
14
blanc fixe
Tynan Purple 12
14, 15,
63,65
King's Yellow 62
Leipzig Yellow 64
Lemon Yellow 14, 65
bismuth white 87
26
Fitzgerald)
62-63
63
Indian Yellow
India
white
twelve-color division
Sienna 72, 75
Smalt
Turkey 54
51,180
silk
149
wavelength 24
Turner, Joseph Mallord William
Siblings. 2001
siderite
180
T-shirt designs
(Judith Chestnutt) 38, 141
Sicily
Golden Yellow 65
16,31,32,36,37,124-27
Sheltered Moorings.
65
Earth Yellow 62
spontaneity 98, 100
Sepia 74
64,
woad 50
Wnvnn Basket \knon) 42
zinc oxide 14
Zuni Indians 54
*, fc
I
trained as a graphic
artist
and
is
graduate of the Royal College of
Art in London. In addition to his professional

experience in design and graphic art in
New
York, Chicago and London, Jennings has had a

lifelong interest in painting
and has taught
at several art schools.
many
author of
Art Class, and
and the visual
art
and design
Artist's
titles,
ALSO AVAILABLE:
mm
BSE
Bf
Julie
Vermeer
COVER PHOTOGRAPH Ben Jennings/Studio D
is
the
including
Manual, both published
by Chronicle Books.
COVER DESIGN
He
arts
The definitive and creative guide
to the
fascinating world of color.
is
artist, yet
'
>*
tools for any visual
few reference books thoroughly explain
the techniques for effectively using color. Artist's
Color
A*.
r
one of the primary
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,
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is
work of
this
art in itself.
*te
ISBN 0-8118-4U3-X
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p1

the artist's bible

creative people in general, Artist's Color

an important resource for

artists, designers, art

students and educators

the crucial aspects of

color in four absorbing sections:

forward science and a concise buyer's

and working with the various color groups.

ideas for color usage, as well as interviews

THE COMPLETE GUIDE TO WORKING WITH COLOR

the United States

2003 by Chronicle Books LLC

Simon Jennings/Ben Jennings

a retrieval system, or transmitted

any form or by any means, electronic,

permission of the copyright holders

Pages 8-9 constitute a continuation

the copyright page.

Publication Data available.

ISBN: 0-81 18-4143-X

Cover design by Julie Vermeer.

www. chroniclebooks. com

Research and Text,

Winsor & Newton

Impington Village College

Leisure Painter Magazines

page make-up assistant

Optical color mixing

Colors of the spectrum

Fast color for flesh

Renaissance skin tones

Brown and Red

Black and darks

Metallic and special-

Colors from the mail

Colors for free

Dry color and

and further reading

of original manuscript, research notes

and color experimentation

"Color possesses me.

Paul Klee (1879-1940)

visual subject that perhaps

Jennings, hill top studio (mmiiij

particularly grateful to the

possible h\ the goodwill and

following individuals and

cooperation of many people

and represents the work of

Elliott Bates, page 102

for their support in

pation in this project, and

materials and images for use in

project and ratifying the content.

the technical and scientific content

Arjan Knegt, Royal Talens

of the physics of color

Ben Woolfitt, Tri-Art

Ute Hallerbach, Lukas

The Royal United Hospital, Bath,

UK, for reading and corroborating