tag:blogger.com,1999:blog-5682081471599286551.post2227932635814059851..comments2024-03-27T11:43:33.889-04:00Comments on Stapleton Kearns: Observed colorStapleton Kearnshttp://www.blogger.com/profile/00226409516935208164noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-5682081471599286551.post-52335660220512393382009-04-08T19:23:00.000-04:002009-04-08T19:23:00.000-04:00Yeah I think it's a pthalo green as well. Real Eme...Yeah I think it's a pthalo green as well. Real Emerald as you said was poisonous. <BR/><BR/>I find pthalo green way to intense and I have to mess with it a lot to get it to work. I do mix it with a lot of white and it does work well for the green haze you see at dusk close to the horizon.jeffhttps://www.blogger.com/profile/03014751431677271423noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-9993729067404712302009-04-08T19:08:00.000-04:002009-04-08T19:08:00.000-04:00Jeff: In the 19th century there was a color called...Jeff:<BR/><BR/> In the 19th century there was a color called emerald green it was copper aceto-arsenite. It was fabulously poisonous and was also used as an insecticide called Paris green. Your emerald green is probably made from emeralds or maybe pthalo. I am guessing the latter. I have been fooling with pthalo green to get away from the viridian problem. I think I can make it work. I don.t just hate it......StapeStapleton Kearnshttps://www.blogger.com/profile/00226409516935208164noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-14626364556470802262009-04-08T17:05:00.000-04:002009-04-08T17:05:00.000-04:00I never use black for a shadow by itself.I sometim...I never use black for a shadow by itself.<BR/><BR/>I sometimes mix a cobalt blue or ultramarine into the the black and add a red like a crimson which alters the black enough to use.<BR/><BR/>I also like mixing Burnt Senna and Ultramarine Blue for a shadow value when sketching things out.<BR/><BR/>I have a tube of Cobalt Violet which is very nice. <BR/><BR/>Your right about Viridian. I have tube of Vasari which is very expensive but it's tinting strength is the best. Compared to Gamblin it's almost a different color.<BR/><BR/>I also recently discovered this company called Blue Ridge paints who make very good paint for a decent price. I use their Cobalt Violet. I also have a color that they make called Emerald Green which is very intense. They also have a decent Viridian.<BR/><BR/>http://www.blueridgeoilpaint.comjeffhttps://www.blogger.com/profile/03014751431677271423noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-6898450228987830472009-04-08T16:32:00.000-04:002009-04-08T16:32:00.000-04:00Mike:I think any formula method of forming shadow ...Mike:<BR/>I think any formula method of forming shadow color using a black is a problem. The short answer is that is inferior to mixing in the compliment. However that is inferior to observing the actual event in nature. Finally that is inferior to choosing a shadow color that looks cool.That last point is where I am going to go with this whole series of posts.Stapleton Kearnshttps://www.blogger.com/profile/00226409516935208164noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-59346727177043189152009-04-08T16:24:00.000-04:002009-04-08T16:24:00.000-04:00Jeff:That seems like a pretty useful palette. Noth...Jeff:<BR/>That seems like a pretty useful palette. Nothing strange there and it covers all the bases real well. <BR/>I wonder how much longer any of us will have viridian as it seems to grow ever more costly and of lessening quality. Cerulean is getting costly too. I use cobalt violet,thats an expensive but wonderful color. I have and know the Faber Birren book and the Itten books also. I can't say that either of them lit me up.I intend to do a book report on the Payne book soon.There's a great book....StapeStapleton Kearnshttps://www.blogger.com/profile/00226409516935208164noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-11929082710371589632009-04-08T15:42:00.000-04:002009-04-08T15:42:00.000-04:00Gamblin has a short DVD that describes his color s...Gamblin has a short DVD that describes his color space 3 dimentionally and how he recommends moving through it to match color. He offers Chromatic Black (a red that complements a green) to darken the color mixture to change the value without tweaking the hue. Since I haven't ever painted so meticulously as to do this (add black to darken), what is different about chromatic black as opposed to say ivory black, lamp black, or another black? The several watercolor neutral tints that I have looked at the composition data also use red/green complements. I know some blacks interact with yellow to make green. The little I played with this, I got the most dramatic changes with a cadmium yellow and lamp black.Mike Thompsonhttps://www.blogger.com/profile/15082719206861489635noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-86500794486782466152009-04-08T14:24:00.000-04:002009-04-08T14:24:00.000-04:00I also have the Carslon book which is a great book...I also have the Carslon book which is a great book. I wish there were more color repoductions.<BR/><BR/>The other book I like is Edgar Payne's book on composition.<BR/><BR/>The New Munsell Student color book is an excellent book on how we perceive color and the best thing I like about Munsell is how he thinks about color in three dimensions; hue, value and chroma.<BR/><BR/>Principles of Color by Faber Birren is also good, a lot of historical information starting with Newton and working up to the 20 century.jeffhttps://www.blogger.com/profile/03014751431677271423noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-75441314186628238122009-04-08T14:18:00.000-04:002009-04-08T14:18:00.000-04:00Sorry about that.My palette:Yellows: Cad Yellow Lt...Sorry about that.<BR/>My palette:<BR/>Yellows: <BR/>Cad Yellow Lt, Yellow Ocher, Cad Orange.<BR/><BR/>Reds: <BR/>Cad Red lt I also use Vermilion, Indian Red or Terra Rosa, Permanent Crimson or Florentine Lake (Blue Ridge Paints) Burnt Senna a reddish earth color I find very useful. So sometimes I'll have a palette of ten colors.<BR/><BR/><BR/>Blues: <BR/>Cerulean Blue, Cobalt Blue and Ultramarine Blue.<BR/><BR/>Lead and or Titanium White and Mars Black or Ivory Black. <BR/><BR/>I also have 9 values of neutral grays tubed up that are based on the Munsell gray scales. I find these to be a great way to lower the chroma.<BR/><BR/>I will also add Cad Yellow, Cad Red medium, Viridian to the palette if I want to use a larger palette of 12. I like thinking in multiple of threes, seems to work.<BR/><BR/>I also use Burnt and Raw Umbra, Green Earths from time to time.<BR/><BR/>For still life painting I will sometimes mix a controlled palette based on the local colors of what is in the set up. I then mix strings based of the middle tones of each object.jeffhttps://www.blogger.com/profile/03014751431677271423noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-18877589743773991892009-04-08T11:41:00.000-04:002009-04-08T11:41:00.000-04:00Jeff: Would you comment again and tell me what tho...Jeff:<BR/> Would you comment again and tell me what those colors are? My palette is posted back in the archives if anyone is interested. I do sometimes use restricted palettes as I have said lately..Jeff has a blog it is..<BR/><BR/>http://jeffreyfreedner.blogspot.com/<BR/><BR/>he also has a nice list of other blogs on his sidebar......StapeStapleton Kearnshttps://www.blogger.com/profile/00226409516935208164noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-90438192637612320052009-04-08T11:21:00.000-04:002009-04-08T11:21:00.000-04:00Mike; I own a bunch of books on color,but I have n...Mike; <BR/><BR/>I own a bunch of books on color,but I have not read that one. I have leafed through it. Since you recommend it I guess I will buy it. I like the old Arthur Guptill text, Color in Sketching and Rendering.. That is now unfortunately out of print. But being a dinosaur I like that.The next few posts are going to go into some different ways of dealing with color that alter the whole game entirely. Also, many of my best clients are, I believe, space aliens ........StapeStapleton Kearnshttps://www.blogger.com/profile/00226409516935208164noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-8467060701836017572009-04-08T11:05:00.000-04:002009-04-08T11:05:00.000-04:00Good post. I use a palette with at least 9 colors ...Good post. I use a palette with at least 9 colors on it. 3 yellows, 3 reds, and 3 blues. I also have high and low chroma colors. <BR/><BR/>By the way I have read that Rembrandt was a good teacher, he's dead too, we all missed that chance...jeffhttps://www.blogger.com/profile/03014751431677271423noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-88639352360346847482009-04-08T10:35:00.000-04:002009-04-08T10:35:00.000-04:00Stape,Color perception is half hardware and half s...Stape,<BR/><BR/>Color perception is half hardware and half software with a weird mix of neural nets thrown in to confuse everything by doing some preprocessing. Color perception is affected by its neighboring color, by its neighboring values, and by the light that bathes a scene, and possibly the phases of the moon. On top of this, your brain works feverishly to color correct the scene so that you still perceive colors in harsh noonday sun and mellow setting sun sunlight. <BR/><BR/>There is a book - Blue and Yellow Don't Make Green - which has a pretty cool explanation of color mixing and endless color combination charts from a 12 pigment pallette. But from an engineering perspective, the color spectra of the 12 colors at the back of the book explain why limited palettes really are limited. <BR/><BR/>All pigments reflect a broad spectra of differing amounts of various colors, ABSORBING the rest, and our marvelous brains resolve that into a single color. (Guys like you could probably describe how much of each color is in a pigment because you have trained so long but you still nail it down to a single color in your mind.) Since pigments are subtractive, mixing pigments subtracts light from the mixture and mixtures end up darker, only reflecting light both pigments have in common. If you look at the spectra, you can also see that some combinations absorb the color you are trying to hit or add color(s) you don't want in the mixture and that is why more starting pigments give more ending options but not every option.<BR/><BR/>Some manufacturers will tout a certain pigment by saying that it cannot be duplicated by a mixture because it reflects parts of the spectrum other mixtures absorb or leaves out color(s) other mixtures contain.<BR/><BR/>There are a lot more characteristics to pigments and mediums that make them endlessly fascinating and these newfangled interference and dual color pigments open a whole new set of characteristics that old pigments don't have.<BR/><BR/>All this makes me wonder, if we ever encounter space aliens, whether or not they will perceive our great art as art or junk since so much of it involves tickling the uniquely human perceptions.<BR/><BR/>One last observation. Photographing something I have just painted is often disturbing because it looks so different than the original, colorwise. This works the other way, too. I will sometimes paint from a photograph and most of the time now I only refer to it for details - departing pretty far from the original once the picture is laid in. Later, when I go back through my photograph pile, I am often amazed at how dull the photo is compared to the painting after the painting process is forgotten and it is the painting I see every day hanging on the wall.Mike Thompsonhttps://www.blogger.com/profile/15082719206861489635noreply@blogger.com