| Painting on Location with Color - Recent Posts |
Welcome, Guest. Please Login.
07/30/10 at 05:35:11 |
Home 
Help 
Search 
Members 
Member Map 
Login
|
||
|
Home Help Search Members Member Map Login
|
| 1 | Acrylic Paintings / Acrylic Artists, Acrylic Paintings / Re: Paintfox Laurie 2009-10 | 07/25/10 at 19:26:38 |
| Started by Admin | Last post by Admin | ||
| You can find a parking place on the street in Paris today. Everybody has left town, as we are about to follow. It’s an interesting time – the few people who are left seem to be here because they want to be, enjoying the quiet and extra space. Honestly, if Blair could work during August (everyone else is on vacation), we might stay. It is my best painting time, my outdoor studio (the Luxembourg Gardens) heated and illuminated for the maximum number of hours. We’re off to the US to see Blair’s mom, and my parents, sisters, niece and nephews. It’s a crazy time to go, to Hemlock Lodge, in the high season. Our ticket is the most expensive we’ve ever bought; I hope Harika will be ok as she passes across the steamy tarmac in her air kennel in Washington. Here in Paris, I’ve been making new friends. I have a painting companion who inspires me to paint well and often. We attended an American expat soiree last Sunday night which was marvelous – smorgasbord-style food, with a Brazilian guitarist (playing Jobim), and lots of English conversation. I visited the Edvard Munch show with a girlfriend: someone who enjoys art history! I made our electrician eggplant parmesan and tomato pie in my new oven. I never look at this August sojourn from Paris as vacation: I bring paintings to America, in a trunk (just purchased, 42 euros) to sell while I am there. Contact me if you want to see them somewhere between Charlottesville, Virginia and Winsted, Connecticut. I will organize my storage locker. I will make the upstairs at Hemlock Lodge my studio and paint in new ways. I will cook and swim. And I am already looking forward to our return. Laurie (painting and text) and Blair PESSEMIER |
||
 Reply  Quote  Notify of replies
|
||
| 2 | How do I Register? / How do I Register? / Re: Glad to be here | 07/19/10 at 09:59:30 |
| Started by GeneMcC | Last post by Admin | ||
| Thanks for posting Gene. It tells me everything in the forum is working fine. I am looking forward to your posts. Don | ||
|
Reply Quote Notify of replies
|
||
| 3 | Oil, Alkyd, Resin and Wax Painting / Artists, Oil, Alkyd, Resin and Oil/Wax Paintings / First attempt at oil painting. | 07/19/10 at 06:02:47 |
| Started by GeneMcC | Last post by GeneMcC | ||
| This small 4x6 inch painting was done on masonite and depicts a local church. I know I am too tight with the application of paint. Something I have struggled with in my watercolors. Constructive criticism is welcomed. | ||
|
Reply Quote Notify of replies
|
||
| 4 | Pastel Painting / Artists, Pastel Paintings / Re: Life drawing with pastels. | 03/02/10 at 20:34:44 |
| Started by Admin | Last post by Admin | ||
| I thought I would add a nude pastel or two because I really enjoyed our sessions. This one took two hours.  This one took 10 minutes.  |
||
|
Reply Quote Notify of replies
|
||
| 5 | Painting with Primary Colors / Yellow, Magenta and Cyan Paintings. / Re: Watercolor Chilis using tranparent pigments- P | 03/02/10 at 19:30:47 |
| Started by Xty | Last post by Admin | ||
| Hi Xty, Thanks for posting. That's a real good red and all the shadows are well done, I look forward to seeing more of your location work as you pick up speed. That's a nice layout also. |
||
|
Reply Quote Notify of replies
|
||
| 6 | Introduction and Questions I'm Asked / Introduction and Art Questions / Re: Questions I'm Asked and Replies | 01/28/10 at 18:07:18 |
| Started by Admin | Last post by Admin | ||
| -----Original Message----- From: Don Jusko [mailto:donjusko@realcolorwheel.com] Sent: Wednesday, January 27, 2010 11:07 PM To: Moshe K Cc: Don Jusko; Xty Flor Subject: Re: Moshe, Don2 On Jan 27, 2010, at 2:58 AM, Moshe Kassirer wrote: Thanks for the answer and tips Don! and I have more if you don't mind. Actually, I don't paint apples and I don't really going with the neutral colors in my paintings. www.kassirer.co.il But sometimes I like to go with the spirit of neutrals colors. So, if you notice, most of my paintings are landscape paintings of Olive tree. How do you decide which "light" color to add to your object? It can be Cadmium Yellow light, or medium or deep or maybe a lemon yellow or even an Orange (blue also can be a "light" color isn't it?) I don't use a formula to decide which colors would be used to lighten and darken an object, I look at the object and decide. From painting on location for 30 years and trying to make accurate colors I did find natural relationships. Opposite colors darken, analogous colors lighten. Glare colors are off of shiny objects, for those highlights add white or the color of the light. The difference between Light colors meaning the colors of the light and Lighter colors on an object which reflect the Light off the color of the object. The more direct the angle of light is on an object the brighter the local color becomes. A yellow object will become darker with either of the analogous colors, either to the yellow-green side or the yellow-red side, depending on the basic local color being cool or warm. and what about the background objects (the far in a landscape paint) The background colors are more grayish, do you add them the same yellow as to the foreground objects? The more distant an object the more air is between you and the object. Air has a color, moisture. Moisture is light blue. Light blue is the color that is added to show distance. Here is a chart that shows how colors lighten and darken. http://www.realcolorwheel.com/aerialperspectivepalette.htm http://www.realcolorwheel.com/colorwheel.htm Jacaranda paintings; http://www.realcolorwheel.com/jacarandalinks.htm ******************* On Jan 28, 2010, at 2:05 AM, Moshe K wrote: Hi Don Thank you again for the answer. How to make the shade, I already know and understand. as you write: Opposite colors darken. That's "opposite transparent colors darken." I highly recommend transparent yellow pigment. http://www.realcolorwheel.com/RCWgossary.htm http://www.realcolorwheel.com/rcwplotter.htm But I'm not sure I understand the light principle. as I understand, I should add Yellow (as the sun light color) to the local color to get the lighted area. From green to red on the colorwheel add yellow, this will lighten the local color as if adding more sunlight. White will tint the hue lighter But you said that analogous color lighten. analogous colors are the 1 to 70 degree from the color. So if I want to lighten a magenta for example (13.0) can I do it with its analogous: purple (16.0) or Ultramarine (19.0)? So there is no Yellow involved here... Right, only white lightens magenta. You lighten a blue local hue with cyan to keep the color from losing intensity as white would do. You darken a cyan local hue with blue to match the shadow colors, than add the opposite brown color to go to a neutral dark black. Thanks again, Moshe. |
||
|
Reply Quote Notify of replies
|
||
| 7 | Color Theory / Real Color Wheel / Damar doesn't yellow | 12/26/09 at 01:55:23 |
| Started by Admin | Last post by Admin | ||
| This is a transcription by me of what happened today, 12-25-9. The attacking forum is AMIED, where this is posted. I got an alert that "real color wheel" was posted there and went. This is what happened. Chad wrote: ottobooboo@yahoo.com ottobooboo@yahoo.com is offline Member Best All Around Medium Happy Holidays to AMIEN, Is there a medium that is easy to control and modify and will make conservators happy? How would one manipulate it through the underpainting, painting and glazing stages? I understand the limits of my question, but I became a little dizzy after plowing through the medium information provided at the Real Color Wheel website. Best Regards, Chad Next post superstition superstition is offline Member One thing to note is that Jusko's site has some odd claims, like that Bocour's Cobalt Violet, which "one can't get anymore" is superior to all the others. It's a Rhodamine dye imitation that goes by the name Cobalt Violet Hue. While it's true that one can't get it anymore and that it has superior saturation and tinting as compared to real cobalt violet light, it's a fugitive paint. Unlike the real cobalt violet light (which requires grinding in as little and as pale an oil as possible to avoid the loss of its blue tint according to some sources), color shift isn't the big issue, complete loss of color is. Although, that does result in a shift, toward a transparent yellow (the left-over oil). Another similar claim is that lead chromate lemon/primrose is a great bright greenish-yellow pigment. It is, until it quickly browns -- probably because of a reaction to sulfur pollution in air, but also possibly because the compound isn't very stable chemically and decomposes due to other factors. The ASTM rated the lead chromates with a light-fastness of 1, but that's clearly not useful when it comes to long-term health of an oil painting. The only lead chromates that may be reliable enough for artistic use are the coated versions, and as far as I know they have not been in use long enough to know whether they'll also turn brown rapidly. The only company that I know of that offered the coated chromates is Chroma and those have been discontinued. The company did not offer a lemon/primrose variety (this shade is achieved due to copreciation with considerably more lead sulphate). And, in any case, a pigment like bismuth vanadate lemon (PY 184) is cleaner (more saturated and lighter valued) than a lead chromate lemon/primrose and comparatively non-toxic. I joined Amien and gave this response.  There was a time when the color magenta was not permanent and alizarin crimson was the best we had. At that time O.H. had the only copy of the original Indian yellow, it was special order and in oil only. We did have cyan pathalocyanine. This was around 1963 and Bocour had a problematic magenta color that was better color than alizarin. That was the best primary triad we had. The problem with the cobalt phosphate was that it bleed through layers of oil paint and had to be isolated. I still have the original tube of color. This color was discontinued when Bocour New York was sold. Your statement above is also incorrect, "It's a Rhodamine dye imitation that goes by the name Cobalt Violet Hue." Rhodamine dye came after transparent cobalt phosphate. Cobalt Violet Hue is an opaque. Than we got PR:122 and Liquitex made a color called Acra Violet (1975?). So now we had an acrylic magenta and cyan but no acrylic transparent yellow. I made my own from a dry pigment in 1995 from a pre 1900 mural restoring company called Zecchi in Florence. Today the best transparent Indian yellow is PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow Golden and PY153 dioxine nickel complex + PY150 Nickel Azo Complex for the brown side Indian yellow. Today there is a new kid on the block, Opera. It is more permanent than Alizarin but not as permanent as Sennelier's dry pigment magenta, Quinacridone Red, #679, PR:122. Opera makes the brightest reds and purest blues but won't make the dark magenta, so you still need both colors. Today we have a complete set of transparent primary colors in dry pigments plus oil and acrylic paints. The best primaries the world has ever known. And while I'm at this.. I have and use the pigment referred to above, "lead chromate lemon/primrose is a great bright greenish-yellow pigment. It is, until it quickly browns". The information you got (artiscreation.com ?) is wrong. It's not called "primrose", it's by Bellini, it is a lead chromate and since we don't use sulfur based color anymore it does not turn brown. I have 30 years of paintings that will prove that. Today lead chromate is not available, vanadate lemon is a replacement but not as cool, opaque or as light. I suggest that those that are not artist/painters give bad information. Ask to see their work and website before absorbing what they say. djusko@realcolorwheel.com * Hi Don, I looked at the reference page that you posted. You state that the most painterly medium is 75% damar with beeswax and that it doesnt yellow. How could this be? That goes against everything that I read about damar. I enjoy the smell and feel of damar and I use a lot of it in my encaustic work, but I need to know why your claims of non-yellowing run contrary to everything else that I read on AMIEN. Sincerely, Chad Hi Chad, Stop going by just what you have read and test things yourself. I made a test of all the oils I could buy, all the damars available, all the balsams the turps and the mineral sprits. Five years later I posted my results, 10 years later I posted. All oils yellow, damar doesn't. The best damar crystals are from a Greek island called Chios, make your own. Turpentine is the best thinner for oil paints, I don't agree with Mayer's Handbook saying that petroleum distilled paint thinner works for fine artwork, unless you are talking about alkyds. Mineral sprits work well with them. 1994 tests show Stand Oil and Alkyd were the worst yellow offenders. Cobalt driers were the very worst. http://www.realcolorwheel.com/oilyellow.htm So where does that leave you? Expand your pigment with glass beads, that will reduce the percentage of oil in your paint and give depth to your painting. These glass additives were only discovered in ancient paint (Titian) a few years ago by the Smithsonian. We were weaned off lead paints because they were poisonous, nonsense, today's chemical pigments are much more poisonous. Check out dioxine purple if you want to see poisonous. We were weaned of lead paint to make room for petroleum pigments. Church-Ostwald did the dirty work in 1916. They also put the spear in transparent colors. All the good painters were dead and the wars kept killing. The importance of transparent colors was not passed on. Today bigpetrol is trying to wean us off of turpentine and their lead has to destroy damar because it only works with turpentine. Well I have other news for you, mineral spirits leave behind a mold and it does not dry faster than turp. and it's more poisonous. Do your own tests and research. http://www.realcolorwheel.com/gamsol.htm The only problem with damar and wax is the final dried paint can be scratched but it won't crack or yellow. Since you do encaustic work, have you tried the Egyptian paint, cara cola? It's a water based wax paint made by adding ammonia. It dries insoluble to water. This is the medium of the Egyptian Fayian grave paintings. http://www.realcolorwheel.com/caracola.htm I think the best all around medium is fresco, but it's fragile. It paints better, faster and is the most permanent. http://www.realcolorwheel.com/fresco.htm THE NEXT THING I KNOW, BOTH POSTS ARE REMOVED BY THE ADMIN WITH THIS EMAIL. REMOVED BY AMIEM Mark Gottsegen Mr. Jusko: Self-promoting advertising is prohibited on AMIEN. We are going to delete your post, but allow you to remain registered. If you post anything like this again, we will ban you. Sorry! Yours, Mark Gottsegen AMIEN Administrator Mark D. Gottsegen Materials Research Director AMIEN Administrator Amien Amien is offline Administrator ottobooboo, Happy holidays to you, too. At AMIEN, we can't say what is "best," nor can we allow Mr. Jusko to make his claims here. His posts have been deleted and he has been warned not to post self-promoting information in the manner he did so. He can't legitimately claim to be "the best," either. As for conservators, why do you want to make them happy? You are the artist, and you should make yourself happy first. We can say with some confidence that a lot of paintings conservators would be very happy if artists didn't use any mediums with their oil paints -- especially those containing the natural resins like damar, which yellow badly in time. If you insist on using a medium, add a little thinned linseed stand oil to your oil paints. ** ottobooboo, It can't be; it's a documented fact that damar resin yellows. These claims are dubious, at best. __________________ The AMIEN Staff Intermuseum Conservation Association superstition, Jusko's claims at his site are more than "odd." Some of them are even more than dubious. We have deleted his posts and warned him that if he continues in this vein at AMIEN he will be permanently banned from the site. __________________ The AMIEN Staff Intermuseum Conservation Association ****************************************** Don, There are a lot impressionable artists reading these misleading claims of truth by Mark Gottsegen. |
||
|
Reply Quote Notify of replies
|
||
| 8 | Acrylic Paintings / Acrylic Artists, Acrylic Paintings / Re: Paintfox10of10 | 12/21/09 at 00:08:32 |
| Started by Admin | Last post by Admin | ||
| High Point Market was a success for a few key showrooms with design and heart. Yes, heart. People don’t buy furniture from companies: people buy from other people. It is the belly-to-belly, heart-to-heart connection which seals a sale, and makes the customer want to come back to that showroom again. It’s one thing to buy a book on Amazon.com, but it’s another to see the lavender in the background of a painting. A fellow salesman described a painting to me: “I can see how the brush laid the paint on the canvas and each stroke takes my breath away.” Business, in general, seemed to be slightly brisker than in April. A good friend, at an uptown showroom, sold two 40-foot containers of furniture the first day. People who came to market came to buy, and all but one of the invitees we saw bought a painting from us. Traffic was off, is all. This market we were once again camped out at the far end of the complex. Last spring, the showroom owner announced we would relocate to a more mainstream location; it wasn’t until August we learned they opted to stay put. We couldn’t back out –like telling someone you’ll come to dinner, you can’t change your mind when you find out the menu is hot dogs. As Vinny says, there are three keys to success: location location location. We should have quit the hot dogs, manners be d**ned. Our location was so remote, some “go-vans”, which shuttle folks around market, didn’t know where the Atrium was. One day, in a lucky catch of a van, I hopped aboard to travel north to friends in the “designer” district of the furniture market. “What do you think is happening there?” the driver asked me, pointing to the sidewalk, mid block ahead. “I think that woman has fallen,” I replied and suggested we help her out. Sure enough, not only had she fallen, but she was nine months pregnant, and in labor. “Would you mind?” the driver asked, “if we bring her to hospital?”. I encouraged the move, and helped the woman get into the van. The driver mounted the “out of service” placard, and we sped in direction of the hospital. I never found out if it was a boy or a girl. Market visitors like us stay in the home of High Point area residents, as there are a limited number of hotel rooms in the city. This time, we stayed with a friend, a school teacher. She asked me if I would consider teaching a fourth grade art class. I have never thought of myself as a teacher, but business was slow, and I needed excitement and inspiration. Sure enough, at 8:05 on Monday morning, two dozen smiling fourth-grade faces filed into the room. The class had been studying the many applications of art in life: interior design, graphic design, architecture, teaching, ART. “What is a professional artist?” the teacher asked. Hands raised: one who paints all the time; an artist who sells their paintings! The super smart class asked about what my paintings sold for. “Did you ever sell one for more than a thousand? Questions continued, as I set up my easel. “What shall I paint?” I asked, looking out the window. ME was the universal reply. So a painted a number of students, at their tables, in the classroom. It was a modest 12 x 24 inch canvas. I had about thirty minutes to complete the work. I rushed: no eyes or noses, one boy’s shirt, another boys hair; a girl with a hand on her hip. I was compelled to finish the painting and have it look good. “I’ll give you $24.00 for it!” someone exclaimed. The team from our old (beloved) defunct showroom (where we sold at least 3 times what we are selling currently), still gets together. “He just wouldn’t listen to what a woman had to say,” one bemoans. I walk the streets of a depressed market, passing banners honoring the scions of markets past: photos of big men in expensive shoes , text spouting their take on design. Like so many US institutions, change has come, like-it-or-not, a little too late. I met another artist at the “unique boutique”, low priced booths in the bowels of Market Square. Butterfly wings, silk blouses, jewelry and distressed furniture were among the fare offered. “Has it been a success?” I ask her. “How do you rate success?” she replies. She didn’t sell much either. Laurie (text) and Blair (painting) PESSEMIER |
||
|
Reply Quote Notify of replies
|
||
| 9 | Digital Painting / Digital_Painting / Re: RCW Color Books | 12/01/09 at 20:33:39 |
| Started by Admin | Last post by Admin | ||
| The only way to put an image in an previously existing post is to Modify and put in the image's url complete. Then you can put it anywhere, the forum accepts html. | ||
|
Reply Quote Notify of replies
|
||
| 10 | Digital Painting / Digital_Painting / Digital Paintings | 11/16/09 at 19:22:59 |
| Started by Admin | Last post by Admin | ||
A new Topic Board is starting. Here is an aerial perspective palette.  |
||
|
Reply Quote Notify of replies
|
||