The experimentation with historic pigments continues to bring unexpected periods of learning and discovery. It is surprising, again and again, how few colors are necessary. During the painting of #8 and #9, the green pigment on my palette was narrowed down to one, vagone because of its good drying qualities. If you will remember the previous color … [Read more...] about One More Elimination
Pigments: Historical and Modern
There is a distinct difference between modern day pigments and the natural pigments used prior to the middle of the 1700s. In the past, artists had apprentices who ground the colors for them throughout the oil painting sessions. Because they were made by hand, the pigments retained a natural grittiness and consistency with larger particle size. Today's oil paint manufacturers make synthetic colors in huge vats where the end result is exceptional smoothness. Prior to the middle of the 1700, natural pigments came from dirt, minerals, and even plants.
Tar Buckets
"Its use is advised against in every technique, including fresco." These words were spoken by Max Doerner in his book, The Materials of the Artist and their use in Painting, copyright 1934. This book also has "Notes on the techniques of the Old Masters", and is widely used by dinosaurs like me who have insatiable appetites for this type of … [Read more...] about Tar Buckets
Sienna Shadows
Here is a perfect example of a good use of burnt sienna. The bright (illuminated) side of the rug in painting #4 is painted using vermilion mixed with combinations of naples yellow, lead-tin yellow, and white. Then as the light fades away (to the right side) I have used variations of madder and burnt sienna to give the feeling of depth. … [Read more...] about Sienna Shadows
And More!
And more uses for those siennas. Raw sienna used here, mixed with white, lead-tin yellow, and black makes great variations of tones for this application. Painting #9 detail. … [Read more...] about And More!
Geology Burnt Sienna, 101
Burnt sienna, also known as Caledonian brown and terra di Siena, comes in a variety of shades, depending on its source. It gets its rich dark brown coffee color from a heating process. In order to get burnt sienna, you must first heat raw sienna in a process called calcination which removes the water from the clay and turns it from a yellowish to … [Read more...] about Geology Burnt Sienna, 101
Geology Raw Sienna, 101
Limonite clay is a main ingredient in the pigment family called sienna. Raw sienna is described as a dull brownish yellow, which in spite of its dullness, is very versatile and widely used by artists. I have used it for the shady side of yellow objects, in backgrounds, and even fleshtones. It also is a perfect color, used alone, as a shadow tone … [Read more...] about Geology Raw Sienna, 101