Real Color Wheel EbookIT'S ALL ABOUT COLOR By Maui artist Don Jusko All (New Windows) go to realcolorwheel.com Hexadecimal Code Colors. (new window) Chap28 Real Color Wheel (new window) Site Tree Index (new window) Maui On Location Galleries, with painting tips (new window) Computer Color-in pages (new window) Chap15 My last worked on page with back links. (new window) Find the term Paint Wars find new media and pigments from the B.C. era to the present time. Links to paintings, separated by media. (new window) Getting started making the supports to paint on. (new window) Email me Recent Articles and Press Releases (new window) INDEX PREFACE Chapter 1 1 MILLION B.C. to TODAY, MEDIA & PAINTING Chapter 2 ROCKS, MINERALS, ORES of COLOR MOHS Scale of Hardness, Sea Minerals & Rock, Lake Minerals, Ores of Color Chapter 3 B.C. MINING, B.C. PIGMENT PALETTE Ores Color Reactions to Each Other, Crystal Terms, Crystal Ore & Mineral Chemistry, Definitions, Color Wheel in Elements & Crystals, Crystals, Light & Color Terms, Crystal Chromate (Color) Elements, Chapter 4 MINERALS & ELEMENTS IN CRYSTAL COMPOUND CHART Interactive Color Chart, Links to the Crystals in Chapter 5 Chapter 4a REAL COLOR WHEEL IN ELEMENTS AND CRYSTAL Crystal Primary Colors, Crystal Ores, Mineral Chemistry, Definitions, Terms & Glossary Chapter 5 TWELVE STANDARD COLORS IN MINERAL COMPOUNDS Real Color Wheel in Crystal, Centering Color Elements, Elements, Quantity List Chapter 6 LIME BUON FRESCO Chapter 7 MEDIA: TURPENTINE OIL, ALCOHOL, AMMONIA, WAX, CARA COLLA, CASEIN Artists & Pigment History, 30,000 B.C. to 1200 A/D, A/D 79 Pompeii to A/D 1500, The Artists Tools of Technique, 1881, Methods of Making Paint, Varnish-and-Inks, 1886, The First & Last Public Standard of Pigment Colors for Artists, German. Chapter 8 MEDITERRANEAN CIVILIZATIONS FROM 8,000 B.C. Chapter 8a Persia, India China ART ADVANCES, 4000 B.C. to 1670 A/D SOUTHERN & EASTERN ASIA Chapter 8b ART ADVANCES, 4000 B.C. to 1670 A/D CHINA Chapter 8c ART ADVANCES, 660 B.C. to 1704 A/D JAPAN Chapter 9 PAINTING CHAPTER Cleanliness is #1, Painting Surfaces, Brushes - Sponges - Chalk - Wipes, Drawing, Horizon, Triangulation, 4 Point Perspective, Placing the Image, Line of Sight & Elevation, Drawing What You See, Using Lineal Triangulation, Perspective, Aerial Perspective on Concentric Rings, Terrestrial & Astral Vanishing Points, Reflections Seen By You, Light & Contrast are Effected by Edges, Sky, Earth & Sea Grids Chapter 10 THE LIGHT AND PIGMENT COLOR WHEELS ARE THE SAME COLORS How and Why the RCW Works, Primary Pigment 3 Real Color Wheel, 6-12-36 RCWs, Conversion of Light to Pigment Chapter 10a THERE ARE CONCENTRIC RINGS OF AERIAL PERSPECTIVE AROUND YOU Chapter 10b THE REAL COLOR WHEEL Chapter 10c CRYSTALS, LIGHT AND COLOR TERMS Crystal Chromate (Color) Elements, Color Producing: Gasses, Elements, Elements Quantity on Earth Chart, Chapter 11 RCW - LOCATE PIGMENT COLORS Chapter 11a WATER COLOR PIGMENTS Palettes, 3, 5, 6 & 12 Colors, Making PRIMARY Watercolors MAKE PASTELS, PENCIL COLORS Chapter 11b OIL PAINTING MEDIUMS & MEDIA TABLE Make Your Own Oil Media Chapter 11c ARE THEY TRYING TO CHANGE THE HISTORY OF ART? Chapter 11d 1ST TRANSPARENT ACRYLIC PALETTE, INDIAN YELLOW Chapter 11e ACRYLIC FINAL FINISH - ALKYD MEDIA Chapter 11f SUN LIGHT, Painting Chapter - NIGHT COLORS, Painting Chapter THE COLORS OF WATER Water Grid, Water Diamonds, Draw Waves, Water Color Pigments, Watercolor Palettes, 3, 5, 6 & 12 Colors Chapter 11g HOW TO USE THE REAL COLOR WHEEL Chapter 11h ARTIST'S TERMS GLOSSARY Color Notes About Some Pigments, Chapter 11i OIL PAINT PALETTE SETUP Chapter 11j COLOR IN ELEMENTS MATCH THE REAL COLOR WHEEL Chapter 11k OIL PALETTE COLORS Palette Layout to Paint Anything in Front of Me, Buying Order in Oil & Acrylic Paints, 21 Colors Indian Yellow Brown/Side Makes General Color Mixing Easier Chapter 11L CLICKABLE PIGMENT SAMPLE CHART Chapter 11m PRINTER/PLOTTER ARTISTS, RGB-CMYK PRINTING COMPARISON Order the Transparent 3 Color Palette Chapter 12 PERMANENT TRANSPARENT YELLOWS CRYSTALS LIGHT & COLOR TERMS, COLOR ELEMENTS & QUANTITY, GASSES Chapter 13 HUMAN BODY PROPORTIONS Head, Side View, Front View, Body, Drawing Order of a Stick Figure, to Catch the Action My Life Drawing Sessions, Elizabeth Vigee-LeBrun (Sargent's teacher) Chapter 14 RAINBOWS, PRISIMS & SPECTROSCOPES Chapter #14 is About Light, not Pigment, Prisms, Rainbows Chapter 15 COMPUTER COLORING PAGES One of thirty two. Change the Page Background Color to a Pigment Color. Chapter 16 MY PAINTING TECHNIQUES - FIVE PAINTING GALLERIES acrylic-on-location, w/c-on-location, fresco-on-location, pastel-on-location 304 brushes with their descriptions and usefulness, Watercolor Papers, A & A+ Only Chapter 17 1200 A/D TO 1600 A/D PAINTING TECHNIQUES Pictura Translucita, Wax Paint, Cera Colla, Fresco link in Chap6 Chapter 18 ELECTROMAGNETIC SPECTRUM COLOR CHART (EM) Chapter 19 CHRONOLOGICAL HISTORY OF PAINTING 30,000 B.C to 1200 A/D Chapter 19a CHRONOLOGICAL HISTORY OF PAINTING 1200 A/D TO 1550 A/D Chapter 20 1575 A/D to 1695 A/D TECHNIQUE, THEORY, ANTIMONY NAPLES YELLOW COLOR SYSTEM 1870 LIGHT AND PIGMENT - SAME COLORS, 3RCW, 6RCW, 12RCW, 36RCW, REAL COLOR WHEEL, PY153 Chapter 20a ENGLISH VERMILION 1700 TO 1859 ITALIAN MAGENTA Chapter 21 *Instructions to help draw accurately. Plus new techniques in acrylics and oil based alkyd alkaloids. 1998. casein. 8x8. Course DVD Chapter 26 HTML CHART RCW. The RGB-YMC Yellow-Magenta-Cyan secondary light color wheel doesn't work for pigment painters because it darkens by subtracting light which produces the same colors as adding black pigment to each color. theories and art styles that happened in the early 1900's. fresco. The computers RGB colorwheel represents the pure color correctly but shades colors differently than physical crystals. PAINT CYLOPEDIA 1881 The First and Last Public Standard of Pigment Colors for Artists. Chapter 24a 1936 COLOR. (It's 11-09-03 today. draw and paint realistically in different mediums and techniques. FRENCH IMPRESSIONISTS Chapter 24 1900. 1900 to 1935 This chapter contains the artists. combine colors.11x11 RCW. Color-in Book of Maui. (today 2-12-13 it's been 35 years and I'm 71 now) I want to pass on some information and painting techniques I've learned. perfectly. *Color theories from Newton to Church-Ostwald. plus the colors wavelength characteristics. Down load or buy this site on DVD for color history and my tips on drawing and painting from notes taken during 35 years of painting on location. *This is my treatise combining colors. In this course "All About Color" are crystals and their element composite make-up. 1936 to 1995 2013. in different mediums. Painting on Location is Making a Come Back! Chapter 25 ORDER PAGE 5x5. 1886 Chapter 23 JEAN-BAPTISTE-CAMILLE CAROT. This page was started in September. PHTHALO GREEN THE FUTURE OF FINE ART. by country and it's main artists. I call it the Real Color Wheel because it is. A base for muscles and skin. Open this page and compare different color wheels. MAPICO THE FUTURE OF FINE ART. 1875 to 1900. mastic. tempra.INDIAN YELLOW 1800 TO 1859 COLOR MAGENTA. because they influenced this pigment to light Real Color Wheel My paintings show the full ranges of neutral-dark colors because the pigment colors are made with true complementary pigments. wax cera colla. I've been painting Maui on location in a VW van since 1976. without the use of the opaque or translucent black pigment. WESTERN EUROPE Chapter 22 PAINTERS RUSSIAN 1850 TO 1886. FRENCH. colors. water egg. NOT AN IMAGE Test Your Monitor Chapter 27 PIGMENTS FOR 36 REAL COLOR WHEEL Chapter 28 HEXADECIMAL COLORS & CODES FOR ARTISTS & PRINTERS RGB IN GAMUT IS CMYK Preface ALOHA ARTISTS This page is toward color theory. *The Real Color Wheel color oppositions and analogous oppositions in percentages for both light and pigment. The Real Color Wheel is the color wheel you need to match natures colors to pigments. *Body proportion shortcuts. five years after I started. about colors of light matching colors of pigment and colored crystals. alcohol sandarac. element crystal compounds and matching light to pigments. (new window) This "All About Color" course includes: *Some techniques of the old master painters. *Rainbows and prisms match physical crystals of color. the best years of my life. for easy management of stick figures in action. The color course is finished but I'm cleaning it up and adding links (an endless . water gum. *Two "lost painting techniques" from the dark ages you won't find anywhere else. GERMAN. This new artist color wheel works in both pigment and light. copal and oil. COLOR. *Color and medium developments through-out history. water glue. This course will explain the "Real Color Wheel" for light and pigment mixing. As of 3-1-8 this site is getting 2. Included is my colored light explanations on rainbows and polarized color in prisms that I have noticed. Lausanne Collegiate School. 8-1-10.36. All About Color course.392 hits per month. Munsell and Church-Ostwald color theories. rather than my changing the page contents. is the trunk of this color tree and I've been adding more links-out to my new pages since 2003. 6-7-13 the price is $26. Runge.realcolorwheel. Articles. The artist painting from life needs opposite complementary colors to make the dark shade. Hofler. The light color wheel and the pigment color wheel are one and the same.S.htm". all have requested the Real Color Wheel. he sent me an email. The Real Color Wheel makes these adjustments and matches light to pigment and crystals. Google removed the ranking information for this site and it's climbing back up from not being found on the first 50 pages for "color wheel". without google recognition. Pittsford Sutherland High School (and many others). Magenta and Cyan pigments should be basic information for the natural life pigment painter. it links from any page backwards or forwards.htm" page early on..Y. 1995.. Today Indian yellow synthetic is a common pigment and the name cyan is recognized as a color.) 4-3-13. its happened after each war period throughout time. recommend and subscribe to the Real Color Wheel. The artists and their techniques are reviewed chronologically to match pigments' progression. Rood.) Latest painting with painting tips or page worked on. I Included Mayer. He never had a magenta and green opposition because he had the wrong triad. Goethe.699 hits per month and climbing.. All About Color" information for this new venture. What can we do to paint anything we see accurately? We can learn from nature. 5-20-8. Switzerland. The use of the RCW's three primaries and secondaries with their "Neutral Dark's" made from opposite colors is key information toward achieving accurate dark color shadows.935. Max Doerner 1931. (new window) (I never knew when I started that this site would be getting 36. It all started in 2002 with the International Middle School of Geneva. not Black as Ostwald and others suggested. United Arab Emirates University. The main page explaining why this color wheel is best still can't be found after 8 years of being on the first page. We are gaining on it. "final. (It's 4-11-9. Current official teaching guidelines and all State School Standards support the Red-Yellow-Blue color wheel and I want them changed because it doesn't work. BYU. Max Doerner was the greatest art scholar ever. Your color wheel must be exact. There is no absolute color black reflected in nature. I made a water-based transparent yellow ink from Azo Tartrazine for my plotter (ink-jet printer) I use it now. (new window) I think the most important single issue has to do with color and how we perceive it. and there should be no pigment black on the artist's palette. the primitive nature of it. It explains all the painting mediums and follows the discovery of pigments up to today. Tube colors should not be made with the CHURCH-OSTWALD theory of matching dried chips of color. University of New South Wales.com/colorwheel. university to support. I just learned today that the San Francisco Academy of Art University is teaching my color wheel in it's Color Theory Program.htm page show the latest changes or newly added pages. in similar combinations of opposition to reach a neutral black or white. Opaque and transparent properties are a bigger public problem then I first thought.. (1-25-11. Chevreul. I found myself in this section again making a Video DVD about color from this "Real Color Wheel. Hering. Today's chaotic art is representative of our times. or color wheel. and the properties of the Yellow. All my new pages since 2003 have either been paintings on location with my notes or directly related to the contents herein. This page. Imperial College London. A student from a university in Columbia had to make an RCW as a first year lesson.000 hits per month. We have been taught the wrong complimentary colors: Yellow is not the opposite of Purple. They both use the same six primary and secondary colors. Cobalt Blue is the opposite of Orange. as it dulls any color and is unnatural looking. here's an additional paragraph I'm adding. and Green is not the opposite of Red. York College of The City University of New York. Every educated artist should have his book. 1963. Canada. 2-24-08. Ultramarine Blue is not the opposite of Orange. .task). Western Kentucky University was the first U. 'Materials of the Artist'. It's not the first time our craft has gone downhill. I'm glad I added the "end. along with a background on color in elements. We've been getting the wrong information since Newton's first color theory in 1666. the result of two world wars. and express the world as it's expressed to us. N. Glenn Carleton College. Forward and backward links are on each page. split-complements and analogous mixes. 2000. On Line at Max Doerner. and the University of Guelph. http://www. 1933. Kennesaw State University. Reviews and Press Releases 2013 (new window) "Art has abandoned the sound principles of craftsmanship and is therefore lacking in a dependable foundation". The end. In the past thirty days Northern Arizona University.htm As of 4-6-13 this site is getting 138. Metropolitan Institute of Design in Syosset.80. crystals and pigments. (new window) The price was $12. Font-de-Gaume and Lascaux represent the greatest achievements of Paleolithic Art.C. Natural Emulsions. Painting Supports. but you don't have to start from scratch either. 20. Isolating Mediums. We should base perspective on degrees. cultures were forming in the Fertile Crescent.C. Painting tools included their fingers. There were one hundred twenty five thousand people on earth at this time. The first paint medium was animal fat.C. Oil Over Egg. Paintings were done with mineral oxides. Catalyst Agents. 3000 B. was harder. sandracca. Here is more information. The alcohol based paint of Morocco.C. 100. centered on a horizon line of degrees. Calcined Elements PAGE 01 1 MILLION B.C. 5000 B. the outline of an elephant was found. 4000 B. This brought travelers.C. 7000 B. boiling the sap without pressure made distilled turpentine.C. Flint was being mined in Egypt and France.C. 4000 B. tin based paint.C.C. while boiling the pine nuts made oil. PLEISTOCENE PERIOD "The Great Ice Age. done by Cro-Magnon Man. bas-relief murals on plaster and water based. Lacquer.. and it came first. MINOA: This culture was just starting on Crete. 7000 B.000 B. brown and yellow. Pine trees developed. and a kangaroo. Other Mixed Emulsions. a hollow reed to blow paint on the wall..000 B.C. Priming Grounds. Small carvings were always found deep in the floors of these caves." is still continuing today. Chapter 1 1 Million B. CHINA: Man had domesticated dogs. INDUS RIVER: Tribes were gathering here. Glues. art as a whole is advanced. ochers of red.C.C.000 B. B. http://www. Where I believe the Garden of Eden was located. Altamira.C. ANATOLIA: an ancient Pre-Greek culture. 8000 B. When you appreciate what you see and can paint with that vision. Not letting the color values in each ring encroach on another rings value is important. Correct color and procedure make learning easier and faster. 16.C.com/ArtLex/s/stoneage. and mix colors from an accurate color wheel.artlex. according to the Geochronometric Lab at Yale University. Neolithic Developing Areas. Pine trees provided the next medium used. like found on Maui. 6000 B. You can't learn to paint from a book. SOUTH CENTRAL AFRICA: Includes the head of the Nile River. Jinmium.000 B.000 B. 50. Australia: Monoliths were engraved with petroglyphs of dots.C. A native tree of Africa made an alcohol-based paint.C. and weapons and tools were polished. blending and painting brushes.html 30.C.We can use the sound principles of drawing and painting. TURKEY: Catal Huyuk Culture 6000 B. OLD STONE AGE: The earliest known artwork in Europe is located in the caves of Western Africa and Europe. Colored Grounds.C.C. RUSSIA: . 10.000 B. Painting Supports. Egg Tempera. and a native tree of France made a turpentine based paint. Adhesives for Grounds. Thinners & Additives to Mediums. as in dividing distances into concentric rings around yourself.C. Paleolithic Culture: Thirty-six-billion people lived in Europe and Africa in the course of the Old Stone Age.C.000 B. goats and pigs. scribing sticks. MESOLITHIC PERIOD: Cro-Magnon Man until 10. EGYPT: The Upper Nile people had pottery. The first support was the rock and mud in secluded caves. were farmers and house builders. It used a distilled nearby shrub as a thinner. TIGRIS EUPHRATES RIVERS: In Mesopotamia. HOLOCENE PERIOD: Paleolithic man and Mesolithic man. Paint something real from life. and the first airbrush. AURIGNACIAN ART: In a cave in Northern Spain.C. 40. THAILAND: Occupied by Hoabinhian hunters and gatherers. NEOLITHIC DEVELOPING AREAS EURO-ASIA CULTURES AND TRIBES 8000 B. plus charred-bone black and carbon from burnt fat. working metal and making clay pottery. AEGEAN and CRETE: The tides of the Mediterranean Sea circled the island of Crete. Transparent Chemical Palette. The most important caves were found in the Franco-Cantarbrian and Spanish Levantine area. Pleistocene Period. NEOLITHIC PERIOD: Man was raising stock. 8000 B. 4000 B. Medium Developments.000 B. joined without mortar. was distilled into turpentine as a paint thinner for the resin paints. (I can't find the proof. Red Pozzuoli found around Naples is a natural cement and when used in murals as a paint imparts the red-oxide color. all three were known and used throughout the Mediterranean Sea area. 3000 B. The best fresco mortar is slaked (kept wet) under running water for up to 20 years. Crete ruled the known world.Boiled tree-sap. I think they saw the golden tops of the great pyramids. but I think the top quarter was sheathed in gold leaf or solid gold.C.C. The base-to-height ratio of the pyramids of Gizeh is eleven to seven. IRELAND: 3000 B. copper cyan colored frit glaze was heated 1500° to 2600° in Egypt. Africa. There was trouble in the air. The flooding of the Nile removed all traces of the cement or plaster or mud buildings. Egypt's first Kingdom reigned.C. it makes cement. Calcined gypsum powder is stronger and with the included sulfur. MEDIUM DEVELOPMENTS 4000 B. The current history books say that everything was built with mud poured into forms with chopped fibers added. both with hemp fibers added.C. They made plaster by heating limestone or gypsum to 25. The pure limestone crystal is the softer of the two. The firing divisions of silica according to heat intensity are: DRY = leather hard was not heated. alcohol was fermented as a drink and as a thinner for alcohol-based paints. Lime mortar has to be wet once. made from another tree-sap.: The Pyramids of Gizeh were limestone.C. They had developed into the "high-art" stage. silicone clay and alumina. 2000 B. Calcine them and they both make dry cement.C. a life-sized figure of Pharaoh Khafra was carved in diorite. This limestone powder is chalk or calcium carbonate. 2700 B. Their mastaba-shaped tombs were positioned as a compass. the top tier was gold and could be seen for 20 miles on the flat dessert. There was a third type of fruit tree-sap that made a water based paint..000º.C.C. Lead pigments containing sulfur would not mix with tin- .C. Clay. Also. a light spar. 2500 B. it's hydrated calcium sulfate. 500°. STONEWARE = was heated over 1800°. 500 B. Gypsum makes a harder more waterproof cement because of the sulfur. PORCELAIN = heated 3000°. the tombs-entrances faced north. adding alum made a harder cement. STONEHENGE ENGLAND: 1300 B. Heat lime powder and it becomes caustic and ultra absorbent and is used for mural supports because it does not contain sulfur. If either of them were not heated and skim milk were added it would make chalkplaster. resins continued to be developed based on turpentine and alcohol. Lead was mined here.C. HELLENIC GREECE: 1500 B. EARTHENWARE = heated red-hot. They expanded it with water. dried and crushed again as the first wetting is too caustic to work with.000º to 30. pine-seed oil.C. called pitch. It was carved with perfect realism in the "high-art" style. MYCENAEN AGE: Knossos. 600 B. and they did have all the gold :) Later Sumerian ziggurats would be banded with tiled color. China was first to do this.: The Third and Forth Dynasties had their Capitol in Memphis. My opinion is they used both lime for murals and gypsum for buildings. . ETRURIA: Their highest art period was in 500 B. It was finished with a covering of polished white limestone that the Romans later removed for their own buildings. with its high silica content was distinguished from mud and pottery when it was fired. and were pouring perfectly life-like gold sculptures. cut with bronze metal saws. at that time was more valuable than gold. that effects poorly some color elements such as tin and lead. castor oil and oil of spike were developed. was carved in limestone and painted. alumina and silicone. ETRURIA: Their highest art period was in 500 B.C. ROME: B. In the Temple of the Sphinx. the Semitic Assyrians were rising in power. They used watercolors and lime paint with tin-based colors. molded and let it dry and the lime crystals form a bond that keeps getting harder as the crystals slowly shrink until it finally turns to dust. to make the first protective seaworthy paint. sandarac (sandracca) resin. In Morocco. Low heated gypsum or lime make plaster of Paris.) Copper. by a slightly lesser artist. and like all later pyramids. Milk casein would make a stronger chalk. It took ten thousand men working twenty years to build one. melting the silica.C.C.. I think this mud they used made plaster and it was from the unheated dust of cut limestone used in the pyramids.3000 B.: "The Seated Scribe" twenty-one inches high. Gypsum is different. felt and wool products..C. Egypt was completely decorated with wax-based paint. with drainage piping and flush toilets. Black basult and white quartz crystal floors that were once shiny are found. The Temple of Cnossus was three or four stories high. with beautiful columns.C. limestone. orange and silver. It doesn't say what the red coating is but there are red sandstone. since they were more into mining. and meant to impress. During this Dark Age 40 cities were built underground down to 870". It's hard to tell who had the first vermillion. The lead acts as the metal drier if the oil is heated to sponificate (make transparent) the lead. Heating galena. two-hundred miles east of Memphis. This started the First Dark Age period which would last until 500 B. Kapadokeya. Saquara. The pyramid up in the mountains of Dashour is open to the sky.: Babylonia had trees and not much rock for building. and significantly advanced architecture. Egypt. by Dr. There are proven red. which can be heated higher into yellow. The largest city found is Derinkuyu Yeralti Sehri. in Khorsabad. Crystal concave mirrors cut with lasers are found. and ending with Doric architecture. THESE MESOPOTAMIAN BUILDERS INVENTED THE TRUE DOME. It's location is kept quite. together with the lead colors. Ammonia made wax and oil water-soluble. The area is deserted. Stick-lac was cultivated in India from the lacquer-secreting insects. 1300 B.com/watch?feature=player_embedded&v=ugWCRliG4Rg The named locations of Egypt's pyramids are. a large peninsula and region in southern Greece. Turkey.C. Tree-saps and plants were also cultivated for use in alcohol-based colors on cotton.: Hypostyle Hall. stiff. (now drowned behind the Aswan High Dam) was also massive at 119'x65'. Homer is alive and writing. through black. Painting was neglected. The glazed-tile facade went from white at the base.C. Carmen Boulter of the Graduate Division of Educational Research at the University of Calgary in Canada. had a ziggurat temple on top. Abusir.C. Mastic resins from pine trees in Spain and France made distilled turpentine and pitch-resin paints. hemp. wax encaustic. Wax soap paints were developed and called cara-colla. 1100 B. It could be seen for twenty miles in any direction. Their period of "high-art" had clearly passed. Their nests were made of wax.: A Sumerian Palace of Sargon.: The Eighteenth Dynasty of Egypt founded the city of Ammonium. it debunks all we claim to know about Egypt. granite and marble from Germany and India. There were gold stars on the blue ceiling. from the remains of a long-extinct mollusk. 1500 B. which was also used for Indian textiles.C. mastic. 1400 B. a wedge-shaped alphabet that is the basis of all Western writing. and sandarac (sandracca) as their painting mediums. 5-4-13.: The Etruscans were using turpentine. red lead (actually orange lead) drying the fastest and used in Maroger's Oil Medium. France or China.based colors. . Giza. egg.C. 800 B. Their tile art decorated the mud and clay brick structures.C. 200 B. described refining clay oxide pigments by settling them in water. it must have been a colorful empire. 1257 B. as was everything Egyptian. 1800 B. Abu Rowash. Egg and casein mediums. Here was the world's only supply of ammonia.: Roman sculpture had achieved "high-art" standards as in the sculpture Dying Gaul. A shrine was made there to their god Ammon. a fact that is not told to us. The underground nation is in Kapidokia. scarlet. but they furthered the arts of astronomy and writing. orange.C. wax soap. linen. Egyptian Petroglyphs of humans are shown red and blue.Minoa was a Pre-Greek Aegean Sea culture. These all dry fast. white and black pyramids at Dashour. The chronological date list will continue later. The Bashar of Bagdad and shaped stone in Egypt successfully made electrical current. which deposited their lacquer on trees.: The Greek Theophrastus. from domestic farm animals were used in the Baltic Sea area. 700 B. a new view video about Egypt.: The Temple of Rameses II at Abu Simbel. Dashour and Maidum. Eventually. that followed Egyptian art. Vaulted chambers were covered with great tapestries.10 levels down. The Doric Tribes were one of the three invading Peloponnesus at that time. leaves behind the sulfur-lead pigment white lead.C. The temple was of a simple and massive grand style. the Temple of Amen Ra in Karnak. The Egyptian's loved paint. Homer said there were ninety cities on Crete. Egypt and China had larger selections.C. Research today is being restricted. and floors were covered with great rugs-. video 3:30. 400 B. Tin was Egypt's choice of metal pigment colors and the two would not mix. One tile that was found that I know of was colored Naples Yellow. 1000 B. red and brown-purple lead colors.youtube. with gold at the top. which dried insoluble to water. Their pigments of the time were the native iron oxides deposited in clay..this was their art. the lead ore. Abu Garab. all pyramids can be seen from there. Continue now to the full art history. blue.C. probably China. "A Different Story About Ancient Egypt and our Origins" http://www. linseed oil would be used here as a painting medium. before anyone else. . A very complete palette. Chap8. Egypt. Thus the Paint Wars began and the non-poisonous Tin King of Color crown was being passed on to the more colorful and dangerous lead and iron colors. They invented cuneiform.: The Greeks were entering the Peloponnesus. Today we have no hemp canvas. Cotton paper is called rag 100%. Whatman. Lanaquarelle. They belived in the after life.000 B. In the video can be seen large concave quartz sending or receiving disks that could not have been made by hand. 36. Today a good grade of plywood or hard pressed masonite will do. Aquifers of limestone produce their own electrical energy. I don't know which date is correct. the 6 stepped pyramid in Paru is carbon dated 4.. cotton and linen. possibly 7. for pictures up to 3 x 4 foot. Akanotan (Amarna) was distroyed and all traces removed. they rejected the Amon presthood for the Akamon. his mother was killed by a blow to the back of her head.C. it was also built above an aquifer.000 years ago Egypt became patriarchal. also the oldest text in the world was found in these four pyramids. It is the strongest and best. Open spaces above some of these tunnels allow the sun's rays in to make the energy. vat and surface sized. .5 million years old. Strathmore. PAPYRUS: Papyrus is soaked. Cycles of time were found in the writings at Shakara as well as flying disks in their hyroglyphs. D'Arches and Waterford. Episode#3.C. sp?Geecall megalithic pyramid near South America also has an electrical discharge.C. These mural paintings still exist today after twenty thousand years of protection deep inside ancient caves in India and France. computers and processors do today. but I thought you should hear about another version of Egypt's history. pressed and dried as strips of pith. Blue sculptures of humans were found. (19 years old) years and a patriartical law was back.500 B.) has been made by computer where symbols are acronyms not words instead of our current decyphering. it was made when Napoleon sent a core of artists to Egypt to record the monuments. belived this also.000 years ago Egypt was matriarchal. Winsor & Newton. and it is to be preferred. a new paper hand-made called Twinrocker. that civilation is 6. 12 thousand years ago it again got rain and humans. Use 1/8 in. central Africa. Today it is desert again. Papyrus was once abundant in Egypt and used by the Greeks and Romans as paper. CD's.) Dolomite granite with magnesium is the highest transformer of electricity and it's the core of the great pyramid. (sound like Tesla yet? His 1901 to 1917 tower worked providing wireless power. Hydroglyphs in this area. Easter Island etc.500 years ago. 3.000 years.C. their art was matriarchal. oscillators. It was woven with a harring-bone weave at the time of Tintoretto. but cotton will do. Neffratiti. are more advanced than Egyption hyroglyphs. but it is making a come back. he died mysteriously after 10 years. Nabeta Playa. the highest art in Egypt's history. This is called vat sizing. Limestone aquifers are present under Egypt and sp? Sobury Hill in England. Linen is best.000 years old. Suffie language has no word for death. simular technologies and rocks make the ancient monuments. not 2. They are all pH-neutral. It used quartz crystal technology as our AM/FM radios. But. The outer covering is limestone without magnesium was an effective insulator. PAPER: Paper is also made of wood.C. As of 2012 we are coming out of the dark age. PAINTING SUPPORT HISTORY ROCK AND MUD: Walls were the first painting supports. A new translation of the Rosetta Stone (196 B. 6. FLAX LINEN: Linen makes the best and strongest canvas. sp?Teawonakau and Lake sp?Titykaka pyramid also have running water producing electricity. faces show expressions. Stone hedge. 150 thousand years ago the area was a very rainy. it's a member of the sedge family. Hatshepsut was another female pharaoh who was perhaps Egypt's greatest ruler. mahogany or birch for pictures up to 22 x 30 in. Fabriano. Egypt. is probably when the pyramids were built. this happens at Tularic points around the world. each powerful point has a large stone megalith built there. Near Nabeta again were found red human bas-reliefs. and 1/4 in. it's part of the earths electrical Tularic grid. The cosmic design cycle. The "Shift Disk" found at Shakara in a burial chamber is closed to the public. The paper is glued throughout with an animal size. 1:25 in. Today it is taught the pyramids were made in 2500 B. Egypt. 22 years in the 18th dynasty. recollection of her was also distroyed by the coming patriarchal rule. Today it is taught the earliest human remains are 2. Hindu's call it Prada. #4.000 B. One axis cycle of the earth is 26. Ancient Egyption evidance is being distroyed by responsible Egyptian government. seems to be the source of pre-pharaoh Egypt. There are manmade tunnels around the great pyramid to carry running water to produce more electrical energy. The Malie. Obelisks lined up with the same stars. China calles it Chee. The papers I've found best are.Electrical induction happens when the light of the sun is coming around the globe. I have a copper lithograph of the Karnac Temple in Luxor. #5. WOOD: Wood is a classic support. or 1/4 in. Young Tutunkaman (was Tutunkatan) was the next pharaoh. Dogan. In Luxor hydroglyphs show that the placement of the temples were aligned with the stars. Akanotan and Neffrateti moved the capitol from Karnack to Amarna. that I got in Istambul in 1963. Larger panels should be braced from the rear. they are more detailed bas reliefs. As it retains moisture for too long. green earth was especially good because it was so transparent. Make it by adding water. Heated gypsum makes plaster of Paris. Apply the mixture to a dry. ISOLATING MEDIUMS ISOLATING MEDIUMS . in the 12th century. ACRYLIC: Acrylic Gel is a good adhesive medium for grounds and acrylic painting. that's the best way to apply a ground. small to medium. Usually it's a pigment additive. recommended cherry gum as a medium and at the same time as an intermediate layer for oil glazes. methyl is the more powerful solvent.Mediums that don't mix or disturb the current painting medium. BODY COLOR FOR GROUNDS. Glazes colored the painting and egg tempera white highlights were put in last. Barite is a non-metallic mineral crystal mined in England. lightly stretched canvas support without soaking through it. neutralized lime or neutralized gypsum plaster of Paris. and wood (methyl). Collectively. It is dense and can be applied with a wide putty knife. wax-soap and water varnish. alkali. Theophilus Presbyter. called heavy spar. was the first color down on the colored ground. Larger size canvases should stretched flat and primed flat.. Pre-sizing will save time and money. Add ten percent alum by weight to the glue.A good priming ground will not crackle when pressed from behind.This method is called imprimatura. brown or gray. VEGETABLE RYE: This paste is an adhesive. yellow and green earth. Casein is good if you use a stiff support. alkyd oil. GYPSUM. shellac.Chalk is calcium carbonate. except for Kevlar and Tyvek :) HOW TO MAKE MODERN PAINTING SUPPORTS (new window) PRIMING GROUNDS ADHESIVES FOR GROUNDS ANIMAL: The best animal glue is rabbit skin glue. Applying the ground with a spatula is always the best way to go. The Renaissance used this method as the middle tones of the picture. it reduces the absorbing quality of the ground. off the stretcher bars. casein is skim-milk curd. BODY ADDITIVES TO GROUNDS GROUNDS NEED BODY. fruit tree gums are called "cerasin". adding more water and drying it again and again until it's neutral to the tongue. lime. Damar is our friend. but it's still good. mineral spirits only evaporate. Van dyck and Rembrandt used.COTTON: This canvas can be used as a support. egg. and petroleum will not dissolve damar. stick-lac and sandarac (sandracca). de natured grain (ethyl). A small quantity of skim milk is good in chalk grounds. better still. paste. is light spar. it was like laying out a painting on a blackboard with chalk. Egg tempera. casein.Kaolin is decomposed feldspar. Of the two types. acrylics. filling the cavities in limestone. I don't use petroleum thinner or paraffin wax for painting. A layer of whole egg will improve a ground by isolating it from the paint. Like barium it's an extender in lead-based and cadmium-based paints. like damar and turpentine over tempera or egg over oil or shellac and alcohol lac over either. TURPENTINE: Thins..Hydrated calcium sulfate. but don't boil it. add one percent of formaldehyde which is an anti-fungicide also. glue. HANDKERCHIEF OR AEROPLANE LINEN: This linen is good for small work and can be glued to wood for larger works POLYESTER: This probably will outlast any other cloth. SOLID COLOR GROUND. KAOLIN CLAY.Bolus grounds were toned red. chalk is better. it dissolves in ammonia. TESTING THE GROUND. Oil of turpentine absorbs oxygen while drying. up to 3 x 4 ft. SAILCLOTH: Cotton sailcloth makes an excellent canvas. gum.Titanium plus zinc white mixed are best but not as opaque as lead plus zinc. PROPERTIES OF THINNERS AND ADDITIVES TO MEDIUMS WATER: Dilutes or thins.This is a heavy spar with very little coloring power. "the spirit of wine" paints. marble dust. Barite is crystal of barium sulfate. this makes it insoluble in water for tempera or. NOT JUST COLOR. as Rubins. The new alkyd paints don't use turpentine as a base. drying it. using the colors red. BARYTA WHITE. we need it. oil should not change its color. lead or zinc white. balsam and wax. Dampening the back with a mist of water will tighten loose canvas. . CHALK. COLORED GROUNDS GLAZING THE GROUND. and the ground should have an even sheen to it. ALCOHOL: Thins. resin. oil. Germany made the first acrylic paints and we got them in 1930.. When the gas escapes the dried ammonia they again become insoluble. The only problem I saw was that it could be scratched with my finger nail. spirit paints. CASTOR OIL: Dissolves. because they had all the raw materials -. wax-soap.. The two will mix together and form a water-based emulsion. The alcohol-based tree-sap pigments . mastics or any water-based paint or emulsion. today it's called the Lavender Plant. Mistakes are corrected by over painting with white. Wax is pliable. wax-soap. AMMONIA Ammonia is a suffocating pungent gas. BORAX Borax. GLUE: Animal glues emulsify with balsam. and it seems a natural. I think it's great by itself. and in Egypt as a flux ingredient to make frit. It is nondrying in its mass state. Plexiglas is solid acrylic. AMMONIA: Thins. twice. It was also used to make a water varnish from stick-lac. before repainting. making them water-soluble. and oil. the Byzantines added gum. Brown beeswax can be whitened by boiling it in alum water. NATURAL EMULSIONS EGG: Egg's emulsion balance can be changed by mixing it with either more water or oil. is the ancient East Indian "Nardostachys" plant. or yellow where appropriate. There is a medium I couldn't find any reference to. spirit paints. Maui) and it stayed wet for two weeks. and Reynolds liked to add Venetian turpentine. making them insoluble to water. Then. Ammonia water was called the "spirits of hartshorn".the cultivated stick-lac insect with the wax nest. as in cera colla (new window) painting. It's used to temper dried paints and grounds. It is better to draw with a non-waxy chalk and brush off the residue with a feather duster. soluble in water.SPIKE: Thins. mastic. is an alkali. paint in the outlines with a light ultramarine blue. an isolated copper pigment in glass. The seed is poisonous. Remember. it will make a water-based varnish. Ammonia is an alkaloid compound that transforms shellac and wax. mastic. spirit paints and makes them flexible. Spike is made from the ancient Mediterranean scrub plant found around Morocco. Gum didn't do any better. the outline belongs to the object behind. PASTE: Paste will emulsify with balsam. These are great paints that dry insoluble to water. compounding nitrogen and hydrogen. casein and water-varnish. WAX-SOAP: Wax-soap (cera colla) emulsifies with all of the above. Pencil lines will also show through. borax from Tibet. Alkyd resins are polyhydric alcohol with polybasic acid. Smooth blends are easily made with thin washes over dried paint. OTHER MIXED EMULSIONS GUM: Gum will emulsify with balsam. but balsam or resin makes it harder.the paint was 3/8" thick and dried insoluble to water in one week. but not impervious. "Lavendula Spica". water is better. SPIKENARD: Thins. Indian artists would have used it in their paintings.. not their outlines. oil will emulsify with casein but turns it yellow in time. mastic. In ancient day's it was called "tin-cal". like alum. I did a test on glass with a palette knife -. when added to a different substance. wax-soap. It was gathered to be used in India as a textile mordant. wax-soap. Spike-nerd or Oil of Cajuput. It will act as a mordant to set dyes and harden plaster like cement. They mix well with normal oil paints and speed drying. Borax is found in landlocked lakes in Tibet and in the Dead Sea. a Chinese word. This must be done because the new acrylic colors are not very opaque and show under colors. and emulsify very well with oil. SYNTHETIC MEDIUMS Synthetic paints were born in 1900. Turpentine based "Liquin" is an alkyd resin.. (Nahiku. Try that with oil paint. CASEIN: Casein will emulsify with balsams. ALUM Alum is a double sulfate of aluminum and potassium. These alkyd modified resins dry faster than natural oils. Contrast of color and value separate the objects. CATALYST AGENTS These catalyst agents cause a chemical change within. as adding ammonia to shellac. and an alkali. Water based acrylics are made by polymerizing the acrylic monomer by emulsification. Castor oil comes from the seeds of the "ricinus communes" plant. and oil. I added poppy oil to a batch in a humid area. which is the gelatin. which is the adhesive. it bleaches white in sunlight. fig. is water or alcohol soluble. they are all similar and mix well with egg and casein. GLUES. Starches set free by the addition of an alkali like ammonia become insoluble in water when dry. It's also used as a preservative. GLYCERIN: Has oily properties. ARABIC Gum acacia . gum or wax soap. almond. TRAGACANTH Comes from the astragalus scrub in Asia-Minor. RABBIT: Rabbit skin glue is the best fabric isolation for gesso. Vegetable glues are starch pastes. apricot. WATER BASED GUMS Gums are hygroscopic. FISH: Used cold. The glycerin will improve the brush quality and act as the preservative. balsams and resin. they will always absorb water unless it's tempered with alum or a 4% solution of formalin. hide glue is more durable. made from delicate animal tissues. Egg yolk itself is a painting medium. formalin is a 37% solution of formaldehyde available at your drugstore. called formalin. it works better than gums. one drop per egg. the style spread over Northern Europe and stayed in Russia for eight centuries. SARCOLLA An ancient gum made from the astragalus sarcolla plant of Iran. Vasari and Plenderleith talk of bookbinders' boiled paste. elastic and more resistant than oil color mediums by themselves. SENEGAL French. Mix egg yolk and water 1:1 to dry pigment = 1:1:1. Oil of cloves. preferably it's used with egg. will preserve a sealed wet egg. it's similar to gum arabic and best for gum tempera. Others are. 1 part damar resin and 1 part glycerin. acting as a . In Byzantium. PARCHMENT: Cooked lamb and goat skin was the support used for miniature paintings.the best is from Africa. Vegetable glues give very bright gouache-like tones and have no effect on pigments. Here's a good recipe for a gum emulsion. Egg without the addition of oil is called distempera. usually sold in a forty percent solution of water. They all can be emulsified with oil. KORDOFAN An ancient gum from Sudan. wheat starch and rye starch. Cologne glue with kaolin clay covers best. The addition of alum to the egg made it waterproof. GELATIN: Gelatin is an edible glue. and gluten. It contains more gluten. hide glues are protein. WATER BASED MEDIUM. It hardens proteins like rabbit-skin glue and stops mold and fungus. potato starch. painted on wood was the next medium after fresco.could also be made water soluble in a borax solution. plum. egg oil (nondrying) and lecithin (emulsifier). rice starch makes the best glues. Egg. this was a preferred style from Giotto (1266-1337) to Botticelli (1444-1510). There is more data in "LAKE MINERALS" FORMALDEHYDE Formaldehyde is a gas. COLOGNE: Animal leather glues emulsify with fatty oils by adding it to egg or wax-soap. kept cool for one year. it's used as the binder for pastels. GLUE Glues are used either hot or cold. Glue paintings should be sprayed with a 4 percent solution of formalin to harden it or given a glaze with mastic varnish or better (harder). BONE: Bone glue is inferior to hide glue. Hide glues are used hot. sometimes . it's the hardest gum and best for water colors. EGG AND EGG TEMPERA Egg yolk contains albumen (water). 1 part stand oil or sun thickened linseed oil. CHERRY One of the many fruit tree gums. Giotto also added cherry gum to make it more fluid. and will absorb moisture from the air. after a ninth-century council had confirmed the defeat of the Iconoclasts and made it safe to paint in the less durable egg. chandrin. They are more painterly than egg emulsions alone. 5 parts gum. most modern polyvinyl acetate glues are used cold. balsams and resins. The icon. Egg and egg emulsions dry hard. peach.) Gums will emulsify with oil. unvarnished looks like gouache. it's a flat finish. as a red pigment the dye is precipitated on a clay base.. Red shellac is from East India. They traded their wool and dyes in Tibet for borax and mixed it with water and stick-lac to make what we call today. till they both got killed one day.C. Tin oxides lighten the red color toward yellow. EGG TEMPERA See egg tempera paintings with tips. water and oil plus the stabilizer. Phoenicia at that time was the third largest land holding state in the Mediterranean. one part oil. Damar means "torch" in Malaysian. This was a nation of sea travelers that covered the known world. Yesterday I mixed it with ammonia and made this water paint that dried insoluble to water. A poor ground could be improved by a coat of egg and lime white before painting. OIL OVER EGG TEMPERA Van Eyck (1390-1441) became very skilled at this technique. It was India's favorite son. who were both mortals. in his life time went from egg tempera paint to oil paint. The ratio's went like this. Out of this blue egg were born Pollux and Helen. King Tyndereus. The support was wood or linen primed with gypsum or chalk. shellac or lac as it is sometimes called. and had another set of twins. It was really part of the second largest.de/ The USA has the raw material to make an excellent balsam. first with mastic. water varnish. Imperial yellow is from the flowers of the "sophora japonica". TRANSPARENT COLOR . final varnish. it's often called shellac. one part mastic or oil. Castor oil was another great battle won by sandracca (sandarac. Egg white and alum make a good bodied paint medium. it contains flavonal quercetin. When egg white is used. the Laccifer Lacca. Iron is a mordant used for dark brown and black. Here's the story as Homer told it back in 1000 B. that included Egypt and the whole Tigris-Euphrates Valley down to the Persian gulf. painting in water based egg tempera.ANCIENT YELLOW. More egg made it water based. zinc works for yellow. she had a mighty fighter for a brother. Now there are two bright stars in the heavens to remind us that Sandracca (sandarac) was once "King of Paint". It will work on dry lime secco paintings. they traded their lavender perfumes and called the boxes "cloisonne". LACQUER Japan has a lacquer tree called the Rhus Verniciflua. today we use Venetian or Canadian (very good) turpentine because no one imports Strasbourg to the U.kremer-pigmente. Sandarac (sandracca) is a good hard. LAC AND DYES Indian Stick-lac could also be made from the secretion of the "coccus laccae" insect that lives in the bark of the Ficus tree. then linseed oil. The mighty Zeus had taken the shape of a swan and had a blue egg with his daughter Leda. the Assyrian Empire. (new window) TEMPERA'S ARE EMULSIONS. the most beautiful goddess in the world. ruby red "dragon's blood" was the sap of a tree from Singapore. not wet buon fresco. then its called water-shellac. damar varnish comes from there also. he had a red boat to boot. as on the English Army coats of the 16th century. Cochineal and tin made a vermilion hue. it was used to produced the famous Chinese "Ning-Po Lacquered Boxes" that the French loved so well. removed by boiling in water. is another alcohol based paint that got shot out of the saddle and lost in the Paint Wars. They brought tin down from England because Egypt was mined out. the red is the dye. spending half their time on Olympus and half the time in Hade's realm.preservative as it was slightly alkaline. OR. Well Castor and Pollux had great times together fighting this war and that. a very beautiful goddess. Later sun thickened oils or stand oil were used. Gathered with care from the branches of a tree that housed their lacquer secreting insect. Giovanni Bellini (1430-1516). alcohol based paint was "Gamboge" from Thailand which is a transparent yellow quality and "Karmes". India had some great lacquer colors also. alum would have made a more crimson color. similar to the famous Indian Yellow (new window). Eric The Red not only had red hair. then glazing with oil and balsam. The ground had to be kept very clean because the thin medium shows through colors. one part egg. China showed England what could be done with porcelain.S. White shellac is made by adding potash lye or borax. more oil made it oil based. one part mastic. Another sap. Most liked to use Strasbourg turpentine (balsam). The mordant fixes the coloring matter. going back to water tempera for details and glazing again. The first tempera was made about 1000 A/D. STICK LAC Stick-lac. . except http://www. and how black a textile dye could be with their pigments. two parts egg. Zeus allowed Pollux to share his immortal being with his brother. capable of making very opaque strokes. Leda had another egg with another man. it can be made water soluble by adding an alkali. alum is the most common. fine indigo cyan from India was a world seller. it's called glair medium and was used like ink on illuminated manuscripts in the 5th century. both were a golden-yellow-orange color when used full strength and tinted to a bright yellow. and as a size for gold leaf. and in all other mediums. Castor and Clytemnestra. BEST PY108 anthrapyrimidine = Indian Yellow Brown side. tin phosphate and tin silicate are the most common. ground female "coccus cacti" insect. an indol derivative is fermented from a sugar.Yellow wood sap from the sumac tree. Antimony = Naples Yellow 1a. it secrets an alcohol based lac and is found all over Europe. which is a cooler magenta color. Four other sources of transparent yellow are. it turns violet to blue-black. Brazilwood. Silk started in China about 2640 B. an anthraquinone derivative. PB7 chlorinated copper phthalocyanine = Turquoise to Green PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green Y/S PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43 perinone orange = Sap Green O/S PY129 methin copper complex = Green Gold PY129 azomethine = Genuine Green Gold PY129 irgazine yellow light. it was not used much in carpets but made excellent cloth. Blue. greenish-gold COLOR CARPET MATERIALS Jute is the cheapest and most used vegetable fiber used in carpets. PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge PV19 quinacridone = Rose PR122 quinacridone = Magenta PV23:1r carbazole dioxazine = Purple PV23 dioxine nickel complex = Permanent Violet Bluish transparent secondary blue. the root of the "curcuma tinclora" and the husks of pomegranate with carbonate of zinc. Black silk uses an iron mordant.. Manganese also makes Cyan.MODERN PY150 dioxine nickel complex = Indian Yellow Brn/s. The thread is too fine for carpets. Silk has an affinity toward metallic salts as mordants. the "Indiagofera tinctoria" thrives in the tropical climate. flavone also occurs in vines of weld. it's clear in wood and boiling it makes a magenta dye. Logwood. India exported madder. "rhus cotinus" works. transparent. TRANSPARENT CHEMICAL PALETTE . BEST PY153 dioxine nickel complex = Indian Yellow. Purple. China and Egypt. Cochineal. Wool and fur were Tibetan. To change the dye to red. indigo. shiny vegetable fibre that can be spun into coarse. Orange. PB60 anthraquinone = Blue Deep to Turquoise PB15 copper phthalocyanine = Cyan (Thalo Blue) to Green Y/S. Violet Chrome = Tin + Cobalt = Ultramarine Blue. Jute is a long. Soluble in ammonia. Today this hue is rare. It is produced from the Corchorus plant. COLORS OF CALCINED (FIRED) ELEMENTS 1. henna "lawsona alba". made from an insect found on the oak tree. Magenta. India and China use the "rubia cordifolia". strong threads. boiled. from the "haematoxylon" tree makes hematin. CYAN to BLUE. Red 3. which was was once classified with the family Tiliaceaehemp. this precipitation is insoluble in water. Alkalis dissolve it and form the sodium salt indigo white. Grown in India. originally from Central America. Flax linen was an Egyptian crop. Lead+Tin = Light bright Yellow 2. the best from Kansu. BEST PY153 dioxine nickel complex + PR 260 isoindolin = Indian Yellow Golden. safflower and saffron.C. imported to Morocco. named the country. from Northern India. weld and Indian Yellow. The coloring matter is carminic acid. Cadmium = Yellow. then Japan and India. Violet 4. ORANGE. Hemp is next most popular thread for carpets. which oxidizes into many shades of blue. Karmes Scarlet is the oldest Magenta color. Chrome Green = Green Chrome + Alumina = Translucent Corumdum Red Chrome + Cobalt = Blue/Green Chrome + Tin = Pink (light Magenta) Chrome + Tin + Silica = Red Chrome + Tin + Calcium = Red. tints to Ult. This cyan blue was the most important color in Chinese rugs. Madder root from the "rubia tinctoria" red to brown found from Anatolia to Persia. RED. the active ingredient is found in the leaves. Aniline blue has the same chemical composition and replaced it in 1870. Brazilwood dye comes from the local "caesalpinia" tree. Cotton was grown in India. you use a tin mordant. soft. Chromium = Green Opaque . Sea Minerals & Rock. It's composed of quartz and feldspar. Minerals & Ores of Color. its crystals are continuous and elongated. intruding magma going through sandstone will again form ore and quartz. Chemistry Glossary MOHS SCALE OF HARDNESS 1-Talc. Red. Orange. 4-Fluorite. Red. QUARTZ Quartz is the most common crystal mineral. Lake Minerals. Clay = Black (Terra Nigra. Purple. 3-Calcite. Yellow. 5-Apatite. 10-Diamond INTARSIA. Chromium + Iron + Manganese = Black Chromium Trivalent = Green Chromium Hexavalent = Yellow 5. Roman) 25. Potassium Oxide = Yellow Green 15. Ores of Color. Paintings made of precious colored rock and stone. Molybdenum = Smokey Gray to Blue 13. Zirconia = Pink. Copper = Green. consisting typically of feldspar and hornblende. As rocks and veins weather. Ultramarine Blue Iron Oxide = Opaque Brown to Red 8. Gold = Magenta 9. Salt fires clear Glossie 19. Brown 23. Lead = Yellow Lead + Chromate = Red Litharge = Red Minium (Roman) 10. Vanadium = Emerald Green. Yellow Green. Tin = White Tin + Chrome = Crimson Tin + Vanadium = Yellow 20. Clay = Glossie Red Oxide (Terra Sigillata. Ruby Red Violet Copper Oxide = Green Copper Oxide + Zinc = Brilliant Green 7. Titanium = Opaques 21. Yellow. Ferris Oxide Lead Silicate = Yellow Iron = Green. GRANITE Granite is also igneous or fire intrusive. Uranium = Red. but rarely. Green. Red. Brown Nickle Oxide = Slate Blue Gray 14. quartz is freed of it's matrix and breaks loose to form sand. Cobalt = Azure Blue Cobalt = Uranium = Green Cobalt + Zinc = Ultramarine Blue Cobalt + Chromium + Manganese = Black 6. Black 22. Magnetite = Black 12. 8-Topaz. Purple. Turquoise 24. 2-Gypsum. Color Chemical. Selenium + Cadmium + Sulphur = Red Selenium + Cadmium = Orange Selenium + Sulphur = Yellow 18. Black. Roman) Chapter 2 Rocks. Granite magma intrudes limestone or dolomite . Divalent Manganese = Yellow to Brown Manganese = Brown. Magenta. SYENITE Syenite forms in silicate-less magma. it has the hardness of H7. Red. violet 11. Quartz is found in ore mineral veins and needs a hollow space to form. Orange. Yellow. oxygen and silicon. Silver = Dull Silver Silver Chloride = Yellow Side Silver 17. Magenta Zirconium + Vanadium = Cyan. Platinum = Silver 16. Nickle = Gray. Cemented sand is sandstone. Turquoise. Blue. Cyan. MINERALS AND ORES OF COLOR BASALT Basalt is the most common of the earth's volcanic rocks. 9-Corundum. 6-Feldspar. Brown. (new window) ROCKS. 7-quartz. Basalt magma is sometimes as hard as glass. plus calcium magnesium of dolomite. an aluminosilicate. "calcined" limestone makes both plaster of Paris and mural mortar. Then the zinc-lead zone. LIMESTONE Limestone is a sedimentary mineral cemented by calcium carbonate and is made of once living organisms. made from potassium. in Egypt. we'll get to slaking lime in the mural chapter. Powered and heated. Potash feldspar is microdine. Granite. nickel and arsenic. bauxite. Marble is heat and calcium of limestone. green amazonite was mined and used as a pigment on murals in 1300 B. England. an intact mineral or solution of suspended silica growing on quartz crystal. clay and rock. forming silt which makes shale. HORNFELS Hornfels are a combination of clay and fine quartz sand. Feldspar can be morphasized with pressure to a harder crystal like tourmaline or topaz. Marble is metamorphic limestone. intrudes with its hottest leading edge forming cassiterite. Diatomite is a common filler in paint and paper. satin-spar. DIATOMITE Diatomite is diatomaceous earth. sand is broken quartz crystal. Gypsum. It contains aluminum in the ore. sodium and calcium. Pressure forms hard rock hornfels. being metamorphic is being made with pressure. a porous chalk like material. chalcopyrite is the primary copper ore formed in quartz. In this same category of sedimented rock is salt and gypsum. a sedimentary rock that forms on a sea floor or lake bottoms. iron. Gypsum heated forms sulfur dioxide gas and sulfuric acid. is present in rainwater or vapors. uranium. than silver. It's a form of opaline silica. zinc and lead.. after being heated loses most of its sulfur and becomes plaster of Paris also.and forms marble. SEA MINERALS AND ROCK SANDSTONE Sandstone is a sedimentary rock. Veins or lodes of ore in marble include. either with fumes or in a natural combinations. copper. FELDSPAR Feldspar is common in granite magma intruding on sandstone sedimentary rock. when there translucent and fibrous. it hardens into a crystal softer than quartz. lime plaster is better to paint on if you want to prolong the absorption time. Feldspar is the second most common mixed mineral silicate crystal. microscopic plants secrete silica to form hard shells of opal. Finally. with zinc sulfide as sphalerite ore. when there opaque and bendable. Third would be cobalt. Plageoclase feldspar is sodium and calcium. will form basic lead carbonate. KAOLINITE Kaolinite. lead sulfide is galena ore. crystal deposits formed as precipitates from sea water or in limestone. the iron rich zone with iron carbonate as siderite ore. called lead white. Heated in the presence of lead. GYPSUM Gypsum is crystals of hydrous calcium sulfate. tin. Gypsum crystals are called selenite when there clear. an intact mineral of quartz sand. The copper sulfides form second. Porcelain is made from kaolinite clay and is mined in Cornwall. add iron and it's red to green. is clay and chalk after feldspar. the dissolved mineral is calcite. MARBLE Marble is metamorphic or recrystallized limestone.C. Clay is hydrated silicates of aluminum. the dominate mineral of the world. These circulating waters contain sulfuric acid generated by oxidation of sulfur ore minerals. Carbonic acid. calcium carbonate. plus silica. QUARTZITE Quartzite is metamorphic sandstone. tin. alabaster. this pheudomorphs the kaolinite from feldspar. It's cemented together by the commonest cement. FLUORITE . rock salt. MINERALS. iron. means to treat with sulfuric acid. even under water. it effects changes with other ores. called heavy spar. SULFATE. TRONA Trona is soda ash in its hydrous state as sodium carbonate. England mines "Blue John" which was carved into bowls. Heated gypsum burns off sulfur as it becomes lime. is the reason cement dries underwater. Lead sulfate compounds form on lead. present in clay. CELESTITE Celestite is strontium sulfate. SULFITE is the salt of sulfurous acid which makes the cadmium sulfides from yellow to red. gypsum. That makes cement hydraulic. Molten borax will dissolve insoluble metal oxides and is the flux for soldering. Boron hardens metals. the oxide of aluminum present in clay. it was called "tin-cal". the lead ore that contains sulfur. found in veins with the metallic ores of lead and silver. green vitriol is made from copperas. Copper sulfides are green to blue. with enough heat. Boron is also found in boric acid and in the mineral sassolite. orange and red. . The Chinese mined a green variety and carved statues. is made from heated gypsum. a ferrous sulfate. make glass. There's also a luminescence fluorite which emits a visible light when crushed. It is just as easy to use dry pigments and a liquid acrylic polymer as the medium on a dry white cement support.C. In its anhydrous state. it has no coloring power by itself. ancient Greece gathered it in Delphi. or by itself. heated or radiated. It was once called "oil of vitriol". cups and vases. Fluorite forms a full color wheel. Borax and shellac form the paint called "water shellac". sand and alumina. SULFURIC ACID is sodium carbonate and is used in making glass. As barium it's an extender in lead based and cadmium paints. I tested white cement I got from a pool supplier with lime and sulfur safe colors from Sinopia and had as much open painting time as I have had with lime. Italy. to treat with a salt of sulfuric acid will make a sulfate. Arsenic sulfides are yellow-green. Oil coal-tar colors go from hansa yellow to ultramarine blue moving around the magenta side. filling the cavities in limestone. BARITE Barite is crystal of barium sulfate.. to form salts called sulfites. SULFIDE contains the free radical or more electropositive element. Barite is a non-metallic mineral crystal mined in England. Lead sulfides range from white to red. Borax powder will kill cockroaches. it forms in massive crystals. a di-basic acid of sulfur made from sulfur tri-oxide. calestite and dolomite. like in Portland Cement. brazing and welding metals. like over an acre. it absorbs water and the gypsum cement sets quickly. SODALITE Sodalite is sodium aluminum silicate with sodium chloride. Sulfur was used as an insecticide in 1000 B. SULFUR SULFUR is abundant in gypsum and as an anhydrite from sea water. CEMENT CEMENT. Use water based cera colla wax (new window) for the gloss finish on top of the dry fresco. and makes soaps and medicine. The addition of Alumina. you "sulfatize" when you roast galena. it's the only non-metallic element that has this capability. white vitriol is made from the lead or zinc ore. a Chinese word. the ore of strontium. it gives a glassy appearance to metallic sulfates. This strontium element supplies "the rockets red glare". So don't use gypsum lime for murals. LAKE MINERALS BORAX Borax is found in dry lakes as in Tibet. it's soda ash. SULFUROUS ACID is dissolved sulfur di-oxide gas in water. 1/5 soda ash and 4/5 sand quartz. To "vitriolize". HALITE Halite is sodium chloride. yellow. it is also found in limestone to some extent. any traces left behind would be bad for some older mural pigments. or with barite. from a deep crevice exuding sulfurous gases from Mount Parnassus. It can be found in a mineral called tincalconite and ten others.Fluorite is crystal of calcium fluoride. mined in Tuscany. I tested white cement that I got from a cement pool supplier with lime and sulfur safe colors from Sinopia and had as much open painting time as I have had with lime mortar. use limestone lime. Sulfur burns a blue flame and emits sulfur dioxide gas. blue vitriol is made from copper. The third coat is the top coat or Intonaco Coat. Antimony sulfides are found in the mineral galance stibnite. this one's a deep cyan color. found in metallic sulfides. By the fifth drying out period the lime will have no holding power. All the lime coats must be cleaned of their calcium carbonate. a hard finish to follow. they matched this color with copper and tin glass frit. These first two coats need to be floated rough with a wooden trowel or today's new float trowels. CASEIN CEMENT. Small scarabs were found glazed and considered as good luck pieces.. This is cast stone. ANTLERITE is copper's chief ore mineral.5. 1/8 inch or less. in Italy and Human. China. HIDE GLUE CEMENT Add less then one percent hide glue into the cement to slow setting from ten minutes to two hours. It was made by the Romans in 1000 B. CHALCOCITE is another secondary mineral of copper. a native green pigment when crushed. as the ancient Anatolias did in 6000 B. a very early pigment replenished in the Vesuvius eruption of 79 A/D. Start slaking with a very loose mixture of 'powered only once'. Antimony oxide was made artificially since the early eleventh century. They would have had to suspend Egypt's chalcocite sediment in vinegar to precipitate a salt. the clear shiny crust that forms when the lime is dry and for a long time afterwards. before Rome. it's a light cyan colored ore that the Egyptians wore as jewelry. The ancient Eskimos ground fish hooks out of this native copper.Soak. TENORITE is black copper oxide. intonaco coat wet longer. It must be allowed to pass right up to the top where it will add to the intonaco's calcium carbonate crust. Egypt had murals of wine harvests 2500 years earlier. ACETATE is a salt by acetic acid or vinegar. Arsenic disulfides are red realgar and yellow orpiment. CHALCOPYRITE is the primary ore formed in quartz. metal will not do. CHALCANTHITE is retrieved from the chalcocite sediment. is brittle unless it's heated or annealed. Only the first and second drying of limestone lime will hold together strong enough for mural work. and it made blue and green frit.C. This dry crust will stop all rising calcium. Gypsum doesn't do that. this is the basis of the ancient blue vitriol. Use 1:1 lime and a fine white sand or 'lime marble meal' which is larger then 'lime powder' for the last 'intonaco' coat. ammonia turns copper blue. and was called vertigris.C. Arsenopyrite is arsenic's main ore. the longer the better. Three coats are better than one and six coats are better than three. PHTHALOCYANINE is copper with one of its atoms removed to make a non-metallic pigment. Copper pitch ore was used all through the Neolithic Period. it's the complementary color of cuprite. KEENE CEMENT has alum salts added and makes a very hard mass. Not good for fresco. hydrated dry lime and water. AZURITE is another hydrated salt of copper carbonate. Soak azurite long enough and it will turn green. The first Scratch Coat or Rough Coat is 2-3 rough sand to 1 lime. It will be used as a white pigment when glue is added. ARSENIC ARSENIC. I suspect Egypt made it first. both were used in the early Egyptian days. It's calcined magnesite. This makes me think Michaelangleo used gypsum in his lime because the ceiling is not shiny. it's calcined just short of becoming magnesia (as limestone becomes lime). The second 'Brown Coat' uses medium sand at 2:1 lime. A hydrated copper acetate was said to be the first artificial color. 1:1. CEMENT FONDU is a cement with a high aluminum content. CHRYSOCOLLA has a hardness of 2. I'll point this out while proving my color theory and color wheel oppositions. This pigment doesn't react to . and made into cement with a strong solution of magnesium chloride. OXYCHLORIDE CEMENT is also called. casein added to cement makes it harder and set faster. or slake the lime from three months to twenty years. That becomes the lime murals shining jewel. for containing water to keep the top. it's a copper sulfate. COPPER COPPER ORE native. precipitating in still waters as a soluble sediment. since they did so much with copper. Notice. paint chips off. CUPRITE is a cubic transparent ruby-red crystal. MALACHITE is a secondary mineral ore of copper carbonate. it was also used as a pigment all throughout the ancient years. PLASTIC MAGNESIA. ORES OF COLOR ANTIMONY ANTIMONY native is Naples yellow. it was a sample of the color pigment they sold on the ancient world market. formed as a secondary mineral from exposed copper ore. LIMONITE is a secondary ore of iron that forms yellow to brown oxides. Galena is lead sulfide mineral. it's an ore of iron that contains the natural yellow ferric oxide pigments. mercuric sulfide. native. this made their highly prized frit colors. CERUSSITE is a native lead carbonate mineral. This is artificial basic lead carbonate. along with wood tin. SIDERITE is iron carbonate. red. You can get a similar blue by mixing and firing tin and copper chalcanthite with quartz sand like the Egyptians did. mix tin oxide and cobalt oxide with heat and you get cerulean blue. for stannum. WULFENITE is a transparent orange crystal. Smelt tin ore and copper ore and you'll get bronze. TIN OXIDE is black and fires white. This is the second bit of proof for my color theory and color wheel. CALADONITE is a green earth iron silicate mineral. It forms a white lead sulfide or oxidized white lead and contains the free-radical that effects so many pigments. dissolved in water to leave behind limonite. It's the whitest lead but not as opaque as white lead oxide. yellow ocher. Also formed is a water soluble salt compound of lead arsenate. ancient world wide. All these colors were found in the Franklin Mines of New Jersey. yellow. The rest of the world found it a very useful pigment. tin was exposed on cliff faces. turning lead sulfide to lead sulfate. heat it to 1830 degrees and get iron. This is perhaps the most important color ever discovered. it is water soluble and called sugar of lead. the red crushed ore is the color vermilion. the Tigris Euphrates Valley. as in sienna. Lead acetate can be used as a siccative. Cinnabar is found in crystal and masses in South Central Spain and in China. LEAD GALENITE or GALENA. Hydrogen peroxide will stabilize and remove the free-radical. HEMATITE is iron ore. . MERCURY CINNABAR is the ore of mercury. IRON OXIDE ranges from white calcite. Hematite naturally crushed and oxidized leaves a red streak powder that was the stone-age red and Egyptian rouge. Afghanistan. IRON GOETHITE is iron hydroxide crystals found yellow to brown in earthy masses. and it contains sulfur. The Carthaginians and the Romans both worked the Spanish mines. Upper Syria. a tin dioxide. white lead sulfate. Eventually it entered streams and rivers to be stream mined. Magnesium is the purple side of caput mortuum. TIN TIN ORE is found in Cassiterite. our white pigment. ZINC SILICATE: Zinc SILICATE comes in a variety of colors. a red-orange crystal. Roasting the galena ore produces a basic lead carbonate. Tin was mined in Eastern Greece. decomposed pyrite is hydrated iron oxide. where the rocks eroded exposing the veins. a stable white lead. The symbol for tin is Sn. opaque white. LEAD CARBONATE is formed by mixing in solution. PYRITE is iron sulfide and sulfuric acid. brings out the red side and adds a transparent quality if silicates are involved. green. PB60 anthraquinone is transparent muddy ultramarine blue. Iron will make all colors. sienna. First. Tin ore is found in rock forming minerals like feldspar. brown and black. ancient Anatolia. the principle ore of tin. VANADINITE washes to lead vanadate. it's transparent and covers from yellow-green to cyan. China did more carving in it than painting with it. transparent yellow and green. Fifty four percent of pyrite is sulfur. ZINC ZINC: The zinc primary sulfide mineral is water soluble. LEAD ACETATE is a colorless crystal formed by acetic acid touching lead. going from yellow to brown. lye and carbonic acid with lead acetate. which they traded through the Phoenician's. red oxide.sulfur as metallic copper does. quartz and mica. colors that center to brown. Bronze is the metal the Egyptians made their saws out of to cut the limestone for their great pyramids. CALCITE is a native iron pigment mineral that is white. Adding heat (calcined). present in iron. brown and green umber to black. LEAD IS CORRODED with fumes of acetate and carbonic acid in steam. white lead. and is often found with galena. the Mekong River and England. [AZO] means nitrogen-bearing. the sodium salt of sulfurous acid.The principle ore of chromium containing iron and magnesium. COLOR CHEMICAL. it's weaker but it will still dissolve wool and react with oils. Hydrochloric acid is violently caustic on metals. Chrome red. Carbonates and sulfides of metals are sensitive to mineral acids. yellow deep.A word element meaning color. CHROMIUM.A mineral. It makes cement hard. CHROME. Borax is sodium tetraborate. To find the complimentary by eye use your color reversing image retention. red light. Sal soda is a sodium carbonate or washing soda or soda ash. The salt of acid with fewer atoms to the molecule. alkali.ZINC OXIDE: Zinc oxide is called zincite and is colored white. carbon dioxide is set free. CHROMITE. yellow medium. Chromium compounds are chromic acid and its salts. a hardening element as with chromium steel.Element. CROMA. CHROME. zinc oxide is zinc and oxygen. It's an astringent. [IC] and [OUS] designate numerical variations in an acid or oxide. CHROMATE. Chromite cadmium forms lemon yellow through. or zinc. slow oxidation is rust.Color saturation of a hue. CHROMOGEN. sodium sulfite. when they are hydrated. Binary compounds consist of two elements. ultramarine blue. Look at the color swatch in a bright light for 5 seconds.A double sulfate of aluminum and potassium crystal.A salt of chromic acid with a radical atom that will easily leave its host molecule. The reversed color will appear. . A chromate of lead is red lead. followed by the negative. barium. sodium sulfate.A color and its opposite on the "real color wheel" will combine to a neutral dark on the pigment color wheel and white on the light color wheel.Any chemical group which produces color in a compound as the azo group -N=N-. or red lead is the basic chromite of lead treated with chromium salts of chromic acid. CADMIUM.To lose all water. forming colored compounds. red scarlet. as the blue transparent crystals of copper sulfate contain seven molecules of water to each molecule of salt. Without the water it's an anhydrous white powder.Alkali or base: is caustic and reactive.with water. fats and wax. chrome yellow is composed of chromates of lead. red medium. Chromite white lead. First the metallic and acid name. red deep to red purple. a mild alkaline salt that's used as a flux with glass and lime setting and hardener for casting molds with hydrated lime. the dry mix of alkali and acid neutralize each other. sodium sulfide is a binary compound of sodium and sulfur.Calcination means to heat. Acid liberates hydrogen ions. CHEMISTRY GLOSSARY ACID. To make a chromate. called chromates. a 5% solution will harden hide glue. CRYSTALLIZATION.The adverb for chromium.Unsulfonated dyestuffs.A salt of chromous acid. (new window) COMPOUNDS. from yellow through orange to red lead. these that don't contain their maximum complement of atoms are called unstable. an electrically unbalanced or charged atom. calcium sulfate. the structural layout of atoms which is found in many colored compounds. gelatin and all proteins. ATOM.The smallest unit constituent of an molecule containing protons. both lye and ammonia are strong alkalis.A substance that colors when oxidized. ALUM. first named is the metallic or electrically positive. ALKALI. and is a mortar for dyeing textiles. like Azo. Chrome green is made from chromic oxide. ANHYDRITE. which ends in [IDE]. yellow light. Sodium bicarbonate or sodium acid carbonate is baking soda. ends in [ITE]. COMPLIMENTARY COLORS. All analogous colors and no others. yellow extra deep. Acid vapors and weak acids bleach lapis lazuli and syn. then switch to a blank white paper. the number and arrangement of which determine the element. yellow orange. orange. CHROMOPHORE. Alkali yields to hydroxyl [OH] ions. orange and red. you change a chromogen from colorless to colored. burn or cook. diazonium salt with a phenol. including crystallizing waters. an acid. a coloring agent. yellow. occurring in compounds to make pigments. metallic. sodium hydroxide is caustic soda or lye. CHROMITE. [THIO] means sulfur-bearing. Hansa Yellow. CALCINATE. ANHYDROUS. as is acetic acid. followed by [ATE]. [OUS] being smaller and more unstable.Boric acid is a very mild acid.Composed of two or more elements or ingredients. Calcinating a salt of iron makes an iron oxide. Sulfuric acid is weaker then hydrochloric acid. AZO. neutrons and electrons. I made a page to prove and show how this works. This is the salt of sulfuric acid and a sodium compound. a colloidal sulfur. chrome red is a basic chromate of lead.A metallic element that looks like tin. INORGANIC. Oil is a glyceride of fatty acid from plants. ORGANIC. clay and lye. producing hydrated silica. of a compound containing two atoms of chromium. cobalt is rose and anhydrous blue. Barium salt is insoluble.Chemical. MOLECULES. Sodium sulfate Na 2 SO 4 is sodium salt of sulfuric acid. Synthetic resins rearrange the molecules.Salts of metal oxides soluble in oil. nickel is green.Carbolic acid. usually a transparent color that looks different when white is added as opposed to adding water. Fe = iron.A soft metallic element that oxidizes rapidly in moist air.Plants and animals are organic. siccatives speed up the drying process. All oils turn yellow. HYDRATION. RADICALS. as some pigments do. linseed. containing glycerin is a glyceride. the other precipitates as a powder. SOAP. one will remain soluble.means losing water to air. vegetable oils.Salts are neither acid or base. The salt of acid with fewer atoms to the molecule ends with [ITE]. Salts are produced by action on metal or another salt. SALTS. ESTER. HYGROSCOPIC. or by the neutralizing reaction of an acid or base. SICCATIVE.A gas with a univalent radical. forming two new products (called double decomposition). Unstable or unsaturated acids and salts have open hooks and end in [OUS]. silicon esters are ethyl silicate (alcohol and silica).The color perceived by laying down a thick coat of pigment. these are called "loose linkages". Some pigment salts are made by mixing two solution salts together. like calcium chloride.Inert has no action to effect changes to itself.Made by treating a fat with an alkali. MASS-TONE. sodium sulfite NA 2 SO 3 . obtained from wood ashes. inert and neutral.copper is blue.To lose water as hydrated oxides do when exposed to heat.Potassium carbonate. In fact it yellowed more than my cold pressed linseed oil. HYDROUS.the best hardener for egg. Ethyl Silicate is made by Union Carbide Company. poppy and walnut oils dry by absorbing oxygen. A 37 % solution of formaldehyde is called formalin. great for outdoor murals. This is a complete painting medium. POTASSIUM.A product formed by the reaction of an acid with alcohol. FORMALDEHYDE. but they could have those reactions. some salts are active. added to iron gives ferricyanide salt or Prussian blue.Drying. .Ester or salt. it's soluble. Dual-Toned DICHROMIC. An organic salt is called an ester.means internal changes. EFFERVESCENCE.A color exhibiting two color phases. combined. any metallic salt of an acid contained in fat. Stand oil is thickened without oxygen appears clear but it does yellow. SODIUM. POTASH. EFFLORESCENCE.CYANOGEN. 2% maximum is recommended. as when mixing ammonia and beeswax while making wax soap. Salts of metals categorize themselves in color. ESTER. a hydroxyl derivative of benzene. INERT. Adding water has a chemical reaction called hydrolysis. POLYMERIZATION. occurring only in combined states. DICHROMIC. they speed the absorption of oxygen by oils and dry them faster.Minerals and ores are inorganic and inert. This is called.to give off bubbles of gas. a 10% solution of formalin is sprayed on the dried protein to harden it. a salt of phenol. glycerides in drying oils are unsaturated and combine with oxygen forming insoluble linoxyn. Normal salt of acid is named for the metal than the acid. Fe2 . casein. Sodium chloride is table salt. Ferrous [iron] oxides are exceptions.Similar to sodium element.Two or more elements hook valences together and act as a single element in a reaction. volatile. used in organic synthesis. ending in [ATE]. FATTY OILS. 3 equals three oxygen atoms. used in hard glasses. chromium is yellow to dark red and iron is from yellow to brown. Caustic potash (pot-ashes). Molecules of red iron oxide are. It has an alcohol cleanup until it's dry. a stone preservative that is inorganic and imperishable. PHENOL.means to absorb water from the air.O3 . 2 equals two iron atoms. O = Oxygen. Formalin is a fungicide and prevents mold. Phenolate. alcohol. as [HO] is hydroxyl.Containing water as in hydrates or hydroxides. This note is taken in my color theory of rim and centering colors in elements.The smallest physical unit of an element or compound consisting of one or more like atoms in the first case. and two or more different atoms in the second case. rabbit hide glue or any protein. Hematite was red rouge. 3.350 B.000 B. WHITE ANTIMONY GALANCE. King Tutankhamen. 6. 6. Isoindolines. Lead white.000 B. stibnite ore was roasted or found native. chrysoprase.Eskimo's N W of Hudson Bay had copper fish hooks made from glacial copper.C.700 B. Old Kingdom Egypt was painting murals of miners.C.000 B..000 B. indanthrones. They burnt gypsum and limestone for plaster to cover walls.C. 1. green fluorite. native ore calcite. and oil started replacing it. as opposed to the MASS-TONE (from the tube) or TOP TONE (adding opaque white). from Russia to China. bronze saws cut the blocks of lime stone for the pyramids of Giza. Castor is also the brightest star in Gemini.C. GYPSUM.An irreversible chemical change.400 B.C.C. phthalocyanines. make columns. An Iron and nickel alloy knife was made and found. calcined 250 degrees. IRON.. 4. chalcedony. 2. (light-green amazonite).C. MINING 40. bronze was all over the Mediterranean and China.C. "ceruse". 1. 3.000 B.C. a Lifelike gold casting of him was in his tomb. Castor oil was added to Sandracca (sandarac) about 2000 B. probably from a meteorite.000 B. basic sulfate of lead.C.Gold found in the Royal Caves of Ur.C. silver. carbon has four.C.C. Neolithic miners dug for flint in England. 1.C. The Hittites of Anatolia smelted iron. malachite. Tribes mined flint in Egypt and France.700 B. 2. The Phoenician city of Gadez.Neolithic communities like Anatolia hammered copper.Galena was found in every country from Morocco to Greece. Copper works were found in Catal Huyuk. LEAD. it's a fungicide. became a tin market. 1. as when oil dries.hardens proteins. perylenes..C. and as supports for murals. Clay plate painting of "miners" at Corinth. when mastic.C.Egypt's IV Dynasty smelted bronze..000 tons of gold for Egypt. 1. B. egg.C..350 B. VALENCE.C.The Nubia people mined 1. green feldspar. VAT PIGMENTS include.. native calcium sulfate. became a tin market. Greece was smelting bronze.100 B.. PIGMENT PALETTE Here's the mineral palette back when Sandarac was King of Paint and Zeus had a son named Castor. sprinkled on the dead. 4.000 B.C. extend and make it pliable.POTASSIUM BICHROMATE. of the XVIII Dynasty had smelted tools of iron.100 B.C.The thin wash color of a pigment. native or burnt galena ore. a small figurine of a pregnant woman was found at the back of a limestone cave. Oxygen has two. Greece. Zinc was smelted from lead.Valence is a hook on an atom that links two atoms together. Sandarac was a major medium into the A/D's. the benzene radical has six.C.Egypt's casting gold. (a milk colored quartz). 5. Ores Color Reactions to Each Other B. UNDER-TONE. The Phoenician's smelted galena and silver. King Tutankhamen.500 B. to soften.. oxide.C. B. 600 B.000 B. 1.. Lapis lazuli was jewelry. farmers and "the good life".000 B.C. 1. a culture in Turkey. REACTION. The Phoenician city of Gadez. smelters. the amount of hooks is the valence number. a Lifelike gold casting of him was in his tomb.000 B.[a nickel stained applegreen chalcedony.Afghanistan and Mesopotamia were mining lapis lazuli. copper and bronze. Pigment Palette. and quinacridones. . of the XVIII Dynasty had smelted tools of iron. wax. (crushed malachite was their green eye shadow paint). Greece was smelting bronze.Pre-dynastic Egypt mined gold. Chapter 3 40.. Madder root made a similar color without the shellac. (That would be the first use of Indian yellow. Oil soot. Ultramarine ash. ancient "pyrolusite". ORANGE ARSENIC. flower power. IRON. arsenic sulfide. lead also heated to orange.) Other yellows were made from weld family vines and rhubarb leaves. native. IRON. Raw sienna. Asia. "minette". TIN. "Turmeric" root. arsenic di-sulphide. ORGANIC-PLANT. Calcined tin oxide. made with sulfuric acid fumes. Constantinople. crimson and yellow dyes. The Latin word "hellus". native. burnt sienna. than it's high in silica and is transparent. Tree sap. "Saffron". or shellac paint. MAGNESIUM. Slate gray. LEAD. was used to impart the finished color of gold to tin.C. bright yellow. I think "Imperial Yellow" and "Mandarin Yellow" were made from Monghyr puree. which came from the Sanskrit words "hari" for yellow and "hiranya" for gold. 3000 B. Lead white carbonate oxide. "White vitriol". lamp black. ZINC oxide found native. Japanese pigment.. This medium and paint. "gamboge" translucent yellow. ROCK. "chamois". "Massicot". Naples yellow.C. SULFUR. In clay. carbonate found native. MICA. powered. 500 B. Rubens used this glaze IRON. Black manganese dioxide native. Stick-lac.C. made with sulfuric acid fumes. replenished 79 A/D in the Vesuvius eruption. Lead-tin Yellow. MANGANESE. Egypt early. Silicate laminated natural. calcined from white to pale yellow. Roman.C. heated to burnt sienna and translucent vermilion hue. ORGANIC-ANIMAL.. "Cassel Yellow". made by acetic acid fumes and carbonic acid fumes on lead in a closed container. India. Painting on Location's Magdalene c/o Tan Swee Ming wrote: Ni Hao! (means: How do u do.) Where did the word Yellow come from? Ellie Clemans from the Painting on Location listserver sent us this information. adding alum made it a dye. India cultivated a sap eating insect that secreted an alcohol soluble stick-lac or lac. it's only a presumption but the color and permanence matches. 2000 B. native. The under-tone of sandarac is a warm yellow simular to Indian yellow. It's a light cool yellow often mistaken for Naples Yellow. YELLOW ARSENIC.C.. Yellow ocher natural. red-orange clear crystal. Colored resins from the sap of trees and boiled roots from as far away as Singapore made red. Iron oxide. "King's Yellow". Realgar. Roman "atramentum". CARBON. IRON. crushed. native. Thailand.. Orpiment. red and brown. alcohol base. SHELL. which came from the Greek word "khloos". Boiling removed the crimson to magenta color. except at Kramer in Germany. "Sandarac" (Sandracca) 1000 B. this leaves a cool opaque gray. heated to gold ocher. tea leaves made nice tans. India. flesh ocher and red. IRON. ORGANIC-PLANT. By adding borax from Tibet it became a water-soluble permanent red paint. ZINC "White Vitriol". Insects and insect secretions made the brightest and dearest magenta dyes. the first washing contains some matrix rock. TIN. . Lead oxide white heated to a cool yellow.. native. Egypt 3000 B. Amberg yellow. ORGANIC-PLANT. BLACK BONE and HORN. Pictura Translucida. "curcuma" root. "sil". ANTIMONY. high in silicic acid until calcined from raw sienna. native. LEAD-TIN. AD 700. charred deep black.LEAD. the whitest ore pigment. transparent yellow to brown. named after a city in Bengal. a very bright fresco yellow ocher no longer available. "Risalgallo". LEAD. ORGANIC-PLANT. exhausted. native zinc oxide. native red oxide zinc ore. it's a cool magenta color. ferrous hydroxide and silicic acid. 2000 B. they made a smalt after the Egyptian frit of copper. "Carthame". Safflower red. "Tyrian" is Greek. ORGANIC-PLANT SAP. Singapore. red ocher. "Karmes" another insect. is the ore of mercury. or earlier. 500 B.. 500 B. Zincite red. Manganese violet oxide. native red streaks of iron oxide. native is a pale violet-magenta color. Roman. Egyptian or Greek or Roman. calcined from pale yellow to pale orange. That is the opposite of the copper pigment color. maybe earlier. COPPER. from the Murex shellfish family. Highly heated tin oxide makes a pale magenta. opaque. PURPLE MANGANESE. not for fresco. The word "orange" comes from the Sanskrit "naranga" which was related to the Tamil word "naru" meaning fragrant. "Pozzuoli Red". in clay. Greece. cobalt and tin oxide in potash glass. "Minium". cyan. "umbra". cochineal insect. The color ranged from pink to blue transparent.C.C. Light rose to dark magenta. blood red transparent. Egypt 3000 B. RED COPPER. TIN. "Armenian bole". a brittle mineral ranging in color from yellow. Cupric crystals native. native red oxide. Cennini described a native light vermilion red hue good for flesh colors IRON. IRON. "Caput mortuum" is red ocher or oxide calcined.TIN. light cobalt blue colored smalt. "Carmine". ORGANIC-PLANT ROOT. Zincite. hydrous copper carbonate. . "sinopia". ore of zinc. "sinopis". Roman. IRON. ORGANIC-PLANT FLOWER.C. IRON MANGANESE. Mercuric Sulfide. in clay. Phoenician. "Nacarat carmine" is the highest quality color. on pottery. a transparent dyestuff precipitated on clay. "chessylite". not counting gold. Raw umber.C. Roman 100 B. Roman. BROWN IRON. "Byzantium". oil and wax pigment that is unaffected by alkalis. ruby red lac. ore. MAGENTA COBALT. Calcined raw umber makes burnt umber. According to Pliny it was the celebrated "Imperial Purple" (new window)of the Romans. in clay. 1000 B. COBALT-TIN. "Cinnabar" native. Black oxide of cobalt fires cobalt blue. are all names for purple. in clay. Burnt green earth. "cinabrese". HEMATITE IRON. "Dragon's Blood". transparent red.C. ZINC. where abrasion has ground off hematite ore in place. transparent like sienna.C. blue to cyan. A rosy opaque magenta. "terre d'ombre". LEAD. China 2500 B. turns dark in fresco as all leads do. in clay. red lead oxide is made by heating white lead in the presence of air. Cobaltous stannate. as ancient as karmes. IRON. "Vermilion" natural was one of the two most prized and expensive pigments of the ancients. Egypt. native. boiled Rubia Tinctoriun root on clay or transparent water based in wax soap. this was a mastic. similar color. "Ostrum" is Roman. Greek. Brazilwood lake. Cobaltite is a native mineral ore. orange to deep-red. The word "red" came from the Sanskrit word "rudhiras". also roasted darker. Manganese dioxide and iron hydroxide. ORGANIC-ANIMAL.C. ZINC. cobalt arsenic sulfide. IRON. ORGANIC-ANIMAL. MERCURY.. or native. "Azurite" natural. IRON. "Madder lake". BLUE COBALT.. a very light red ocher from Asia Minor. . COPPER. a very dense light skin color the portraitist used as the base instead of white. plus. not the same color and not really necessary to the palette. It reacts less than lead white with sulfur. I made some. It matches the light Naples Yellow of old. Copper hydroxide plus copper carbonate. a popular early Roman color. you don't need it. a sulphide of arsenic. Antimony oxide white is Timonox. (cobaltous oxide arsenate) if they still make it. native. we would still have Naples yellow. but it could be handy. COBALT Oxide is black. sodium sulfosilicate ore. IRON. (cobaltous phosphate) by Bocour (closed now). Native red arsenic is realgar. COPPER. ore of copper. Pompiian blue lake. It was Indigo (a plant based dye) bonded to clay through a process of baking the indigo and clay at a specific temperature. translucent. Using materials I knew they had I put copper in ammonia. I remember reading once. that at an Egyptian excavation they found some clay pots with holes in them for wires. well it does go a little farther. GREEN COPPER. "Veronese green earth". I was stirring the mix with my steel palette knife and it put a copper plating on it! I wonder if the Romans ever rust proofed any of their iron. a British trademark. now .. This color is usually listed under green.C. COBALT COBALT turns black with sulfur. fired in potash glass it becomes smalt. Mixing the salt with damar. Crushed into pigment. copper carbonate. I believe it. Roman 100 B. Indigo was the better. Indigo. "tirolean". the best crystals looked clear and transparent to me.. COPPER. Hard oxides of metal are inert pigments. Arsenic tri-sulfide is made today if you can find it. Egypt 3000 B. copper silicate transparent.C. CYAN COPPER. first a pigment in Egypt. then a jewel. "green vitriol". "Egyptian blue" 3000 B. I wrote this in 1996.C. Both transparent cyan dyes. (vert) means green. ORGANIC-PLANT. aluminum oxide and titanium white. there's a German cobalt violet dark. Ferrous hydroxide plus silicic acid. "Blue vitriol". I painted with it. "blue verditer". a few drops of acetate acid (vinegar) and the color changed.. the archaeologists thought they were using them as storage batteries for plating.COPPER. "Bremen blue". THE CRYSTAL COMPOUNDS Brittle crystals make the best pigments. ferrous sulfate. Great color! ARSENIC ARSENIC native yellow is orpiment. India. Lapis lazuli native. if we had it. COBALT blue today is a mixture of cobalt oxide. transparent. if you want to check out the article. They also used Lead-tin yellow. ORGANIC-PLANT. This magazine is currently at Barnes and Noble. Idiochromatic is an internal element coloring the crystal. Allochromatic is an external element coloring the crystal. Frit. Malachite. Check out an interesting article in Scientific American's Archeology Magazine August 2000 about Mayan fresco and the cyan pigment they were using. Verdigris. Since this was the first artificial color made by the Romans. copper salts and sulfuric acid fumes make a copper sulfate. I mixed the salts in sulfuric acid and it turned clear. 3000 B. There is a new pigment in town (2011) called Rembrandt Nickel Titan. Woad. New York. IRON. hydrated copper acetate crystals. England. orange and vermilion react as lead does and it's just as painterly. When a color can be mixed using two pigments. COPPER. it precipitated a light cyan-green salt.C. and. ORES COLOR REACTIONS TO EACH OTHER ANTIMONY Naples Yellow. cobalt blue. chalcanthite. an arsenic di-sulphide. water or resin soluble. "mountain blue". SULFUR. copper salts fused in potassium silica glass. Chrysocolla. These are ancient colors not available today. has none of the drawbacks of zinc and would give titanium the best run for the money. a native copper silicate. The indigo was then permanently bonded to the clay and the indigo-clay powder was used as a permanent blue color for fresco. "bohemian". COBALT violet is a very important transparent cool magenta. 1920. IRON-COPPERAS. a ferris-cyan. Yellow. this turned the ammonia blue. "Pozzuoli blue". glass-frit then became an Old World pigment of the same color. is the best I've ever seen. Nickel yellow and nickel Naples yellow. Raw sienna is an iron hydroxide. Native colors are usually unaffected by anything at all. blue and violet are all good dryers. will also produce basic lead sulfate. COPPER is turned blue by alkalis like ammonia. Combine lead and zinc and you get the best of both. LEAD sponificates or turns clear in oil. COPPER CARBONATE BASIC is malachite green native and azurite blue native. there inert and safe to use. it works with all other metals. a stable white. the color is precipitated from the ammonia with acetic acid. THAN LINSEED OIL. It will also heat to orange and red. permanently. manganese green. they are inert. cadmiums (they are sulfur colors). with zinc white a close second. Hydrogen peroxide will stabilize and remove the free radical.in 2003 Gamblin may have made this paint. the natural pigment cinnabar is no longer available. even higher heat would bring up the violets. based in clay. Today's lead white is ground much smaller and is slower drying. verdigris. MANGANESE MANGANESE native black oxide. IRON oxide's are the calcined yellow to brown ocher's. LEAD is very poisonous. Arsenic will also turn black. IRON hydroxides are the yellow to brown ocher. Roasting lead ore. caput mortuum. like the ancients did. today's synthetic vermilions don't contain either element. basic sulfate of mercury is bright yellow and turns black with copper. apply lead thickly in the last coats or with age you will see through it to a lower color. TIN TIN oxides turn lead black. copper. I haven't tried it yet. This makes the ancient Roman color. COBALT salts with potassium nitrite make the color aureolin yellow. this is white lead sulfide. a purple brown. manganese carbonate white. LEAD has a free radical atom that will leave the lead and turn some colors black. SULFUR SULFUR will turn all lead-colors-black. manganese. so there safe to use in any combination. turned into red ocher's or red earth's. LEAD LEAD SOAPS TURNS YELLOW IN OIL. COPPER turns black with sulfur. the most poisonous of all colors. the lye turns white lead brown. cobalt. Titanium white is the all around better color. and King's yellow. . zinc lithopone (zinc sulfide on barite) and mercury. LEAD can not be used in fresco. glance. arsenic and antimony. MERCURY MERCURY and sulfur make vermilion. BY ITSELF. COPPER non-metallic phthalocyanine cyan to green should replace all other copper colors. higher heat would make a vermilion transparent hue because of the high silicic acid content in the clay. IRON is ferric oxide. also tin. WALNUT OIL IS NEXT. but it is too brittle. black. copper. until finally. ocher's and earth's if poorly washed will also contain iron sulfates. Like the ancient massicot yellow. iron and the gas cyanogen make ferrocyanide. turning white lead sulfide into white lead sulfate. the sulfur in the air will turn it dark. POPPY OIL IS THE LEAST YELLOWING BUT THE SLOWEST DRYING OF THE OILS THAT DRY. burnt sienna has been calcined. cadmiums. The red lead is the fastest drier. vinegar. COPPER ARSENATE is emerald green. a salt of ammonium ferrocyanide makes Prussian blue. LEAD will turn black with hydrogen sulfide. They don't seem to make much antimony Naples yellow any more. and permanently yellow with heat. Nor can it be used in water colors or pastel. tin. LEAD turns these colors (metals) black. MERCURY. IRON IRON RESISTS LYES. SULFUR AND ACIDS AND MAKES THE MOST COMPLETE COLOR WHEEL OF ALL THE ELEMENTS. COPPER AS PIGMENT COPPER turns lead. TIN = Sn. CHROMIUM = Cr. COBALT = Co. TITANIUM = Ti. CARBON = C. BERYLLIUM = Be. ZINC fades Prussian blue.TIN oxides are black. SILVER = Ag. MAGNESIUM = Mg. there both good. MERCURY = Hg. orange or red. ZINC ZINC oxide white covers less well than lead white. #3. MOLYBDENUM = Mo. ARSENIC = As. ANTIMONY = Sb. MANGANESE = Mn. #2. ZINC white and sulfuric acid make white vitriol transparent. BARIUM = Ba. tin oxide (stannous chloride) plus cobalt oxide [cobalt sulfate] fired together become cerulean blue. cobalt yellow and coal-tar pigments when used in water colors and gouache. ALLOCHROMATIC (-) FOREIGN ELE YEL ORG RED CRM MAG PRP ULT AZU CYN TRQ GRE Y-G Ag +10 Al +13 +47 +53 Al +59 +49 Al +60 +50 +60 Al +63 +55 +63 +61 Al +54 +56 Al +64 +52 Al +59 +59 +59 +59 +59 +59 As +07 +07 +06 +10 As +67 +70 Ba +74 +74 Be +39 Be +50 +50 Be +51 +51 +51 +51 +51 C +00 +00 +00 +00 +00 +00 Ca +28 -52 TRQ GRE Y-G +11 +74 +00 +00 +00 +39 +00 +00 Cr ORG +00 +28 +28 YEL +74 +39 Co ELE +59 -14 -03 RED CRM MAG -14 PRP ULT AZU CYN . VANADIUM = V. LEAD = Pb. like the Egyptian frit. Hydrogen sulfide reacts to make a different white. by calcination they become white.outside link. IDIOCHROMATIC (+) EXTERNAL ELEMENT COLORING. ZIRCONIUM = Zr. URANIUM = U. TUNGSTEN = W. ALLOCHROMATIC (-) ALUMINUM = Al. zinc sulfide from zinc oxide. ZINC = Zn INTERNAL ELEMENT COLORING. lyes and acetic acid effect it. ZINC does not work with fresco or tempera emulsions. LITHIUM = Li. COPPER = Cu. FLUORINE = F. it's not about color (new window) Chapter 4 Crystal Color Charts #1. CALCIUM = Ca. It works well in water color. but does not yellow as lead does. 40 Common Minerals & Their Uses . STRONTIUM = Sr. tin and copper fired together become an even cleaner cyan tint. TIN chromate [stannic] is yellow mineral lake. IDIOCHROMATIC (+) INTERNAL EXTERNAL ELEMENT COLORING. IRON = Fe. #4 CRYSTAL COLOR CHART 1 MINERAL ELEMENTS IN THE CRYSTAL COLOR CHART INTERNAL ELEMENT COLORING. Zinc can be made yellow. SODIUM = Na. cadmium yellow. NICKEL = Ni. ANTIMONY = Sb. CARBON = C. COPPER = Cu. SODIUM = Na. MANGANESE = Mn. ANTIMONY = Sb. MOLYBDENUM = Mo. MOLYBDENUM = Mo. CHROMIUM = Cr. CARBON = C. BARIUM = Ba. VANADIUM = V. STRONTIUM = Sr. FLUORINE = F. TUNGSTEN = W. MANGANESE = Mn. URANIUM = U. ANTIMONY = Sb. BERYLLIUM = Be. ZINC = Zn CRYSTAL COLOR CHART CHART 2 ALUMINUM = Al. CALCIUM = Ca. LEAD = Pb. IRON = Fe. ZIRCONIUM = Zr. TITANIUM = Ti. STRONTIUM = Sr. SODIUM = Na. MAGNESIUM = Mg. MERCURY = Hg. TUNGSTEN = W. MERCURY = Hg. IRON = Fe. VANADIUM = V. ARSENIC = As. MAGNESIUM = Mg. MERCURY = Hg. TIN = Sn. NICKEL = Ni. ARSENIC = As. CHROMIUM = Cr. MAGNESIUM = Mg. BERYLLIUM = Be. SILVER = Ag. ZINC = Zn . COBALT = Co. CALCIUM = Ca. NICKEL = Ni. BARIUM = Ba. CARBON = C. COBALT = Co. COPPER = Cu. MOLYBDENUM = Mo. VANADIUM = V. MANGANESE = Mn. COPPER = Cu. LEAD = Pb. ZINC = Zn INTERNAL ELEMENT COLORING. COBALT = Co. CHROMIUM = Cr. STRONTIUM = Sr. ZIRCONIUM = Zr.ALUMINUM = Al. LITHIUM = Li. ALLOCHROMATIC (-) FOREIGN ELE YEL ORG RED CRM MAG PRP ULT AZU CYN TRQ GRE Cr -16 +52 Cr -55 -41 Cr +75 -47 Cr -50 Cr +57 Cu +12 Cu +25 +25 Cu +26 Cu +27 Cu -60 -60 Cu +33 Cu +37 Cu +38 Cu +62 F +24 F +68 Fe +03 +03 +03 Fe -16 -16 -16 +24 +24 +24 -16 +24 +24 +24 +24 +68 +68 +68 +68 -16 -16 -16 -16 +68 +24 +24 +24 +68 +68 +68 -16 -16 Fe ELE Y-G +36 YEL ORG RED CRM MAG PRP ULT AZU CYN TRQ GRE Y-G ALUMINUM = Al. TUNGSTEN = W. ARSENIC = As. NICKEL = Ni. SODIUM = Na. TITANIUM = Ti. SILVER = Ag. TIN = Sn. URANIUM = U. LEAD = Pb. LITHIUM = Li. SILVER = Ag. BARIUM = Ba. ZIRCONIUM = Zr. IDIOCHROMATIC (+) INTERNAL EXTERNAL ELEMENT COLORING. FLUORINE = F. CALCIUM = Ca. IRON = Fe. BERYLLIUM = Be. TIN = Sn. TITANIUM = Ti. FLUORINE = F. URANIUM = U. LITHIUM = Li. ANTIMONY = Sb. URANIUM = U. MOLYBDENUM = Mo. SILVER = Ag. NICKEL = Ni. VANADIUM = V. COBALT = Co. CHROMIUM = Cr. BERYLLIUM = Be. FLUORINE = F. MAGNESIUM =Mg. ZIRCONIUM = Zr. LEAD = Pb.CRYSTAL COLOR CHART CHART 3 ALUMINUM = Al. IRON = Fe. LEAD = Pb. COPPER = Cu. MERCURY = Hg. IRON = Fe. STRONTIUM = Sr. LITHIUM = Li. CARBON = C. IDIOCHROMATIC (+) INTERNAL EXTERNAL ELEMENT COLORING. STRONTIUM = Sr. TIN = Sn. ZINC = Zn . ANTIMONY = Sb. +78 -17 +55 Fe -47 Fe +56 Fe +66 Hg Li +47 Li +60 Mg +41 +47 +04 +04 +47 +47 +14 Mn +35 +44 -17 +45 Mn -51 Mn +54 Mn +78 Mn +66 +47 +47 +47 +41 +41 +41 GRE Y-G +60 Mn Mn +47 +66 -60 -60 Mo +76 +76 +76 ELE YEL ORG RED -17 +41 CRM MAG PRP ULT AZU CYN TRQ ALUMINUM = Al. TIN = Sn. FLUORINE = F. ZIRCONIUM = Zr. BERYLLIUM = Be. TUNGSTEN = W. COPPER = Cu. SILVER = Ag. VANADIUM = V. MAGNESIUM =Mg. CARBON = C. MANGANESE = Mn. ZINC = Zn INTERNAL ELEMENT COLORING. CHROMIUM = Cr. ALLOCHROMATIC (-) FOREIGN ELE YEL ORG RED CRM MAG PRP ULT AZU CYN TRQ GRE Y-G Fe -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 -50 Fe +45 Fe -17 Fe -28 -17. NICKEL = Ni. CALCIUM = Ca. SODIUM = Na. CALCIUM = Ca. ARSENIC = As. MOLYBDENUM = Mo. MANGANESE = Mn. TUNGSTEN = W. COBALT = Co. SODIUM = Na. ARSENIC = As. MERCURY = Hg. TITANIUM = Ti. TITANIUM = Ti. BARIUM = Ba. URANIUM = U. BARIUM = Ba. LITHIUM = Li. MERCURY = Hg. FLUORINE = F. URANIUM = U. TIN = Sn. SILVER = Ag. SODIUM = Na. ARSENIC = As. MOLYBDENUM = Mo. COBALT = Co. CARBON = C. VANADIUM = V. ANTIMONY = Sb. CALCIUM = Ca. CARBON = C. TUNGSTEN = W. IRON = Fe. COBALT = Co. BERYLLIUM = Be. ALLOCHROMATIC (-) FOREIGN ELE YEL ORG RED CRM MAG Na PRP ULT AZU CYN TRQ GRE -23 Ni -17 Pb +69 Pb +70 S +72 +25 +71 +74 +73 Sb +74 +72 +11 Sn +21 Sr +73 Ti +42 +19 +19 Ti +20 +20 +20 U +65 +21 +21 +73 V +19 +20 +20 +43 +43 +71 W +77 +77 Zr +43 +43 +43 +43 Zn +43 +43 +43 +43 +03 Zn +15 Zn +67 +15 +15 +32 Zn ELE Y-G +32 +43 +43 +03 +03 +15 +15 +32 +33 YEL ORG RED CRM MAG PRP ULT AZU CYN TRQ GRE Y-G ALUMINUM = Al. SILVER = Ag. TIN = Sn. COPPER = Cu. BARIUM = Ba.CRYSTAL COLOR CHART CHART 4 ALUMINUM = Al. Crystal Primary Colors. MERCURY = Hg. MANGANESE = Mn. BARIUM = Ba. Crystal to Pigment . TITANIUM = Ti. LITHIUM = Li. MOLYBDENUM = Mo. VANADIUM = V. CHROMIUM = Cr. BERYLLIUM = Be. ZINC = Zn Chapter 4a Elements & Crystal. STRONTIUM = Sr. TUNGSTEN = W. SODIUM = Na. TITANIUM = Ti. COPPER = Cu. LITHIUM = Li. NICKEL = Ni. CHROMIUM = Cr. ZIRCONIUM = Zr. Chemistry. CALCIUM = Ca. IDIOCHROMATIC (+) INTERNAL EXTERNAL ELEMENT COLORING. ZINC = Zn INTERNAL ELEMENT COLORING. LEAD = Pb. MANGANESE = Mn. LEAD = Pb. NICKEL = Ni. URANIUM = U. STRONTIUM = Sr. ANTIMONY = Sb. ARSENIC = As. Ores & Mineral Glossary Terms. FLUORINE = F. ZIRCONIUM = Zr. MAGNESIUM =Mg. IRON = Fe. MAGNESIUM = Mg. Adding white to any transparent color will make it opaque. ORES AND MINERAL GLOSSARY TERMS AGGREGATE. and Monoclinic. simplifying your choices is the name of the game here. and that is constant weight! This light reflects off the primary and compounded elements we see around us. This trend that hasn't stopped but we are getting better transparent colors! Cyan (Thalo Blue) is the best thing that ever happened to color and PR122 is the best transparent magenta ever. similar to cleavage but along the twinning axis. Orthohombic. PARTING. CUBIC SYSTEM. COMPOUNDS. Each element. so if you like a color for its characteristics. FRACTURE. A crystal inside a rock may change its chemical composition and still keep its original shape. The other systems are Tetragonal. Copper makes Green to Cyan Chalcedonie and the opposite color Red Carnelian. Two or more elements form compounds. probably the artist's most favored and useful color before Church-Ostwald. Iron Rose Quartz and Manganese Amethyst both touch on the Magenta color. (new window). is an element coloring term meaning an outside element is included in the compound. The Calcite Crystal is also a natural polarizing filter. 1. The Red and Green have added Chromium. what colors and what characteristics are most needed to complete a full color painting. and chromates are all compounds. Elements as pigments have painting characteristics unlike any other element. There are seven systems. and 3. A mineral without an obvious crystal shape. [A12 03 ]. no other element dries as fast or is as opaque. like the opal or glass. negative elements. The "iron hat" of gangue minerals with iron and manganese oxides. common to quartz. Three examples are. Crystals in which light travels at different velocities in different directions. tree or plant like. arsenides. Sulfur sinks still lower and forms sulfides like chalcocite. contain halogens. chlorine. HALIDES. [Si02]. GANGUE. fluorine. (cobalt aluminate blue spinel is similar). CRYSTAL TERMS ALLOCHROMATIC. without crystalline structure. Lead. Light is a painters element. HABIT. either organic. antimonides. malachite. it's the most opaque pigment. CLEAVAGE. sulfates. the soluble minerals sink lower to form azurite. Ostwald matched the dried color chips with new cheaper elements without regard to its native natural characteristics. Rubins would have had them flogged if they tried that while he was alive. crystals forming masses as gold and silver (dendritic). CARBONATES. Yellow is made with Iron. in it's natural and calcined state is capable of making and reflecting only a select portion of the color wheel. So. CRYSTAL PRIMARY COLORS Calcite crystal. carbonates. Full sunlight weight is equal to the weight of a single grape. carbon compounds. 2. silicates. is the shape of a crystal. GOSSAN. broken. a breaking point along a face. Trigonal. [CaCo 3 ]. Tungstates. Quartz. hydroxides. other minerals found with the mined ore. it has shape when it is confined and its intensity and mass can be measured. or the kidney-shaped hematite (reniform). Blue and Green. Oxide compounds are combined with oxygen and a metal element. AMORPHOUS. four pyramids or tetrahedrites block together and make a cube. this system has the highest symmetry. Allochromatic Nickel makes a cool Yellow Chrysoprase Crystal. Some elements as crystals can make the whole spectrum. iodine and astatine. PSEUDOMORPHS. and thirty two classes within the systems. variable. spread out over an entire football field. it cannot be replaced. plus making the secondary colors Red. Permanent pigments are made of these elements. and cuprite.REAL COLOR WHEEL IN ELEMENTS AND CRYSTAL Any reflected color has the energy of reflected light radiating off the colored element or composition making that color. Iron makes all three primary colors in the crystal Corundum. makes the perfect Cyan color with Copper in the Iceland Spar Crystal (new window) it polarizes to the color Ultramarine Blue. the triclinic has the lowest. sulfides. Ult. and Magenta is the Sphaerocobaltite Pink Calcite Crystal made with allochromatic Cobalt. Use the transparent pigments (new window) that are available and be selective in choosing the opaque ones and transparent ones. ANISOTROPIC. inorganic or synthetic. added Iron makes a warm yellow to orange Citrine Quartz Crystal. Cobalt natural. . antimony Naples yellow. Hexagonal. Here is my whole palette. a mineral combined with oxygen as the sole anion. neon [Ne]. is comparing the atoms of each element to the hydrogen atom. the process of gaining or losing electrons. are positively charged ions. 32 for Q. MONO VALENT. [C03 ]2-. are negatively charged ions. are measured in Nanometers. [SiO4]. the quantity of protons in the nucleus. Fluorine [F] has one less and is written F. 2 for K. ISOTOPES. I lost an electron!" "Are you sure?" "Yeah. so each element has isotopes and different atomic weights. it can hook up with another atom with one valence. common to quartz. written Mg 2+. the neutron quantity changes the atomic weight of atoms with similar atomic numbers. all based on the weight of one carbon isotope. Atoms trade electrons with other atoms so their electron cloud can become identical with inert gases. Lithium. so there equal in [+-] charges. Carbon can either gain four electrons to become C4. smallest particle of an element with all its properties. By losing both it becomes a divalent cation. hydrogen has a valence of one. NEUTRONS. Uncombined with other elements. SILICATES. This is the mass of the atom. hydrogen has one proton. "Are you all right?" "No. The color left behind from an abraded mineral. Valence is the chemical binding power +/-. the volume is made by the cloud of electrons. GLOSSARY ATOM. OXIDES. I'm positive!" :-) VALENCE. ATOMIC WEIGHT. These are usually hard because of close packing. the "hook" to hold another "hook". electrons are negative. [Na] sodium. INERT GASES. magnesium has two more electrons than neon. [C] carbon and [Si] silicon have atomic structures midway between two inert gases. the nearest inert gas. This trading leads to atoms becoming electrically charged and known as ions. other elements are considered stable if they can attain a similar outer shell content. CRYSTAL ORE MINERAL CHEMISTRY DEFINITIONS. CATIONS. natural. [1nm = 10m[-]9th]. they have 8 electrons in Q shell. The metal content of an ore. lettered K to Q outward from the nucleus.NATIVE. the closest inert gas. TERMS. have the complex anion [OH]. DIVALENT. Valency is the number of electrons an atom will gain or lose to attain the configuration of the most similar inert gas. Each shell has a limit to the number of electrons in it. they have lost one [-] electron. gain an electron. One says to the other. Two atoms are walking down the street and they run into each other. Metallic ores formed in the presence of sulfur and the absence of oxygen. remember. will not combine with other elements. the nucleus is occupied by protons and neutrons of similar mass. PROTONS. PSEUDOMORPHS. The electrical charge of protons keeps other protons away by mutual repulsion. the number of protons equal the atomic number. SULFIDES or SULPHIDES. gain a negative charge. electrons orbit on seven tracts or shells. HYDROXIDES. TENOR. they have gained one [-] electron. STREAK. meaning it's anion. has one more electron than the nearest inert gas.are both charged by one electron off being stable and inert. have a negative charge orbiting the nucleus. Silicon combined with oxygen. REPULSION. electrons and protons are equal in quantity. ions Na + and F. ATOMS. ATOMIC NUMBER. ATOMIC STRUCTURE. they have similar spinning . Hydrogen has one nuclear proton and one electron in K shell. IONS. has a full K shell and one electron in the L shell. ELECTRONS. Lose an electron and gain a positive charge.and resemble neon or lose four electrons to become C 4+ resembling helium. have a positive charge. have no charge. SHELLS. with three protons. ATOM CENTER. VALENCY. it's written Na + to show it's a cation. A crystal inside a rock may change its chemical composition and still keep its original shape. ANIONS. A common example is the tetrahedral arrangement of four oxygen atoms around a single silicon atom. Share electrons. Two atoms of the divalent metal Mg would fit and the mineral forsterite has the composition [Mg 2 ] 4+[SiO4 ] 4. interpenetrating each other. ELECTRICALLY BALANCED COMPOUND. COMPLEX IONS. TETRAHEDRON. to get an electrically balanced compound. Yellow-green and compare it to the primary path to dark for yellow on the RGB they look the same. [Mg 0. In this way the independent groups in steam. natural glass. or it could be written Mg 2 [Si0 4 ] 4. Solids containing ionic or covalent bonds are rigid. Here are some color examples of crystals that the artist would be interested in since crystals are pigment and chemicals are made with the same elements. There is no warm yellow path to dark in the RGB. Ult blue must be opposite yellow and plot opposite yellow. ISOMORPHOUS minerals with identical crystal structure.25 ] 2 SiO4 . the complex anion [SiO4 ] 4. form wire and conduct electricity. be a molecule. . like on my wheel which can be just as accurate for positioning pigments in relationship to each other as simple RGB positioning. METALLIC BOND. OCTAHEDRON. two or more atoms coming close together share. Diamond and graphite are polymorphs of carbon. four polyhedra pyramids equal a cube. Heating a mineral causes the atoms to vibrate faster.6 while the new Bismuth yellow is the bright full chroma RCW#1.. Olivine groups of minerals. This matches the elements color in its natural progression to dark. This lets them be hammered thin. The diamond is a three dimensional latrahedrally-oriented covalent bond. The common complex ion [CO 3 ] 2. and flint are amorphous aggregates. a divalent cation can link with two univalent anions.. If the olivine contains 75% forsterite it's written like this. Four oranges and a grape would make a Tetrahedron. COMPOUNDS. The carbonate ion has this shape.75 Fe0.. ION SHAPE. Opal. only a cool path. melted together. written [SiO4 ] 4. they don't have the directional properties of crystal. IONIC BONDING. Look at RCW#36. have all equal sized ions. it makes the RGB/CMYK colorwheel inaccurate for plotting pigments for the artist to use as a color wheel in the field.0. When the linked atoms are of different elements. and both or all. more than one compound. have eight in their outer shell.must be bonded to a cation or cations with a total valency of four. these fit together leaving a space in the center. flat and weak. When two atoms link. The pair of ions are held together electrically. MOLECULES. the result is a chemical compound. CUBES. shares electrons. The new opaque Irgazine yellow is a perfect warm darker yellow. AMORPHOUS. only better. Crystals are made up of ions having the shape of spheres. graphite is two dimensional. are the structures possible by a compound. Like crystal oxides containing iron. Duel-toned Irgazine Green is a transparent yellowgreen and it mixes a neutral with dioxzine purple. TWINNED. SOLID SOLUTION. COVALENT BONDING. the spare electron of one atom separate to fill a vacancy in the outer shell of another atom. Substances that do not have the atomic order of crystals are amorphous. called molecules. Si02 makes five different structures. POLYMORPHS. There's three ways to do this.breaking the bonds between them. a pyramid with three sides and a bottom. move freely. the interaction is by the outermost electrons. Three oranges and a pea..0 The Irgazine yellow has a very slight dual-tonality and will mix with its complement ultramarine blue to a dark. On the RCW matrix I put them side by side and use the warm path of yellow as the pure primary yellow and the cool path as Yellow-green's path.directions. it has the properties of each colors crystal as it gets darker. they go from yellow to brown or red to brown. Groups of ions can be linked this way. In many minerals. as in coordination polyhedra and close packing. the shape of the silicate anion [SiO4 ] 4. magnesium [Mg 2 SiO4 ] and iron [Fe2 SiO4 ] are forsterite and fayolite. strong and possibly twinned. to give a complex anion. COMPLEX. is two pyramids joined base to base.is carbonate. metals pack the ions closely together and leave the outermost electrons free to move independently. is two elements forming ions of equal and opposite valency. subgroups of atoms are bonded in a covalent way forming complex either ions or radicals. Since this is so. 36RCW#1. CRYSTAL TO PIGMENT The RCW Real Color Wheel is the physical crystal color wheel. two crystals joined inside. Allochromatic Nickel makes a cool Yellow Chrysoprase Crystal. Brown. CORUNDUM #35. LAPIS LAZULI (8) Azure. RUTILE Yellow. Ult. CINNABAR #12. [CaCo3]. it polarizes to the color Ultramarine Blue. The Red and Green have added Chromium. MINERAL COMPOUNDS REAL COLOR WHEEL IN CRYSTAL Read about that colored crystal. CUMENGEITE #57. BERYL #51. +63 Be= BERYLLIUM. CINNABAR #06. CALCITE (6) Purple. [A1203]. #38. MALACHITE #50. #03. #25. Neutral Dark. #13. CORUNDUM #28. QUARTZ (7) Ultramarine Blue. VESUVIANITE #67. #04. QUARTZ YELLOW TO BROWN ELEMENTS Al= ALUMINUM. SPHALERITE #17. LEGRANDITE Yellow to Brown. CORUNDUM #50. +13 Fe= IRON. BERYL #71. Standard Colors on the 12 Real Color Wheel CENTERING COLOR ELEMENTS 12 STANDARD COLORS IN CRYSTAL. #27. Iron Rose Quartz and Manganese Amethyst both touch on the Magenta color. CORUNDUM #25. #16. #16. #16. Blue #63. makes the perfect Cyan color with Copper in the Iceland Spar Crystal. AZURITE (9) Cyan. REALGAR #16. CHRYSOBERYL #16. GROSSULAR (3) Red. (1) Yellow. TURQUOISE (11) Green. BERYL (12) Yellow-Green. Iron will make all three primary colors in the crystal Corundum. #07. CHRYSOBERYL #19. #26. VESUVIANITE #61. +03 W= TUNGSTEN. added Iron makes a warm yellow to orange Citrine Quartz Crystal. +77 Ti= TITANIUM. (new window) Chapter 5 Minerals & Elements. Quartz. CHRYSOCOLLA #62. Chemical colors and their color paths. +19 YELLOW-GREEN TO BROWN ELEMENTS . Copper makes Green to Cyan Chalcedony and the opposite color Red Carnelian. #04. +21 Ti= TITANIUM.Calcite crystal. CUMENGEITE #50. plus making the secondary colors Red. ORPIMENT #52. Yellow is made with Iron. CUPRITE (5) Magenta. WAVELLITE (2) Orange. #13. Blue and Green. BERYL #57. [Si02]. VANADINITE (4) Crimson. VIVIANITE (10) Turquoise. The Calcite Crystal is also a natural polarizing filter. +42 Ti= TITANIUM. and Magenta is the Sphaerocobaltite Pink Calcite Crystal made with allochromatic Cobalt. CORUNDUM #17. EUCLASE #66. RHODOCHROSITE #50. -17 Fe= IRON. Ba= BARIUM, +31 Fe= IRON, +36 Ti= TITANIUM, +41 Ti= TITANIUM, +42 RED-CRIMSON TO NEUTRAL DARK ELEMENTS Fe= IRON, -18 Mg= MAGNESIUM, +15 Mg= MAGNESIUM, +77 Ti= TITANIUM, +28 Titanium can cross over the neutral center to become the opposite color in the same compound, blue to yellow. Zn= ZINC, +15 MINERALS AND ELEMENTS STANDARD COLORS ON THE 12 REAL COLOR WHEEL (12RCW#) CARBON 00, DIAMOND, C, [Hardness] H10, Diamonds can receive the full range of colors from other elements, they are allochromatic. This section describes the color and properties each element adds. 01, LIDDICOATITE, a six sided continuous crystal, clear and colored by iron. The colors of magenta and green are separated in sections and graduated from one end to the other in each crystal, a natural color opposition. All mineral oppositions match my pigment and light color wheel. SULPHIDES, ARSENIDES, ANTIMONIDES 02, CHALCOPYRITE, CuFeS2 , [Hardness], H3.5, [specific gravity] SG-4.2. Ore of copper, tetragonal crystal system. It occurs on crystals of galena and has a brassy yellow opaque, metallic color. Idiochromatic colors of iron. 03, SPHALERITE, Zn,S, H3.5, SG-3.9, zinc blend, ore of zinc, cubic system, idiochromatic colors. ZINC, yellow-green, Standard Color 12RCW#11, [CYYY], transparent. IRON, Idiochromatic colors from, yellow, tan, brown, black, orange and red. High dispersion showing the spectrum like a diamond. CHROMIUM, crimson and dark green. Transparent to opaque. 04, CINNABAR, HgS, H2, SG-8.09, sulphide of mercury ore. MERCURY, red, Standard Color 12RCW#3, [YYMM], opaque, vermilion-red to brown is the color scale for the mass crystal, and transparent scarlet is the color for the transparent crystals. Cinnabar has internal coloring, idiochromatic coloring, because the color comes from the element that's crystallizing, in this case mercury, the liquid metal. The amorphous mass is crushed and used as the pigment vermilion, it's a heavy and a fast drier. Precious and rare. 05, GALENA PbS, H2, SG-7.6, ore of lead, sulfide, cubic crystals often twinning. Oxides are white lead pigment. 06, REALGAR, AsS, H1.5, SG-3.56, monoclinic crystal system. ARSENIC sulphide, Red Standard color, 12RCW#3, [YYMM], transparent to opaque. Realgar was crushed as a pigment by the ancients as the first red. It's an idiochromatic crystal pigment. 07, ORPIMENT, As 23 , H1.5, SG-3.4, monoclinic, transparent to opaque. ARSENIC di-sulphide, Orange Standard color, 12RCW#2, [YYYM], yellow to orange pigments, duel-toned, crushed, water soluble, the first yellow pigment was a transparent crystal, smelled of sulfur, an idiochromatic pigment. 08, STIBNITE, Sb 23 , H2, SG-4.6, ore of antimony, orthorhombic crystal system, lead-gray metallic. Antimony lead oxide native, is Original Naples Yellow pigment. It is the most dense lead. 09, PYRITE, FeS 2 , H6, SG-5, cubic, metallic brass-yellow. 10, PROUSTITE, Ag3AsS 3 , H2, SG-5.6, trigonal, transparent. SILVER and ARSENIC, crimson color at it's best. It tarnishes because of the silver content, idiochromatic, silver added the deep magenta to the red of arsenic. 11, PYRARGYRITE, Ag3 SbS3, H2.5, SG-5.85, ore of silver, trigonal. SILVER AND ANTIMONY, a deep warmer crimson than proustite. Idiochromatic, deep crimson, transparent, dark in mass. OXIDES, HYDROXIDES 12, CUPRITE, Cu20, H3.5, SG-6.14, cubic, crystals found on copper. COPPER, Crimson Standard Color 12RCW#4, [YMMM], transparent. Crimson cuprite crystals are opposite in color to the turquoise colored copper sediment, chalcocite. Idiochromatic. 13, CHRYSOBERYL, BeAl 2 O 4 , H8+, SG-3.74, orthorhombic crystal. BERYLLIUM, Standard Yellow centering to Brown crystal. ALUMINUM, yellow is aluminum's home base, but color isn't really it's strong suite, it's the light tricks that make it a special crystal element. The "cat's eye" gem, it has an opposite color line of light inside, a pale ultramarine blue. Instead of just giving color, aluminum has an array of light tricks to perform with. 14, SPINEL, Mg A1204, H8+, SG-3.6, cubic octahedra, idiochromatic. MANGANESE, deep transparent red pigment color that lightens to Cadmium Red opaque. The Ruby is Cadmium Red transparent. Idiochromatic. ALUMINUM, adds yellow sometimes, enhances other elements. CHROMIUM, allochromatic chromium, which gave the red to rubies gives spinel a real kick in the red mass dark, and it never leaves the red spectrum color. COBALT, bright blue, with allochromatic cobalt, it does well here in aluminum's opposite second home. 15, ZINCITE, [Zn,Mn]O, H4, SG-5.6, Native zinc oxide, ore of zinc, MANGANESE, yellow-orange to deep red, idiochromatic, it could be a pigment, rare, brittle, and opaque. 15, ZINC SILICATE, is found in New Jersey, at the Franklin Mine, 10 miles from where I grew up. ZINC, yellow, yellow-green and green transparent, and opaque white, opaque yellow, orange, red, brown and black. Idiochromatic zinc makes all the colors except those in the cyan spectrum. 16, CORUNDUM, Al2 O 3 , H9 STANDARD MOHS, SG-3.99, trigonal system, transparent. CHROMIUM added for red and green, allochromatic. IRON, makes crystals in blue, cyan, dark-green, yellow, orange, red and magenta. All transparent, all brittle, and all expensive as crushed pigments. Ruby is the Standard Transparent Red, 12RCW#3, [YYMM]. It's opposition color mixing to dark neutral is Thalo Blue,(Cyan) PB15:3. In pigments, Thalo Blue Transparent mixes dark with Cadmium Red Opaque also. The other oppositions in paint are acrylic Thalo Green and Acra Violet PR122 by Liquitex. Burnt Umber (for dark yellow) or an orange side transparent Indian dualtoned yellow mixed with an Opaque or Transparent Ultramarine Blue will make a dark neutral. All these pigment oppositions are in the painting section and as individual colors. Example: Oil White, all colors have their own page. (new window) Sapphire yellow is the Standard Transparent Yellow, 12RCW#1, [YYYY]. Sapphire blue is the Standard Transparent Blue, 12RCW#7, [MMCC]. Sapphire pink deep is the Standard Magenta, 12RCW#5, [MMMM]. ALUMINUM is just one surprise after another, here it is, the softest metal element making the hardest hydroxide, only the softer carbon element makes a harder crystal, the diamond is H10 STANDARD MOHS. 17, QUARTZ, SiO2 , H7 STANDARD MOHS', SG-2.65 trigonal, clear crystal with allochromatic colors. MANGANESE, Standard Purple, 12RCW#6, [MMMC], transparent, amethyst crystals are from magenta to purple. IRON, rose quartz is a light magenta. Citrine is from yellow to orange, centering dark, through brown. Iron also gives black (deep-red) to onyx, and red and orange in fire agate. A second verity of quartz is mass and opaque, the aggregate crystals are too small to see. COPPER, green to cyan, chalcedonies, jasper, and red carnelian, two opposing colors. NICKEL, Yellow-Green Standard color, 12RCW#12, [CYYY], chrysoprase. Quartz has a complete range of colors except for ultramarine blue. All allochromatic with foreign elements, giving color to the crystal. Brittle, easy to crush into pigments. 18, OPAL, Si02+NH 2 O, H6.5, SG-2.1, amorphous crystal, diffraction from spheroids give color. Transparent, translucent and opaque in different crystals. 19, RUTILE, TiO2 , H6.5, SG-4,23, tetragonal. TITANIUM, red to brown and yellow to brown, colors centering to neutral dark. Just on the other side of the darkest center in the coloring wheel, brown is mixing with ultramarine blue and getting cooler, some of that blue color shows up. Titanium is the only element that can cross over the dark center. Idiochromatic. Transparent, translucent and opaque in the same crystal. Purple rutile is also found in the Alps, idiochromatic. TITANIUM, yellow to yellow-brown or red to red-brown, brown changes to a neutral dark by continued mixing with the opposite spectrum colors, ultramarine, azure and cyan. All idiochromatic within titanium. 20, ANATASE, Tio2 H5.5, SG-3.9, tetragonal, metallic luster. 21, CASSITERITE, Sn0 2 , H6, SG-6.9, ore of tin, tetragonal, metallic. The crystals are clear, yellow-brown, red-brown or black. A one trick RCW pony. This is the yellow and red pigments natural trip to neutral dark. 22, HEMATITE, Fe2 O 3 r H5r SG-5.26, ore of iron, trigonal reniform masses, Cadmium Red streak, metallic. HALIDES 23, HALITE, NaC 1 , H2.5, SG-2.2, salt is a cubic crystal that may show orange, spectrum purple #6 [MMMC] or blue coloration. It is brittle, soluble, and transparent. Don't eat the blue or purple salt, it's poisonious. 24, FLUORITE, CaF 2 , H4, SG-3.18, cubic system. Fluorite is allochromatic, it accepts a range of eleven colors, there is no cyan color. Fluorite is also a fluorescent, green to violet, Translucent. 25, CUMENGEITE, Pb 21 Cu 2 OC142[OH]40, H2.5, SG=4.6, cubic or tetragonal, two different colored crystals, depending on the majority mineral element. LEAD, Standard Ultramarine blue color, 12RCW#7, [MMCC], opaque, idiochromatic. Cumengeite. COPPER, Standard Cyan color, 12RCW#9, [CCCC], opaque, idiochromatic. Boleite crystals. CARBONATES 26, MALACHITE, Cu 2 [C03 ][0H]2, H4, SG-3.6, mass or monoclinic systems. 28. crystal forming fragile hollow balls. Green Standard color. SG-2. "Sphaeroc Cobaltite". opaque. MAGENTA. #3.COPPER.64. centering colors in different crystals. clear. cobalt blue to a opaque or transparent cyan.7. allochromatic. MnCO 3 . H3. Yellow allochromatic. also aggregate and mass.5. ZnCO3 . H3 CALCITE: STANDARD YELLOW. SMITHSONITE. RHODOCHROSITE.4. CERUSSITE. like in the the Real Color Wheel. [CCYY]. Light-translucent. idiochromatic.7. orthorhombic of many forms. trigonal crystal system. trigonal crystals. SG-2. polarizing filter. orthorhombic crystal system with twinned hexagonal pyramids. Ore source of barium. SG-6.5. [Zn. phosphorescent.3. [MCCC]. scalenohedral crystals in the trigonal system. H4. FeCO3 . ARAGONITE. DOLOMITE. crushed pigment. Cyan-blue transparent to opaque. H3. translucent clear. ZINC.5. trigonal. translucent green. Red Standard color.94. clear transparent. monoclinic. COPPER.3. SG-4. BaCO 3 . SG-3. idiochromatic. SIDERITE. This crystal is the cool side of the Yellow scale to neutral dark. 29. 33. Standard Magenta Cool. SC-2. WITHERITE. Cyan. 31. CYAN MOHS. yellow-green to brown. H3. PbC03. ZINC AND COPPER. In this crystal light cyan turns into dark ultramarine blue. CuSiO2[OH]2. COPPER. transparent or translucent. H3. so there must be a painting isolation layer. 32. rare. #5. that's like the four sided pyramid the Egyptian's were so fond of. trigonal. shows blue in mass.7. double refraction like the diamond. "Iceland Spar". orthorhombic. crushed. White opaque. turquoise-green outside. CaCo3. COBALT. opaque. SG-3. It was usually applied with egg and varnished over and never mixed with other colors.Cu]5[Cu 3 ]2[0H]6.5. 12RCW#11. colorless or centering yellow-green to brown. idiochromatic. trigonal. 30. This was a popular ancient pigment color. 35. CALCITE. colorless transparent to translucent.5. [YYMM]. The many hues and opacities of azurite ranging from an opaque ultramarine blue.SG-3. [MMMM]. found with lead. AZURITE. SG-4.85. SILICATES 37. CaCO 3 . IRON. opaque. Used as eye makeup in ancient Egypt 27. H1. 12RCW#8. AURICHALCITE. ortharhombic system. pale. allochromatic. IRON. SG-3. H4. all effected by oil. 34. brittle lead and carbon. rare gemstones. DIOPTASE. H3. Copper Blue and lead white or vermilion and lead white mixed or touching unmixed will turn black. . Idiochromatic. SG-3. Pigment extender. MANGANESE. H5. 36. allochromatic. white inside.0.5. in a bad yellowing way.9. Cu3[CO 3 ]2[0H]2. Standard Azure (cobalt) color. CaMg[Cu 3 ]2. opaque and transparent. H3. pale-green to gray. MAGNESIUM.5. CaTiSiO 5 . [with quartz H7]. SG-2. MAGENTA AND CYAN. 12RCW#10. allochromatic. trigonal rhombohedral crystals. with two minerals. Clear to red-brown opaque. transparent. H2. CaMgSi2 O 6 . CLEAR HAS NO WHITE IN IT. replaced by man.5. [CCCY]. monoclinic aggregate. monoclinic. triclinic. 47. SG-3. H5. [Cu. A weak manganese color with two electrons gone. Pleochroistic. brittle. ANOTHER ALL COLOR CRYSTAL. is a common trait observed with titanium and iron. ZrSiO4 . internal coloring.nH 2 O. This is the way my coloring wheel works with yellow going to Brown as the neutral dark instead of Black. SG-3. MANGANESE. #10. opaque to translucent. yellow-green or purple (opposites). Al2 SiO5 . PALE AND TRANSPARENT. yellow-green. H7. in a transparent crystal. 45. or anywhere in between. 39. H5. 46. opaque. to brown with neutral dark areas. SG-3. allochromatic. transparent light green background when perfect. 38. pale. H7. Centering yellow to neutral dark. translucent. To reach Black. Turquoise Standard color.5. white. iron making a transparent yellow-green and manganese making an opaque split-analogous red-orange. 43. H7. idiochromatic copper. idiochromatic. 44. The aluminum element plays tricks with light that are unique. WOLLASTONITE. pale opaque. tetragonal system ends with a four sided pyramid.5 across 4. triclinic. Brittle. Na[Mg2 +. WHITE IS A TRANSLUCENT TO OPAQUE NOT CLEAR.5 down. Rare crushed opaque cyan colored pigment. 41. red-orange. H6. the transparent crystals are doubly refractive and rival the diamond in dispersion. made Egyptian frit for a huge market made by the Phoenicians. clear. ZIRCON. through warm brown. H7.COPPER. DIOPSIDE. Brittle translucent. CaSiO 3 . IRON. rare crystal. monoclinic wedged shaped crystals and masses. [CCCY]. White opaque.Fe] 2SiO 4 . SPHENE.5. red-orange opaque. idiochromatic. ALUMINUM. An ideal native pigment. with a "cyan-blue light" stripe. the peridot series. 40.6. MANGANESE. one would mix ultramarine blue (opposite of yellow) to brown CHROMIUM. additional heat makes yellow and blue crystals.7.6. triadic. TITANIUM. what you get is a transparent yellow-green going to opaque brown in the same crystal. OLIVINE. orthorhombic crystals. shows up as brown when mixed with yellow-green. tabular or masses. like the light color wheel. Be 2 SiO4 .5. H4. [Mg. triclinic. idiochromatic. NOTICE: CLEAR IS OPPOSITE OPAQUE.3. SG-3. CHROMIUM. foreign coloring. SG-3.Al] 2 H2 Si 2 O 5 [OH]4. SG-4. SERANDITE. KYANITE. yellow-green or yellow. BERYLLIUM. transparent. No other element can do what aluminum can (no pun intended:). PHENAKITE. idiochromatic. ZIRCONIUM. full spectrum of pale colors. . green. COPPER.Ca]2Si3 O 8 [0H]. 42. (changing colors with direction). CHRYSOCOLLA. WILL MAKE THE PRIMARY COLORS TRANSPARENT YELLOW. orange fluorescence. dark green. SG-3. Dark-turquoise Standard Color. cyan. just as it does in the corundum and spodumene compounds. Standard Color Orange. 52. idiochromatic. white. Clear to pale translucent. yellow to orange. KAlSi2 O 6 . allochromatic. SG-3. H7. red. H6. NaAlSi 3 O 8 -CaAl 2 Si 2 O 8 .7. the allochromatic intrusion of hematite reverses the spectrum to show it's opposite colors. IRON. ALUMINUM in in the air excepts a lot of foreign chromates. green. transparent. [YYYM]. as seen in X-ray's. tetragonal. SG-2. KAlSi3 08 . idiochromatic. blue. magenta purple.5. H7. yellow to red. garnet family.5. Double elements in yellow 12RCW#1. cyan (aquamarine) and green (emerald).5. allochromatic. 12-12-12. cyan 12RCW#9. and a Cool Magenta Standard crystal called "Lilac Kunzite". allochromatic. 48. SG-3. allochromatic. warm green. 51. another light trick by the inclusion of aluminum. cool green. orange. as in the Corundum compound (Ruby). 50. yellow-green. IRON. transparent. yellow-green. orange. idiochromatic. ALUMINUM. garnet group. Green Standard. Li AlSi 2 O 6 . yellow-orange. opaque. enhances iron and chromium. my spit and mucus now dry with sparkles of all colors. Here an aluminum light trick is found in aquamarine: Light cyan is seen from one direction and a deep cyan from a 90º off angle. blue to cyan color plus an unusual effect called schiller. EUCLASE. red. pale yellow-orange opaque crystals. allochromatic.7. Here's an aluminum light trick is found in aquamarine: Light cyan is seen from one direction and a deep blue from a 90º off angle. Idiochromatic. SG-2. The aluminum spin on this compound is interference colors on the cut face. red. all Standard Colors. Plus: Yellow (heliodor). 12RCW#9. BERYLLIUM. SG-4. yellow-orange. the inside glow of cyan color moves with you. [YYMM]. BERYLLIUM element in Beryl crystal. LEUCITE. Standard Color Cyan. playing off included lamellae minerals. ALUMINUM. H6 STANDARD MOHS. [CCCC]. ALUMINUM. SG-2. ALUMINUM.SPODUMENE. LITHIUM. hexagonal crystal system.5. Mn 3 Al2 [SiO4 ]3. LABRACORITE. SG-2. 53. 54. sodium-aluminum series of plagioclase feldspars. and green 12RCW#11. magenta (morganite).5. allochromatic. Ca 3 Al2 [SiO4 ]3. CHROMIUM. CHROMIUM. monoclinic. GROSSULAR. Another trick. very pale yellow-orange crystal. yellow. SPESSARTINE. [CCYY] and red. . IRON AT IT'S BEST WILL DISPLAY THE WHOLE SPECTRUM IN THE BERYL CRYSTAL: green. [YYYY]. azure (cobalt blue). idiochromatic. scarlet. 12RCW#2. The transparent yellow gem (moonstone). cubic. just as it does in the corundum and spodumene compounds. ORTHOCLASE. cyan. ALUMINUM in beryl excepts a lot of foreign chromates. H6. centering to brown. 12RCW#11. works well with ALUMINUM. red 12RCW#3.5. BeASi0 4 [0H]. BERYL. IRON. ALUMINUM. CHROMIUM. yellow to cyan. monoclinic. has internal light diffusion. MANGANESE. transparent. monoclinic system. H7. SG-3. turquoise. [CCCC]. Red-orange phosphorescent (the opposite of Lithium's missing cyan color). H7. yellow. like an oil film on water. yellow. ALUMINUM. idiochromatic. ore of Lithium. 49. [CCYY]. Be 3 Al2 [Si0 3 ]6. H5. opaque. cubic. with orange fluorescence in long-wave ultraviolet light and blue too. ELBAITE.8. yellow and orange go to brown. MANGANESE. idiochromatic. 12RCW#7. combining split analogous colors yellow-green and orange. yellow-orange. . TOPAZ. Deeply saturated means a transparent to opaque color skipping translucent. idiochromatic. On the other side of this analogous range is blue. or higher if pyrite is included. red. or transparent. IRON. magenta. Al2 [F. SG-2. red. transparent. blue.4. By centering yellow to brown. an ancient pigment. monoclinic. green. KCa 4 Si 8 O 2 O[F. transparent. 58. allochromatic. ALUMINUM. 55. SG-2. it does it with flair. red. the three analogous colors of this gem. yellow-green Epidote has a unique coloring system. White to pale cool green. 57. transparent. This is only a 30 degree span of color with no complementary intrusion toward centering. COPPER. yellow-orange. opaque. transparent. transparent.3. and Blue Transparent Standard 12RCW#7 [MMCC]. centering to neutral. H7. This red is so deep and spectrum dark it has to be very thinly sliced to see any color at all. some masses in the orange or azure range. idiochromatic. ALUMINUM. IRON. MANGANESE. SG-3. ALMANDINE.ALUMINUM. EPIDOTE. ALUMINUM. Crystals in the tetragonal system. IRON. transparent. H7. yellow. idiochromatic. Idiochromatic colors of aluminum under high pressure. allochromatic. H4. Na[Li. tourmaline group. SG-3. Ca 2 [ Al. Idiochromatic.5. orthorhombic crystal system. CHROMIUM. Garnet. some azure crystals come from Zimbabwe. idiochromatic. H8 STANDARD MOHS. idiochromatic. yellow-orange. LITHIUM. Fe3 Al2 [ SiO4]3.OH]2 SiO4 .OH]8H2 O. [MMCC]. pleochroistic directional change of color. trigonal. ALUMINUM. idiochromatic.25. deeply saturated. yellow. transparent. orange to red. These two elements together make a transparent red and transparent red deeply saturated. pyroelectricity w/heat. and warm Magenta. mostly orange. This is the light "almandine garnet". allochromatic (an outside element added to the compound). cubic. 59. adding transparent red until it's a deep transparent red. either way. LAPIS LAZULI.53. APOPHYLLITE. yellow. SG-4. red and magenta. H7. through brown to a warm neutral dark transparent color. CHROMIUM. allochromatic. H7. SG-3. green. blue crystals were found in Norway. wants to go dark and opaque. non-metallic mineral. brown. yellow-green. green.Fe 3 +]3[SiO 4 ]3[OH]. SG-3. H5-6.05. A rock of many compounds. Many Elbaite crystals show more than one color in a clear rainbow ordered spectrum. VESUVIANITE. This is the Standard Color Ultramarine Blue opaque. red. 61. deep blue crystals. allochromatic. orange and red. MAGNESIUM. added to the red of iron. turning red to orange with manganese. cyan. Yellow Transparent Standard 12RCW#1 [YYYY]. 60. a sodium aluminum silicate with sulfide. 56. Lazurite. Ca 10Mg2 Al4 [SiO4 ]5[ Si 2 07]2[OH]4.Al] 3Al6 [ BO3 ]3Si 618[OH]4. ALUMINUM. IRON. 69. cyan.10-12H 2 O. AUTUNITE. URANIUM. yellow. H5.5. Probably the strongest. 65. transparent. purple and a violet close to magenta. triclinic.8H2 0. VIVIANITE. SG-2. monoclinic family. NaAl 3 [PO 4 ]2[0H]4. SG-2. Ca[UO2 ]2[PO4 ]2. SG-6. CuAl 6 (PO 4 ]4[OH]8. only these needle crystals form a dense rocklike mass. 70. cool. than blue.36. ARSENIC.Hauyne. COPPER. each needle starts at the center radiating outward. than brown. TURQUOISE. 63. it's usually found within opaque masses. Hard ness 1. 12RCW#1. Zn2 [AsO 4 ][OH]. with zinc and arsenic. some times found on azurite. monoclinic. FLUORAPATITE. yellow.9. MORE NATURAL PROOF OF MY PIGMENT COLOR WHEEL. twenty or so bands per complete needle crystal. ZINC.68. Two-thirds of the color wheel without any metallic element in the compound. 12RCW#10 [CCCY]. centering standard. SG-2. tetragonal. PYROMORPHITE. Standard Color for Cyan. From brown to blue.5. hexagonal system. fluorescent yellow. Idiochromatic uranium. translucent. cool.24 monoclinic. apatite family. acicular. transparent. 64. cool yellow to bright yellow.F]3. the best is found in Afghanistan. yellow. yellow. MIMETITE. idiochromatic. like the needles of Rutile suspended in clear crystal. WAVELLITE. SG-3. H5. orthorhombic crystal system. ALUMINUM. [MMM. the crystal can change into an aggregate and lose it's crystal properties.2. BLUE AND YELLOW. Al3 [PO 4 ]2[OH. [CCCC]. SG-3. Bright yellow idiochromatic. H5 STANDARD MOHS. LEAD MAKES TWO OPPOSITE COLORS. BRAZILIANITE. Sodalite. purest yellow color in transparent crystal form. long thin radiated crystals. Laminae fibrous.7. brown. concentrical ringed bands form around the center. Pb 5 [P04 ]3C1 . Aluminum really does it big this time. translucent.5. green. 67. [YYYY]. H3.. Pb 5 [AsO 4 ]3CAsO1 . SG-7. idiochromatic. LIKE MY REAL COLOR WHEEL FOR ARTISTS PIGMENTS. 66. ALUMINUM. LEGRANDITE. Lapis lazuli is a contact metamorphic mineral found in limestone and granite. transparent. THIS MINERAL PHOSPHATE SHOWS THE CENTERING OF YELLOW TO BROWN AND BROWN TO BLUE. (a sodium aluminum silicate with sodium chloride that occurs in crystals and masses). PHOSPHATES ARSENATES VANADATES 62.1/2M-1/2C]. transparent. H3. LEAD. transparent. monoclinic. blue. transparent. idiochromatic. the opposite color.5. yellow-green.4-5H 2 O. idiochromatic. hexagonal system. SG-4. ALUMINUM. turning cyan with light exposure. Standard Yellow. The band itself can change from clear transparent to opaque white while in the center. Transparent turquoise crystals are rare. H3. blue. Yellow. each band ending as a cleavage line.H20 H5. idiochromatic. . Cyan to green crystals. transparent. 68. from ancient times until today. Transparent Turquoise Standard Color. 12RCW#9.5H2 O. pigment in the 1940's. Yellow to yellow-green in the shadows. H2.5. SG-2. Ca 5 [P04 ]3F. Fe3 [P04 ].5.1. transparent. Arsenic taking it to the warm side in it's luminous shadows. and Nosean. the second band range is transparent yellow crystal. warm to cool yellow. IRON. transparent clear when first mined. orthorhombic. warm yellow and orange analogous colored crystals are found around the world. [Fe. 78. WOLFRAMITE.5. SIX AND THREE COLORS SETUP. H4.8. Idiochromatic. brown. CHROMATES 75. CaWO4 . SrSO 4 . red dark is in the yellow dark of the Real Color Wheel. 73. H2 STANDARD MOHS. IRON. SCHEELITE.32. idiochromatic. PbCrO4 . PbM4.5. H3. Vanadium. crystals. hexagonal system.5. monoclinic. 71. political not puritan I'm sure) THIS YELLOW IS ON THE REAL COLOR WHEEL.5.75. CHROMIUM. ARSENIC. (Banned in 1899 by England W/N. no color. SULFATES 72. transparent. SG-4. BARITE. transparent. opposite colors on the Real Color Wheel. LEAD. iron can be. ore of strontium. two red elements making a very deep red-brown that looks black. red. transparent. Tungsten has very unique spectrum of colors.LEAD. idiochromatic. a rare metallic element. MOLYBDATES 76. transparent. SG-5. Pb 5 [VO 4 ]3C1 . tetragonal. MANGANESE. and can center any color to a neutral dark. LEAD. VANADINITE. WULFENITE. Standard Red. yellow to orange to brown. and YELLOW CENTERS THROUGH BROWN. VANADIUM. 74. Idiochromatic. THIS CRYSTAL HAS THE SAME COLOR PATH AS THE PIGMENT INDIAN YELLOW GENUINE. idiochromatic.5. opposites. monoclinic. H3. scarlet. it's a curve to neutral dark. which we no longer have available. ore of tungsten. idiochromatic. cool.5. idiochromatic. red. GYPSUM. H3. found with white and clear quartz. no color. SG-2. LEAD. yellow. SG-4.Mn]WO4 . STRONTIUM.99. CROCOITE. TUNGSTATES 77. TWENTY FOUR. Ore of barium. Chapter 6 . Manganese and iron. forming octahedra crystals or masses. idiochromatic. Transparent to translucent. TUNGSTEN. orthorhombic. transparent. CELESTINE. transparent. idiochromatic. idiochromatic. monoclinic. H2. matching the manganese. H4. yellow to yellow-orange and blue to azure. BOTH IN LIGHT AND PIGMENT. H2. yellow. THE REAL COLOR WHEEL HAS THE SAME THIRTY SIX. blue or yellow.2H2 0. CaSO4 . BARIUM. colorless. THIS CRYSTAL IS ONE OF MANY THAT PROVES WITH NATURE. TWELVE. transparent. orange. idiochromatic yellow and green to a centered brown. BaS0 4 . Cool yellow. white. MOLYBDENUM. SG-6. transparent. SG-7. tetragonal. SG-6. red. red.5. 12RCW#3. yellow. [YYMM]. SG-7. orange. compounded with lead makes a red transparent crystal. idiochromatic. transparent. it takes time. Thin lime paste mixes with skim milk. When the grain of lime reaches it's total absorption capability the cell is very close to the weight of water and only the weight of the lime crystal will cause it to precipitate. This natural limestone is calcium carbonate. Slaking gives off heat and water. The third coat is made with 2 parts finer sand and 1 part lime.C. A good grade of volcanic ash came from Pozzuoli. It takes me 1 hour to do 12 square inches. adding alum made a hard cement. The best lime has set for two to twenty years. casein. Lime plus hydraulic clay set too quickly for murals. leaving caustic lime. (new window) Finished buon frescoes with painting procedures. Lime that has been heated or calcined and had all the water removed from the compound it is very porous. Gypsum is hydrated calcium sulfate. the top layer again absorbs carbonic acid gas from the air and forms a film of carbonate of lime. Limestone powder is chalk or calcium carbonate. A good "secco" ceiling fresco will measure from 1/4" to 1/2" thick. FRESCO MORTAR is sand and lime mixed 3:1 in the rough coat. CERA COLLA. that would damage pigments. Clear "lime water" is made from settled milk of lime and is an excellent medium for fresco. Marble meal is best in the top coat for a whiter painting surface. What we call Cement today is hydraulic lime. Pompeiian walls were 3" thick. but would work for dried secco paintings. cracks easily. The lime crystal will dry in the water up to the point of squeezing it out. WAX.Lime Frescoes MEDIA: LIME. It doesn't sink into the paper because the particles are too large. After slaking lime in a container remove all the slaked water off of the top. fine and had rough edges. At this point it makes a good white pigment. On a thoroughly wet wall. sand is best. granite powder should be used in the final coat or powdered limestone. The "Athos Book" Hermeneia of Dionysius the Painter's Handbook from Mount Athos Greece (Greek-Byzantine). 4000 B. Limestone and gypsum both make plaster of Paris if heated. WATER. The longer you wait the harder the sediment lime compacts its self. Gypsum makes the harder more waterproof cement but has pigment color changing sulfur in it so it's not used for murals. two hours per square yard isn't too long. calves hair and straw to prevent cracking. firing their plentiful limestone and adding clean sand. Egypt made the first cement. This is clear Lime Water. . glue or egg. perhaps 3/8's of an inch thick. Wet and brush this third coat with lime-wash before applying this intonaco painting layer. this coating is thinner. make it with 3 parts clean dry sand. Heated gypsum makes plaster of Paris also. Then. it should be less than 1/8" thick. paint onto the wet or dry lime-wash with paints ground in skim-milk casein or lime milk. joins went unseen if they were necessary. OIL. Throw this on about 1/2 inch thick. Burning gives off carbonic acid gas or carbon dioxide. let the final coat set for a day. a light spar. A last coat is made of 1 part fine sand or marble meal and 1 part lime. (new window) LIME is the oxide of calcium [CaO]. apply the roughcast. the addition of sand makes concrete. after removing the top layer of crust. Clay causes cracks in mortar as it dries. Lime and water don't mix. Two to four month old slaked will not hold any more water and has cast out some water becoming heaver and sinking faster. resin varnish. Out of the water it will shrink more and faster. on top of the lime water solution called calcium hydrate. Dried lime re-crushed sinks fastest but looses it's bonding power and it's alkalinity. Calcine them and it they will have made dry cement. Here is Doerner's advice on preparing a surface for fresco.5 inches thick. casein. The lime is heavy compared to the water molecule and it will sink. Casein will increase the weather resistance as will egg yolk with alum. the calcium hydrate can be mixed with different proportions of water to form "milk of lime" and "lime wash". clay contains gypsum and alumina. They had watercolors and lime paint using tin based colors and made plaster by heating limestone for murals and gypsum mud for building. mixed with one part lime. Apply all coats from the bottom up. They are all used in secco painting and in stucco luster. it was light. said to add fibrous materials as oakum. the equalizing coat is applied when the roughcast no longer indents with finger pressure or dry. intonaco. calcined limestone or quicklime. still using coarse sand. egg and glue. The limestone crystal the is softer of the two. but slowly. add some volcanic ash. and kaolin clay is decomposed light spar. add silica sand or crushed marble or. Quicker as time goes on because the lime is contracting as it sinks and compresses with other lime. scrub off the skin of carbonate of lime and apply some lime-wash. Limestone that contains clay slakes very slowly. It changes from a thick yogurt after 4 months to being like room temperature butter after 24 months. heated. Alabaster is a granular gypsum. Add water and you make slaked lime or calcium hydroxide. This secco paint may include lime-water. I add it to my titanium white block-out water color. the imitation marble. GYPSUM is sulphate of lime or hydrated calcium sulphate or light spar. a rough coat 1/8" of an inch thick dried and a 1/8th inch thick top coat to paint on. but it will never dry under water. 2:1 in the second coat and 1:1 in the last top coat layer called in Italian. This is the mural material. The best lime has been burnt over wood. A good fresco can be painted on only two coats of mortar. Portland Cement contains 75 percent caustic lime and 25 percent clay. chopped rope. Very fat lime plaster with too much lime. The total thickness of outside walls should be about 1 to 1. slightly burnt (calcined) gypsum is plaster of Paris. Work this coat to perfection. this will make mortar. This second coat can be slightly drier than the first. as the later Italians did. Heated gypsum forms a sulfur dioxide gas and sulfuric acid. ACRYLIC MEDIA: More in chapter 7 LIME FRESCO A page on just lime fresco. and could be painted on for up to two weeks wet. Slaked lime sinks quickly. in about the same thickness or less. coal would give off sulfuric acid and make gypsum. Casein Tempera Emulsion. WAX. Dolomitic limestone sets slowly but dries hard. era. They should be cleaned in brush oil. Cobalt native made a rose color. apply the secco with wax-ammonia soap. Paint only until the plaster stops absorbing pigment and starts setting. egg yolk or casein and stipple in the additions. lights can be made from thick lime putty wash that will over paint any color. Today we use a cobalt oxide and limonite mix. more water removed is rosin. being refined from a nondrying petroleum oil. This was the "bianco sangiovanni" of Cennini. wet and dried several times until it tastes neutral. a bright yellow that's long gone. It's not that lapis lazuli couldn't handle the lye. I don't agree with Mayer's Handbook saying that petroleum distilled paint thinner works for fine artwork. cured under natural pressure is amber. the best white is dried pit lime. Chapter 7 Maroger Black Oil. contained manganese siccatives. to me the deep color purple is objectionable and it yellows badly. lapis lazuli. Wax. Today's turpentine is very pure. (new window) The essential oil of turpentine. The more coats. and burning the oxide moved the hue to blue. how they are unnatural with paints that absorb oxygen while drying. they were applied very early on. Petroleum thinners are good only for cleaning brushes of the house painting trade. without absorbing oxygen. Highlights with lime cream were added last as the shadows are deepened. malachite and amazonite. Green's were copper green frit. wet on wet. Today I add titanium white. magenta was madder root. Turpentine or mineral sprits work well with them. is a volatile plant oil. The only reason to buy double rectified artist's turpentine in the small bottles is to guard against impurities. Amberg ocher. Normal working time is six hours. Fresco should not be reworked for at least a month. the residue from turpentine is rosin. Today there are pigments that can take the sulfur. A lime-water damp sponge will blend large areas of newly applied color. Black's were made of carbon or iron oxide. a two percent addition to paints is all that can safely be used. Yellows were. Petroleum thinner will not dissolve the valuable damar varnish either. The Materials of the Artist. Other blues were azurite. they only evaporate. wash it out with a mixture of sugar and skim milk. . Colors must be lime-proof. sugar of lead was an early drier. Recently I heard that garlic lightened the linseed and reduced the drying time to 24 hours. they can be easily modeled over as the support absorbs color. and even that will noticeably yellow. The brown's were carefully washed iron-in-clay pigments. If you get lime in your eyes. Here is a five year medium test. Pine sap with water removed is pine pitch. AMMONIA. I haven't proved this yet but as the story goes it worked pre-1800. Red and oranges were realgar. The ancient oleoresin. steam distilled without pressure. Lime water can be painted on to increase the absorbing time and retard the setting time. in the B. They all totaled to 3" thick. ALCOHOL. white cement works well with the new pigments but dries faster so you have to paint faster or make a smaller giornate. Only time will tell if alkyd oil yellows. is turpentine in its solid state. like the Egyptians used. Naturally this white has no binding power of its own and needed to be applied with egg or casein if the fresco has dried. Much more on fresco (new window) including pigment tests and step-by-step buon frescoes techniques shown on paintings. One need not be afraid to run over outlines with local color. Organic madder root could then be mixed in and used because the white was neutral. Also it is best to add titanium white to the white lime pigment paste. unless you are talking about alkyds only. I did this and it worked very well. use a glass roller to bring up a high gloss. pitch or fused colophony. not the expensive brushes we use as artists. umbers and siennas both raw and burnt. Fresco Forum (new window). Siccatives "used by Bouguereau" are metal salts soluble in oil. skim milk was added to the pigments for additional gloss. painted secco with egg or casein. The thicker the mortar the longer the working time. Any color can be easily be painted over. or use litmus paper. but because it was such an expensive pigment and who could afford the sinking in properties of fresco. iron ore limonite. French turpentine from the maritime pine is best. they are both permanent. shortly after the fresco has set.Vitruvius described the plaster used by the ancient Pompeiians. The first pigments. Naples yellow and native orpiment. and light and dark frit. CASEIN BASED Turpentine is the best thinner for oil paints. (new window) They speed the absorption of oxygen by the fatty oils. Sandarac MEDIA: TURPENTINE OIL. Paint from light to dark to light. Today we can use PR122 Magenta and PB15 Cyan. SULFUR AND CLAY. Doerner explained in his 1934 book. an arsenic pigment like orpiment. The addition of damar is a much safer practice. the last coat was given a mirror polish with a smooth roller. like the blue. CARA COLLA. I would rather have the clear sugar of lead or the white calcined stannum oxide. Six coats were applied. Green contained a copper resinate. now. as turpentine does so well.C. but that leaves you with two days drying time instead of one. the color you see is the color it dries to. it's called lead acetate. Siccatives have been used for as long as paints have been around. DON'T TRY TO DO A FRESCO WITH COMMERCIAL CEMENT BECAUSE IT CONTAINS UNBURNT GYPSUM. Litharge. yellow ocher. Cera Colla. The current manufactures of art supplies are betting on alkyds for the artist. the more intense the color. Massicot. you will be able to blend like you've never done before. it will transform into the Jelly. stirring it in. Yellow PbO is an orthorhombic crystal. put it in the refrigerator overnight. which should be 40-45% of the volume of the oil. not drip or run. Now fill your jar with turpentine. called red lead. BLACK OIL is made of purified raw linseed oil cooked with red lead and adding mastic. The colors yellow to orange and red use the same brown as their color's hue darker hue. If you can make pancakes. maybe about a third to your tube paint. Red lead is the heated litharge transformation ingredient made from the heating process of white lead. This is very crucial . but I have never bothered to try it as I want the brilliance the mastic gives . The painters lead yellow pigment is also called litharge. ITALIAN FORMULA MEDIUM combines white leaded oil with beeswax for a transparent paste which dries to a soft semigloss luster and give an opulent body to impastos. Acid gas does a better job making more white oxides. that should do the trick . Lead white carbonate heats to yellow. My color wheel uses the same line of darkening as this lead oxide crystal. you have Black Oil. Black oil adds no color of it's own to pigments. MAROGER listed how to make his mediums of his past. The lead acts as the metal in the drier if the oil was heated to sponificate (turn transparent) the lead. using a Corning ware or some other such porcelain container. and any layer you make will dry within 24 hours! I recommend using Titanium and Zinc as the white paint.besides you can always make a paste of wax and resin and add it later (I recommend adding some carnauba wax. called malbutter and megilp. Burnt Umber. and about a 1/4 tsp of PbO. they added a buttery character to the paint and a harder finish. Now. Here is a very good ONLINE link about megilp and Marogers mediums. a handful of crystals. after the oil painting has completely dried. At this point I like to let the temperature down a bit. Roast the white to make the colors from yellow to orange. Here is a good recipe for Maroger Black Oil. To see some photos of the process click this link. do not let it boil.Even white lead oxide could be heated and saponifies clear in oil.if it is slick. turning the mixture from orange to the color of black coffee. put in detail that will stay. there are no poisonous fumes. Saponifacation turns the white lead transparent in oil and even more so the yellow-orange lead called red. (new window) When using this. is higher in litharge oxide which is more transparent. it's called red lead. add just a little. mix the oil and the PbO together. White lead without oil can be changed to yellow. you are adding too much. When heated gently it turns to reddish brown than purple. Don't let it smoke. they were made in the past worked very well. Produced red lead is tetroxide PbO3.96. Diluted slightly with turpentine. the same as the natural mineral minium. The yellow and red lead are lower in tinting strength than the white lead. The natural mineral litharge is red lead PbO. In this form it is of the orthorhombic crystal system. . Lead Litharge has a early temperature of yellow. After the coffee color is reached. so don't worry about that. A transformation will start to take place. Maroger's medium uses the the lead color orange. These mediums. Artists Pigments. When heated strongly red lead decomposes to form litharge. That would be white lead roasted to yellow.30g. That would be cuput mortum. Beeswax also adds flexibility which prevents cracking. PbOsub3 called Litharge and PbOsub4 called Red Minium and/or orange lead. Cooking this litharge and oil mix makes it a translucent brown gel called black oil. pg 118. wax and lead. it is harder than ordinary beeswax). before I slowly add the mastic. It has low tinting strength and good body). It can be added to Black Oil for an instant Flemish type medium. I don't know why anyone would want to paint with this as it is.4g. This decomposes the lead and turns it into litharge.5g. Then fill your tubes that are standing up in a jar with the mixture and seal it tightly. There is a variation that skips the mastic and goes for 10g of beeswax. Sun Dried Linseed (dried in lead pans) and balsam. Not only will your paint look incredible. Okay. PbO . There is a lead heat transformation heating lead rapidly at a high temperature. Whatever you do. Just forget about this for now. now that everything is cooked. LITHARGE YELLOW AND MASSICOT RED. Stir it often with a wooden or porcelain spoon . orange. Now. Mastic . you have the skill to make this medium. it may be used as a final picture varnish. red (lead tetroxide. It will look exactly like orange juice. the transformation will not take place. This comes out to visually about 1/2 cup oil. Cold pressed raw Linseed Oil . MASTIC VARNISH is made of pure gum spirits of turpentine and mastic resin tears. start warming it up. Adding heat to lead white forms yellow litharge pigment early on the heat process.NOT a metal one. (new window) were made of heated oil. Orange lead. red and caput mortum dark with heat. add beautiful thin layers. PbO Maroger uses the term litharge for oxide of lead.if it is exactly half. The PbO does not go into the air. Feller. Any lead heated in a fire will cause white lead oxide to form. orange. red and brown. a tetragonal system crystal. let it cook for a half hour to make sure the change is complete. Many masters from the North (1550) used Stand Oil. you are not there yet. 94577-5631 WAX MEDIA There are two kinds of wax. those from the animal itself are called tallows. Ancient Greece had a 3370 foot mountain that was famous for honey and beeswax. Don't bother with it. It was also recommended by Vasari. stays wet for ten days and wrinkles less than linseed oil. water based paints and by itself since ancient times. they are as clear as the day I put them on. Acrylic Urethane coating. flexible. Armenini. CA. Borneo). I like balsam as a painting medium with cold pressed linseed oil and damar resin. The hardest resins are succinite amber and hard copals. His brand painted beautifully. Turpentine must be constantly be added to keep it flowing. http://www. balsam. the furniture industry makes a hard varnish that is water soluble. They're not really a thin turpentine. and freezing oil and snow together for a week was a great purifier. it dries very slowly. No doubt nut oil was more popular then. 1930 Fairway Drive. Oil of cloves is the slowest drying oil of all. Don't use them as a varnish.com]. the Minoan's in 700 B. The second nest wax comes from the Indian lac producing insect. Storage was the problem then. Castor oil has its place with lacs and spirit paints. Strasbourg turpentine is similar and comes from the white fir.. but very good .C. Colors have more intensely and a rich gloss finish.. although it still yellows. Manila..garrettcopal. Leonardo liked it because it didn't yellow as much as linseed oil. Because the lower level will continue to shrink at a different rate than the new upper level. breathable covered. unlike oil) must be completely dry before a second coat is applied. It was used all through the high renaissance in Italy. Water based. Canada makes a good balsam. It can't be used alone with a drier because it makes the paint stick to itself and not what you painted it on! The separated paint looks like a sponge print instead of a layer of paint. The Etruscans used wax and mastic paints in 500 B. San Leandro. it's from the larch tree. Nut oil is pressed from the seeds of ripe but not brown walnuts. We could make this fine medium here in the United States. it can cause cracks over some soft paints and darkens in time. Theophilus Presbyter. the monk of Paderborn. Lornazzo. I never liked the brands I tried until I tried Ron Garrett's [ron@garrettcopal. Damar. Linseed oil by itself is a poor binder and allows moisture to enter.com/Mainindex. It paints and glazes beautifully. www. Lavender oil is preferred. Portrait painters find it useful. Clear Flex UV. they are too hard to remove and they also crack. oil billboards or oil paintings without added wax is this coating by. and shellac and were used since ancient times. the greatest artists that ever lived used it and preferred it over all others. but I don't think we do. Stand oil is linseed oil boiled with carbonic acid and without oxygen. it's the hardest. there wasn't enough control. Volpato. Get it at http://www. non yellowing ultraviolet inhibiting. the laccifer lacca. Triangle Coating. Any resin or balsam or copal added to oil paints permit painting layers in rapid succession. sandarac (sandracca). we don't use them in the art's. and the Egyptians even earlier. damar makes the best natural picture varnish for wax and mastic painting. Deft is one of several good brands you can get at any hardware store. he knew back then that cold pressed linseed oil was good. It was their easel and wall media beside buon and secco fresco. It would rather stick to itself then to anything else. Poppy oil is a slow drying oil that seldom yellows.. for long enough for the oil to become thick. called Hymettus. and the ancient oleoresin are soft resins. Nut oil was recommended by Heraclius and Theophilus. Amber resin is very hard fossil resin. than sun drying the oil in a shallow lead container 1/2" high. it was known of and used early in the 15th century. they are basically non-yellowing and have an enamellike effect on the painting.artpurveyors. Poppy oil is pressed from the seeds of the white poppy. He said the best linseed oil was from the Baltic Sea area. :) Copaiva balsam oil and copal resin both dissolve the lower layer and really slide the paint around. Borghini. how about a month and a half. from the whole plant. all oil does. as late as De Mayerne and even later. both dissolve mastic. Lavender oil comes from the flowers of the lavender plant.de/ or. then now. Rubins used it 2:1 in oil. Durer and Van Eyck used it in the 1400's. Clear Satin or Gloss. spike oil. Cennini called this the best of all oils. 3oil:2damar:1balsam. adding 5% to shellac will make it pliable and remove the brittle quality..com Venice turpentine is a superior turpentine.. or it may chip off. and beeswax for a transparent gel medium. this is very valuable to us and has been used in turpentine based paints. The second type is from the insect's nest.FLEMISH FORMULA MEDIUM combines oil with mastic tears. I've been using it on my acrylics as a final finish since 1976 with perfect results. not so today.C. Oil paint without resin.html It should be lighter than most linseed oils. some Copals (Brazilian. Van Dyck used it 1:1 as an intermediate varnish with egg and oils.. Acrylic Polyurethane resin can be made hard or soft. pure gum spirits of turpentine. Chios or Lavantine mastic. It's softer and not as useful in painting.. Shellac. balsam or copal (all of which redisssolve. Reynolds used it with ammonia and wax. Old brown wax can be whitened by just leaving thin strips in the sun. linseed oil will keep it from being sticky. [1200 A/D] wrote on oils and pigments. they mixed ammonia with it or turpentine and mastic. its major use is in the processing of tube oil colors. and is very sticky to paint with. A good choice for acrylics. Bisagno. Resins and balsams keep oils from wrinkling and forming a skin.. etc.kremer-pigmente. but a thicker and undistilled balsam. The alkyd walnut oil may well be the best fast drying base medium today. the slow one's. or by melting and cooling it in alum water. shellac or oil. H2 C0 3 is formed when carbon dioxide dissolves in water. ammonium salts are alkaline. add some ammonia. Casein powder is available in two types. which will dissolve in water. Put a cap on the container and it will keep for a very long time. Potassium carbonate or caustic lye soda. stir it until it's cool. stir the mix until while it is cooking and until it's cool. some vegetable dyes will bleach out. pigments in wax and mastic. The volatile ammonia alkali dissipates and the soap dries insoluble to water. as a shrine to their god Ammon. it was called "ganosis". It doesn't take much ammonia water to dissolve either fresh curd or the powdered pure curd. Ammoniac. simi-mat. Cera Colla was an early winner in the Paint Wars. when this wax was applied on stone for decoration. whichever has the higher concentration. 1/5 its volume over moderate heat will cause the effervescent reaction. Ammonium carbonate or ammonium hydroxide (common ammonia water). turpentine. Oil will emulsify also but will quickly turn yellow. Start with fresh skim milk curd and add four times as much slaked lime to make a paste.. can be mixed with white beeswax 1:2 and boiled until the effervescence stops. It's non-yellowing and forms an emulsion in lye. The third nest wax is from a Chinese insect and it melts hotter than beeswax. so it's a good substitute. AMMONIA AND WAX MAKE CERA COLLA PAINT Ammonia. This will be a water soluble wax soap emulsion that will mix with pigments. combining this white with an oil white makes a fast drying white for water or oil. Lime combines with casein or egg yolk to make a weatherproof mural paint. Ammonium hydroxide.. Grind your store bought dry pigments into it as you need them. is obtained in the impure form from wood ashes. This is also the casein lime medium. this was probably the wax Pliny talked about. Add a little turpentine with your brush and paint away! These ancients were pretty clever also. potash [+IUM]. glue. MEDIUMS ALCOHOL BASED SANDARAC or SANDRACCA . a salt of carbonic acid. Giotto added a little cherry gum to the mix and the Byzantine's added a little "milk of fig". it could pull an old thin coat of plaster off a lower coat. Ammonium. before the "Dark Ages". both very strong glues. The Greeks and Romans stored their pigments in small covered containers and called them "waxes". around 500 B. gelatin... It was the architect's paint. casein. Ammonium is also NH 4 . all of the pigment is exposed. they did a lot of dying in India.C. soak the pure powdered curd for a few hours before adding the ammonia. Thin a shellac size to apply an intermediate sealing coat to a casein painting or it will soak up an oil glaze like a blotter. If it chunks up because it's old. balsam. gum. Three times melted and cured in salt water. mastic. Carbonate. This is the glue the wood workers use on furniture. Use cera colla wax to give gloss and protect secco frescoes as Egyptian's did to their colored walls. balsam and wax soap. Use only pigments that can stand up to lye. mix the pigments in some thin paste to paint with. resin. Casein sets quickly. as calcium carbonate or ammonium carbonate. a radical that plays the part of a metal in the compound formed when ammonia reacts with acids. wax and turpentine was the picture paint. and transparent.. Copper colors turn blue in ammonia. Traces of this wax are found on Egyptian sculptures and tombs as far back as 2500 B. Wax dissolves in turpentine. It will emulsify wax. is the Egyptian city founded about 500 B. egg. made by mixing the ammonium alkali with carbonic acid. pure dried curd. Casein is still strong when it's water thin. balsam and oils. but will remain soluble in water. a salt and gum found in the Qattara Depression 200 miles East of Memphis. This insect is cultivated on two different trees with human assistance. which is insoluble in water but is soluble in ammonia and mono ammonium caseinate. They painted with pure melted encaustic wax and pigment too. The early Greeks. Clever people these Chinese.C. This is the ancient "cera colla' paint of the Dark Ages I would like to attribute the discovery of cera colla (new window) to Egypt and their god Ammon not to Byzantium. are all the same alkali. beeswax. like it was before you started.in batik tapestry. mastic. When the reaction resides the casein will be in a colloidal state. and probably a lot more places that were not so protected from twenty five hundred years of weather. CASEIN TEMPERA EMULSION There are two types of casein tempera paints. NH 3 . Ammoniac is the remains of a long extinct insect that lived in the area. basic NH 4 OH is a weak alkali. casein with lime is so strong that if it's not diluted very thin with 5 parts water. making a very luminous surface. were fond of decorating their statues and the friezes of buildings. Egypt. Casein should be prepared fresh daily. the punic or eleodoric wax. Casein medium will emulsify egg. but not water or alcohol.C. Make your own with titanium white powder. is a compound of nitrogen and hydrogen. stand oil is better suited. Traces of wax were found on the Trojan Column in Rome. a water soluble gas. Tip: Casein and lead mix well together. hygroscopic. in small quantities instead of depending on preservatives which effect there painting qualities. castor oil and red lead. Have you ever heard of Timbuktu? .C. Salt was found and traded. people gathered in these areas. HISTORY MEDITERRANEAN CIVILIZATIONS & EGYPT ONE MILLION B.C. and that's pretty much what we're talking about. it was actually a superior paint than the softer mastics or oils.C. The team of archeologists and geologists in 2009 and 2010 used a combination of deep-ground radar.. which gives it a layer of credibility.. Over a hundred thousand people were walking around at any one time. a University of Hartford. the people liked all the medium combinations possible with a turpentine based paint better. all available on the southern side of the Pillars of Hercules. Mediterranean Civilizations.000 B. Macedonia... Because it was harder. To solve the age-old mystery. EGYPT. searches have focused on the Mediterranean and Atlantic as the best possible sites for the city.." head researcher Richard Freund told Reuters. it was probably the first permanent paint.C. Aegean Sea. GREECE. The Phoenician's painted their ships of commerce with sandracca (sandarac. 8-7. in Iberia. There. 8-12. digital mapping. "It is just so hard to understand that it can wipe out 60 miles inland. People were sparsely covering the earth. disappeared into the depths of the sea. GERMANY. describing it as "an island situated in front of the straits which are by you called the Pillars of Hercules. Sandracca was used as the intermediate and final varnish over tempera paintings at the time of Giotto. Weapons were important.S. especially for archeology. Sandracca does not mix or adhere to oil. ART ADVANCES IN B.C. Freund said the "twist" of finding the memorial cities makes him confident Atlantis was buried in the mud flats on Spain's southern coast. PHOENICIA. Plato said the island he called Atlantis "in a single day and night.600 years ago. or Strait of Gibraltar. gave researchers added proof and confidence.C. CIVILIZATIONS 8-3. A/D 960 to A/D 1100 LIGHT AND COLOR IN B.A U. Just across from their city-state of Gades.C. but with more choices. they believe that they pinpointed the ancient. CIVILIZATION." Experts plan further excavations are planned at the site where they believe Atlantis is located and at the mysterious "cities" in central Spain 150 miles away to more closely study geological formations and to date artifacts.C.Sandarac (sandracca) is a coniferous resin from the Alerce Tree of Morocco.C. Plato's "dialogues" from around 360 B. turpentine won the paint war. Freund says. he added." built in Atlantis' image by its refugees after the city's likely destruction by a tsunami. moving in tribes and gathering where important resources were found. Egypt was settled from the top with the Nubian's coming over the mountains from Central Africa and the salt traders moving up to lush cool land on the upper Nile. to 1000 B. Germany ART ADVANCES IN B. that makes a lot more sense. Phoenicia. was the term used for paint itself. 1755. 7000 B.C. Freund's discovery in central Spain of a strange series of "memorial cities. buried in the vast marshlands of the Dona Ana Park. and as a medium by itself.C.C. 8-6. and can be made more fluid with castor oil. Connecticut. The team's findings will be unveiled on Sunday in "Finding Atlantis. MESOPOTAMIA. the team used a satellite photo of a suspected submerged city to find the site just north of Cadiz. to 500 B. to 100 B. "This is the power of tsunamis. Tsunamis in the region have been documented for centuries. swamped by tsunami.led research team may have finally located the lost city of Atlantis. find the term in your browsers Edit-Search & Find. Atlantis residents who did not perish in the tsunami fled inland and built new cities there. Greek philosopher Plato wrote about Atlantis some 2. A/D 500 to A/D 867 8-20.C.C." a new National Geographic Channel special.C. or Farther Spain.C. 7000 B.C. Greece. Italy. One of the largest was a reported 10-story tidal wave that slammed Lisbon in November." as the Straits of Gibraltar were known in antiquity. Debate about whether Atlantis truly existed has lasted for thousands of years. 8000 B. to A/D 476 8-18. Mesopotamia. While it is hard to know with certainty that the site in Spain in Atlantis. France. (Reuters) (LOST CITY OF ATLANTIS) . 500 B. "Sandracca" as it was called in ancient times. 8-9. (Article Added 3-16-11) Lost city of Atlantis. to 600 B. Sandracca did have some early victories though. to 410 B. 7000 B. Using Plato's detailed account of Atlantis as a map. I follow the Paint Wars up to today. hard flint was found while digging caves in feldspar and clay. are the only known historical sources of information about the iconic city. INDEX OF PAGES 8-2.. MACEDONIA." Freund said. 356 B. professor who lead an international team searching for the true site of Atlantis. THRACE. ITALY. multi-ringed dominion known as Atlantis. It's soluble in alcohol and oil of spike. (Article End) Chapter 8 B. "We found something that no one else has ever seen before. a major one was back before 1000 B.C. it's a hard resin. to 701 B." said Freund.C. Rivers were important too. may be found. so it lost the final medium battle in the Paint Wars during the Dark Ages. people found the Niger River with perfect weather. 100. as it was later called. he said.C. Egypt and Central Africa. Thrace. AEGEAN. the legendary metropolis believed swamped by a tsunami thousands of years ago in mud flats in southern Spain. England. 8-13. and underwater technology to survey the site. 2000 B.C. Spain. INDEX OF PAGES 8-1. 8-16. 5000 B. possibly made from a meteorite.000 B. granite.C. Man had settled down to farming. The Book Barn in Niantic. and by then a thousand years of mastabas's had been built. An Egyptian priest named Manetho. dark green was crushed malachite. The tombs were moved up river to the cliffs of Beni Hasan. The XX Dynasty was losing power and the Assyrian Kings captured the land. Alum was used in dying cotton and hardening lime cement. were the dark and medium cobalt hues and cyan colored azurite. to be filled with clay as building columns. preceding the pyramids built in 3000 B. No human structures are older then the mastaba tombs of the Old Kingdom of Egypt.C. there is a big difference between what was produced in Eastern and Western Ireland. The cataracts separated groups of people and Egypt had full control of the Nile below the 1st cataract. lifelike. red and magenta.. when they found a vein they followed it to the end. raising animals. the support was quick lime plaster. chrysoprase. 3500 B.C. but inland China got more. orange. Added 2-14-9. Another yellow was realgar. Zinc is smelted from lead. EGYPT. cuprite. musicians. agate. it connected to the Upper Nile. (new window) "Can you believe in Ireland they were making sophisticated gold objects in 1500 BC? In fact.C.C. Tin was their color base.. Nubia produced one thousand tons of gold for Egypt. both places are into mining.. This came in an email from Laurie Pessemier. azurite. and include the TigrisEuphrates Valley. turquoise. jade. reeds made forms. which the Roman's later took for their own buildings. Eskimo's Northwest of the Hudson Bay had copper fish hooks ground from native glacial copper. casein and lime.C.. by now they were casting copper and mining these minerals. 10.. a native crystal compound of arsenic di-sulfite. EGYPT. 6000 B. Most sculptures were painted. "high art" was back for a short time. olivine. Yellow to brown. Art declined into chaos. 1500 B. silver. to Lake Albert and into Lake Victoria. The Great Pyramids and Sphinx at Giza are a short distance away. 3000 B. with the Yellow and Yangtze Rivers. Egypt's Old Kingdom had frescoes of miners. green fluorite.C. orange and red transparent colors. quartz and diorite. marble... listed the rulers of Egypt. China has pottery happening also. the entrance passage pointed to Polaris. New information. 2350 B. over thirty six billion people so far. This list grows in later periods of Egyptian history. malachite. 8000 B. covered with smooth polished marble. they produced a lifelike 240 . Egypt. 1300 B. Above the 6th cataract. carnelian. we'll start with Egypt. Iran and Iraq are casting gold. and yellow to red were the earth ochers. A lot of people came and went by now.. Their fresco pigments were calcined tin. farmers and their crops.C. twenty five miles from Memphis. 8000 B. The ancient true blue ultramarine and natural cobalt. 2500 B. and native orpiment arsenic for the brown. EGYPT The Nile flooded annually and left behind fertile farm land for crops. green feldspar. both had black or blond hair. which fired from white to yellow. hematite and lapis lazuli. important people like to have nice things and their willing to pay for them. Early surveying established boundaries. The III Dynasty's capitol was in Memphis. waged war and conquered from Nubia to Mesopotamia. Upper and Lower Egypt are joined together.C. Alexandria was just east of the last tributary of the Nile. basalt.C. 4000 B. When the fighting is done artists are revered. as well as India's Indus and Ganges Rivers. like everything else in Egypt. Light green was crushed amazonite. since the Nile left no landmarks.There it is in the middle of Africa. Ireland. since they had the highest developed cultures at the time." 1580 B. The XVIII Dynasty with Ikhnaton would change from polytheism to monotheism.C. water wheels moved water around since there was no rain. included Lake Moeris at the outside. Big government must have started around 5000 B. Connecticut had a volume on Irish metal work from 1500 B.. The Empire or New Kingdom. and Lake Victoria must have been "The Garden of Eden".C.. galena.000 people were alive in Egypt. smelters. tin. The Tigris and Euphrates River Valley drew a crowd. King Tutankhamen of the XVIII Dynasty had smelted iron tools.. Fresco were painted on flat walls or on bas-relief. chrysocolla. and having pets and kids.C.C. 30. An underground passage way connected the Sphinx to the Pyramid. They were the world's greatest miners.C. All done in the perfect. Sculpture's were done in limestone. garnet. On the Lower Nile where there were no trees. gold. "high art" technique. There's enough people in each area now to develop cultures. weapons and pigments. silver and bronze. EGYPT. An iron-nickel knife was found in a pyramid. 2000 B. jasper. copper.000 B. with Ammon as their chief god. all the good places were occupied by somebody. rock crystal. they were painting with water based mediums of gum.C. The Sphinx was a portrait of Pharaoh Khafra of the IV Dynasty. it was 479' high. The Congo River was settled. the "good life". in Thebes... 2160-1785 B.. The Mekong and the Thailand region got its share too. They also had madder root and karmes to deepen the magentas.C.. boats traveled up and down. MIDDLE KINGDOM. Egypt heated gypsum to make quicklime plaster of Paris. Egypt and China are working metal.. a long time member of the Painting on Location Forum. Art starts going downhill as disruptive changes start taking place. for tools.C. Other valuable crushed ores.C. the Mediterranean. The Middle Kingdom of the XI-XII Dynasties were a feudal system set up by the kings of Thebes. Men were painted red-brown and the woman were all fair skinned. The Egyptians were big-time shipbuilders in the Old Kingdom which ended with Pepy II of the VI Dynasty. An estimated 500. for walls and murals. portraits. This sort of thing doesn't fit neatly into our concept of Western civilization. . This was the medium of the Fayum Funeral Portraits.C. 2000 B. The finest indigo was transparent cyan in color. The Sumerian's taught the Minoan's how to smelt bronze from copper and tin. they also had 3/4 views of people in everyday scenes. Carthage. has expanded to include a new shrine to the god Ammon. equal to the EGYPTIAN MIDDLE EMPIRE. 663-525 B. The later Mycenaean Age on the mainland was only the afterglow of this great culture. from Africa to England to Japan.. (Sandracca) was mixed with lead paint and castor oil.C. the XXVI Dynasty drove out the Semitic invaders. Phoenicia. EGYPT.C. Woman wore bare breasted fashions. 1200 B.... Homer mentions a red cart he saw in a courtyard. During this period the Egyptians are friendly toward the Greeks and influenced their architecture.C. MINOAN. in the Nile delta. Homer said there were ninety cities on this little unfortified island During this peak. By this year in history. 1500 B. Lead and sandarac (Sandracca) was the protective paint.C. became sea traders and started the Minoan Empire... Lead corrodes with acids and forms oxides. the first curved ceiling. Phoenicia. Here is mined the ammonia gum and salt to supply the ancient world with a new medium.. Sandarac. in Asia Minor.C. The oldest paints came from the oldest civilizations. balsams. other City States were in the Balearic Islands. Gades was at the entrance to the Mediterranean.C. Phoenician's built city-states at their ports of call. Alcohol paints were the oldest paints outside Egypt and the most used. Crete's fresco had better shading than Egypt's. it was the best for their boats. Turpentine. Byzantium was half the size of the peninsula of Italy and one quarter the size of Egypt. in the city of Ammonium.C. lead red.C. 500 B. AEGEAN SEA 7000 B. from the city in Argous State on Peloponnesus Island were Pre-Greek and were a rich culture for the last thousand years.pound gold casting of him for his inner coffin. 4000 B. MINOA. they were merchants and had discovered how to extract silver from lead. Flint and copper mined at Catal Huyuk. Red lips and eye shadow were reflecting taste's from Egypt. wax and lime were the mediums for painting. GREECE 2000 B. 200 miles east of Lake Moeris.. "Eric the Red" had a red boat and red hair. flush toilets.C. It is now 20% bigger than China in this age of Confucius. as Homer said. and their home port of Tyre. to orange and then red. and the original underground beehive corbel vault. mastic. water based wax paint. egg. AEGEAN. There were no large sculptures to be found on Crete. The ETRUSCAN and GREEK civilizations formed about this time. Painting and protecting their boats was very important. MYCENAEAN'S. or just stolen. They painted their ships of commerce this bright red and the whole world looked forward to seeing them arrive. Sardinia. The Saite period was named for the new capitol in Sais.C. They got the materials from Morocco in north Africa. they all made one kind of paint or another. reaching to the Persian Gulf. only to fall later to the Ptolemies. The two. these settlers exported wine and olive oil. not encaustic (hot wax). iron. when heated they turn from white to yellow. The current circled Crete and dropped off lost sailors. He was a merchant for the color indigo from India. 2000 B. bronze was being made all over the Mediterranean.. cara colla/cera colla. PHOENICIA was on the coast between Egypt and Mesopotamia... now called Beirut. always on the cutting edge. 600 B. their paintings were similar in tone to Egypt's.C. Etruscan and the Assyrian Empires.C. at the eastern end of the Mediterranean. Egypt has now expanded 300 miles east of Memphis. Aegean Sea. the Pre-Creek. 6500 B. 1100 B.. The Etruscans used lead. These world travelers and traders worked with the best of everything. Phoenician Empire becomes part of the New Babylonian Empire. PHOENICIA 7000 B. Their ceramic fired paint was iron based. over a ton of gold was retrieved from the Heinrich Schliemann excavations. 700 B. as being pagan. in the middle of the Qattara Depression. including the front facing eyes on profile heads. and than Rome. all the known world was shared by the Greek. they were all destroyed. three or four storied Palace of Cnossus had running water. which is why probably no painting examples are to be found. rivaling the opaque copper cyan frit of Egypt that was distributed by the Phoenicians. their empire was over. also sandarac. 1000 B.C. Most of the known world was traveled by sea. (Sandracca) from Morocco. Crete civilization was awesome.. mercury. Crete is the lost and found department of the Mediterranean.C. A Greek guide told me they were stolen. 436' below sea level. the XII Dynasty. and the copper frits from Egypt. By the time . cobalt and arsenic colors. Oea (between Cartage and Egypt). PHOENICIA was growing into a world power via trading with it.. PRE-JERICHO was big in the salt trade at the north end of the Dead Sea. a Turkish culture. Percles is in power. PELOPONNESUS Dark Ages.C. the work of children who lived through the wars. GREECE is smelting bronze. early Corfu. the world of science. with salt water cured wax painted blue and red on at least the moldings. cera colla to be sure. 101' wide. MACEDONIA-GREECE.. which was popular on the more advanced Aegean Islands. Aegina. Cretin sculpture is more advanced with perfect lifelike figures. and the Fertile Crescent of Mesopotamia to the end of the Tigris-Euphrates in the Persian Gulf. and Phoenician Cultures...C. Doric Parthenon. Homer writes the Iliad and the Odyssey. which was also declining at the end. painting in general is on a downhill slide after the Mycenaean Age.Christ was born. bas-reliefs with Egyptian influence. Romans were great painters and the Greeks would be great sculptures. Phidias was the master sculpture. Aristotle. author of the "Republic" and "The Poetics". the Heraeum at Olympia. Egyptian.C. Very little art is to be found from this"Dark Age period of Painting" until 525 B.C. and fight the Trojan War.C.C.. good movement and good proportions.. and Aiolian tribes that begin occupying Peloponnesus will form the Greek civilization.. It combined the Aegean. Geometric forms similar to our post war abstract modern art. Greece. that distance again to the Indian cultures. united peninsula. Art diminishes and the first "Dark Age" period is upon us. of which he unified most of in his conquests. 440 B.C. as all of Greece.C. 550 B. the second Temple of Hera is built at Paestum.. up to and including the Indus River. close but .. the large island near Athens. stiff and close to realistic. tutor to Alexander and inventor of his glass diving bell. ALEXANDER'S EMPIRE. Macedon or Macedonia was just north of and almost as big in 450 B.. All art is only abstract. The Temple of Hara. that's big. The "Youth from Attica" sculpture is the stiff "Apolos".. 460 B. 1100 B. from that point on to India. 500 B. Delphi bronze are life size. it's 80' wide and it's also called the Temple of Posidon. straight fluted pillars on the back and the Porch of the Maidens in front. 600 B. Perhaps this is a great step forward. 500 B. PELOPONNESUS. Greece are found. 410 B.. Their not getting much support. Experts can't find any additives to the wax and so call it wax encaustic. MACEDONIA 356 B. The Greeks were probably great painters also. half way around a single tennis court in size. 470 B. Polygnotus was their greatest painter. an igneous rock of plagioclase feldspar and hornblende. and unites the people with stories about their great god's. Ionic Erechtheum.C. is the large land that forms the southern end of the Greek peninsula. It was made from the best pentelic marble. including Egypt.C. 900 B.C.. The Persian War's are over and Greece starts rebuilding. It's now all one big happy. built on the highest of Athens three hills. Clay plate ceramics of mining at Corinth. 580 B. Polyclitus proportioned the body seven heads high.. it was Athena's Temple. The Dorian. or Greek-Egyptian type. All of his paintings have vanished. Euclid developed his theorems of geometry and Archimedes discovered the principle of specific gravity. They told me in Greece it was really a sculpture of Posidon and probably stolen from Crete. This was too big to control and it ended after only thirteen years.C. how big? It started across from the heal of Italy.C. 323 B. artisans are working in limestone. it was about 30 seat steps high. Coreyra. 700 B. pupil of Plato. In Delphi. the seat of this early Mycenaean. These painting were wax based. It's the same with the Fayian Grave Portraits. very massive. Doric in style. and there only cartoon drawings without shadows. 500 B.C. created by the Greek architects Ictinus and Callicrates. Berlin has a ceramic jug with realistic stylized drawing that is better then the Greeks work at the time. a more elaborate and decorated style. I went there in 1963 to see the theater stadium. but no paintings or murals survived. like the Egyptians with out the rigorous formality of positions.. made perfect "High Art" bronzes as seen from the Roman copy of "The Discus Thrower". at the top of the Ionian Island's chain..C. His Empire was so big. Than. working in wax and mastic. Myron. 228' long. Eratosthenes measured accurately the size of the earth. "Zeus" the poured bronze sculpture was larger than life and perfect. had wood columns which were replaced by stone in the Doric order. Pompeii and Herculaneum murals in Italy were saved by being buried with lava dust from the Vesuvius eruption in A/D 79. 1000 B. It was way out of the way and everything was a red-tan color. .C. it looks like an early Parthenon. Pre-Greek civilization.C. The other order of architecture to emerge from the "dark Ages" is Ionic. their sculptures were stiff with heavy Egyptian influence. Located in Southern Italy. 300 B.. the "Hera of Samos" looks as if it were cut from a tree.. but that is because the ammonia turned back to gas. They will be the next rulers of the Persian Empire. the Etruscans were the third largest land holding empire at that time.C.. is reaching the peak in sculpturing. Ionian.. marble and diorite....C. Great sculpture under Attalus I. with Michelangelo the sculpture and Signorelli the painter. cities-and even some specific trades like potter and coppersmith before the Sumerians appeared. This Sumerian. more than three thousand years after the rise of the Ubaid culture. Tapestries took the place of paintings. These non-Semitic Sumerians and Semitic Akkadians. "The Boy With a Goose" by Boethus. it never made it and went downhill after that.C. the area was called Mesopotamia.C. 2'9" high is "perfect high art". ETRUNIA. Eridu.C. were faced with more technically accomplished humans who knew how to breed and raise animals.C. that's the basis for all Western written languages today. the existing names were incorporated into Sumerian and written down for the first time. or Edin." The word "Adam" also existed in cuneiform. The "Dying Gaul" by Pergamum in 225 B. From the top of the temple one could see for twenty miles in each direction. who made distinctive pottery. Palace was fortified and raised sixty feet off the ground. orange. were warring people." 3000 B. no trees. That's a lot of brick to make and set.C. it's the second time man has reached this level of sculpture. so the ceilings were domed brick. appears first in Sumer. 100 B.C.The Corinthian capitol was designed for the Temple of Apollo at Bassae.. and a flat roof on top. Each level was a different color tile with white at the bottom.. than black. they are not Sumerian in origin. Lysippus changed Polyclitus's body-head ratio from 1:7.C. Though Eridu. Camps were forming in the Fertile Crescent..C. as stone was as rare as wood. Three sculptors were famous at this time. Mesopotamia has fully developed palaces and mansions. And the mythology of the lush and lovely spot called Eden was codified by being written.C.C. glazed tiles protected unfired clay brick walls. Praxiteles. the cavities filled in. With a single wedge shaped stick they made an entire alphabet and counting system on clay. these non-Semitic Sumerians had city kingdoms. I added this on 5-21-12. Landsberger called the pre-Sumerian language simply Proto-Euphratian. which Alexander helped create. bas-relief looks Egyptian with stiff poses and frontal eyes on the profile. 600 miles East of the Mediterranean.. that puts the center of the body one quarter head above the top of the legs space instead of between the legs like Leonardo da Vinci's. the Mesopotamian region that produced the world's first written language. absolute control of the medium and complete understanding of anatomy. There were no wood beams to be had. marble. were discovered a century ago. north of Sumer. they were large villages and by 3000 B. Pre-Roman Etruscan art was influenced by Greek art. The sculpture was heading to realism in 2400 B. Persia ultimately conquered Mesopotamia in 590 B.C. Sculpture followed an Oriental and Egyptian line. One clue lies in linguistics: the term Eden.. MESOPOTAMIA. This is where I first surmised the top of the Great Pyramid was capped with gold.. Other scholars suggest that its speakers were the Ubaidians. by 4000 B. was honeycombed with arches and drains. Adam.. 2300 B. MESOPOTAMIA . cuneiform.. a grain and wool trade.C. The next time this stage will be reached is in 1500. The "Victory of Samothrace" that we see was reconstructed from pieces. 5000 B. who was a court portraitists for Alexander the Great. and the "Aphrodite of Melos" are all fine examples of Hellenistic sculpture.C. 1140' x 1050'.. thus forming the first school of Pergamum. It was in Saudi Arabia that Zarins encountered the Ubaidians. in Babylonia. flooding in from less hospitable regions. MESOPOTAMIA. The temple tower was oriented like the pyramids. about 5000 B. to 1:8. mostly humans with simple landscapes and flowers. ITALY 500 B. no hills. 705 B.. and had developed the first form of writing called. at Khorsabad. They must have had some great paintings in 100 B. Scopas and Lysippus.C. Their art was on glazed tiles and bas-relief sculptures. 200 B. when vestiges of their settlements.C. Great rugs and tapestries covered the walls and floors. I found it while researching Victoria Falls near where I thought the original "Garden of Eden" (new window) was. and a lot of slaves to do the work. They founded the oldest of the southern Mesopotamian cities.C. Boethus may have come from the workshops in Alexandria. Bas-relief wall sculptures covered the interior walls of important rooms.Eden. leading to the top. MESOPOTAMIA. with the balance of power shifting back and forth in Sumer. ..C. and other cities like Ur and Uruk. silver and gold at the top.. the Ubaidian presence down along the coast of Kuwait and Saudi Arabia has been known for little more than a decade." Although both words were set down first in Sumerian. along with place names like Ur and Uruk. I found perfect average human proportions (new window) to be adding a quarter head between the two joining heads in the eight head high human length and subtracting it from the lower torso. Sumer is conquered by the Arab Semites who start Babylon in 1800 B. and there that he began developing his hypothesis about the true meaning of the Biblical Eden. MESOPOTAMIA. where the hunter-gatherers. The Second School of Pergamum under Eumenes II. MESOPOTAMIA. The Sumerian's had 200 words for different kinds of sheep. but none survived. blue. who seemed inclined to cluster in settled groups. and the birth of writing "Here in the Tigris and Euphrates valleys and in northern Arabia. monsters of stone guarded the entrances. Who were these people? Zarins believes they were a southern Mesopotamian group and culture now called the Ubaid. graves and distinctive pottery turned up. The Palace of Sargon.. They are older. A brilliant Assyriologist named Benno Landsberger advanced the theory in 1943 that these names were all linguistic remnants of a pre-Sumerian people who had already named rivers.C. This was in the third millennium B. Their art was also based on clay. meaning something like "settlement on the plain. However it was. MESOPOTAMIA 7000 B. In Sumerian the word "Eden" meant simply "fertile plain. People were stiff as in later Egyptian work. it was seven stories high with a ramp around the outside. scarlet. 800 B. Assyrian. Palermo bas-reliefs are stiff in the Egyptian style. (new window) A big loss in the Paint Wars. which is the hot process of applying wax. They made a halo or face glow by adding reflectance to the surface support. Roman artists would come to study and be great artists themselves in a hundred years. India is being sacked by nomadic invaders. and so was used with these pitch resin oil varnishes. had grown into the Roman Empire. 100 B. Cera Colla was Egypt's wax and ammonia medium that was better suited to painting murals as it was softer. A/D 700 CONSTANTINOPLE. Giotto. and when painted on shinny tin it gives the appearance of gold. are displaced by German soldiers. but Christianity prevailed. Most of the Byzantine art that remains are mosaics in churches. ROME conquers Greece. wax and mastic and egg painting. grays. However this Sandracca resin pitch medium would not mix with resin pitch turpentine mediums.C. just as another popular medium of the time would not mix with turpentine. A/D 200. painted on a shinny tin plate. there not encaustic as some historians believe. The Last Roman Emperors. Cara Colla painting with emulsified wax was also popular. over to Egypt. on polished tin were before oil was added to paint. They. Wax imparts the flowing quality to turpentine based paints just as Castor Oil does to Sandracca paint. was fired colored glass of a somber nature. Wax. Christianity was an oriental cult in Rome. The Paint Wars were now including mediums as well as pigment bases. 44 B. lavender oil and castor oil as it's thinner and plasticsizer to change the painting viscosity. The Vesuvius paintings were Cera Colla not encaustic.They used the colors of Egypt but were not as far advanced as Egypt or Crete.. in the Dark Ages of Greece.C. Armenia and up to Germania. Roman vaulted architecture. Twelve hundred years of work. one before the Iconoclastic Controversy which destroyed most pagan art and one after the victory of the Pro-image Party in 842. 146 B. By todays standards the colors were not as permanent as todays pigments though. At this time when artists were making paintings more beautiful then ever seen today. the Byzantines. They would be the premier artists until Giotto came aboard. Cara Colla. when the ammonia evaporates it leaves behind only the wax. Some of these mediums that dissolve in turpentine would also dissolve in alcohol. art is nowhere yet. A great architectural achievement by Justinian. in A/D 1300. They paid big money for the best of the Greek artists to decorate their great vacation paradise. after Greece.C. it will end with the Iconoclastic controversy of the ninth century. Painting in books is a little like the Chinese are doing at this time. four pendentive pillars hold up the dome. they are the decorated manuscripts that persist for another five hundred years. until its resurrected by Cimabue. . Everything was in regression except East Rome. the Pantheon and Coliseum. Etrunia. Art will become scarce again. This was the time of Caesar. The Han Empire of China is breaking up. the Byzantine Empire with their mosaics. Here is an example of a Pictura Translucida (new window) transparent painting. successor to Rome in the sixth century. by painting on scrolls and putting them in boxes.. Rome. more flowing and less stiffness. There was a new king now. natural and realistic. To give you an idea of how this works. The turpentine based media that were used in Pictura Translucida or picturatranslucida. HERCULANEUM and POMPEII. Sandracca uses alcohol. raw sandracca resin can have a yellow transparent color. painted easily and was weather proof. These were the mediums used to paint Pictura Translucida paintings on tin mirrors. Greek artists and Egyptian artists taught school there. A/D 476. Naples has better drapery. The Lucca Manuscript describes some little known forms of art. Pompeii has a lot of great glue paintings protected by wax. The Apse Mosaic. Egypt. Chian Mastic. This was before Cennini. A/D 100. Whether or not I would work a passage to reflect back light if the light source had it right angle. The other great Mediterranean vacation city was Alexandria. but a compleat transparent palette as well. Levantine Mastic. fresco figures show solid form without resorting to outlines. The monasteries are the only places any painting is being done. glossie. destroyed by the Iconoclasts of A/D 842. A/D 600 ILLUMINATED MANUSCRIPTS. high art painting. This is the First Golden Age of Byzantine. They had not only a complete opaque palette. Two art periods arose. The Roman Empire includes from England to Morocco. Mesopotamia. the great Masaccio. The transition from Late Antiquity to the Early Middle Ages. Hagia Sophia. Sandracca can be made clear and has a very hard finish. with "mithrac" the Persian sun god being important. destroyed for the second Dark Age of painting after the Vesuvius eruption in A/D 79. still in the second dark age period. would not dissolve in alcohol but would dissolve in turpentine. as in encaustic. The statue of Agustus from Prima Porta is a good example of great Roman work. Duccio and finally. I really enjoy the added thrill in planning the choice of painting opaque or transparent passages of color. THRACE A/D 500 CONSTANTINOPLE.. that other one third of the Mediterranean. This medium is erroneously sometimes called encaustic painting. Tight work was not done with hot encaustic wax. Byzantine was captured by the Turks in 1453. Naples. Copal and Amber. Roman Baths of Caracalla.. a hundred years later in 1420. high vaulted. green and umber. Pigmented wax in turpentine cakes as a media came later from the northern side of the Mediterranean. A/D 400. one called Pictura Translucida.C. Santa Pudenziana. 10 B. Here is a tip if you are going to try painting in this style on a shinny support such as Silver, zinc, tin, aluminum, chrome or silver colored plastic. A mirror will not work as the clear glass has thickness. Treat the unpainted areas as a dark color. Use Opaque white as highlights. They did have some advantages back then, their lead whites were hand ground thicker and courser so they painted more opaque and dried faster. Also they had their favorite color, Naples Yellow in tints from a cooler green-side pale yellow-brown, to a warmer yellow red-side. Higher calcined antimony lead colors were lightest. They also had a popular light yellow color called Lead-tin yellow which isn't as opaque as antimony lead. Here are the names and brands of transparent colors I have used with great satisfaction. Mussini Burnt Umber, Mussini Burnt Sienna, Blockx Transparent Yellow, Old Holland Indian Yellow-Brown Lake Extra, Old Holland Indian Yellow-Orange Lake Extra, Old Holland Gamboge Lake Extra, Rembrandt Rose, Quinacridone Magenta, Rembrandt Ultramarine Violet, Liquitex Dioxine Violet, Blockx Ultramarine Blue, Grumbacher Thalo Blue, Rembrandt Blue Green and Thalo Green. With these transparent colors it is possible to make the deepest darks. Another 200 A/D medium written about in 700 A/D. medium was called "cera colla" (new window) or "cara colla", which is emulsified wax. Bees wax from the "Honey Mountain" in Greece, emulsified with ammonia from the city of Ammonium, in Egypt. The Egyptian's painted their walls with it, buff it up and it would radiate reflecting light, passageways would glow with this ammonia and water based wax paint. Casein can be added to this water based medium to make it hard. Other mediums he talked about were, stic-lac and borax mixed, this made an India water-based paint, gilding gums, alum, as used in dyeing, egg and wax emulsions, and the exceptional Chios resin paintings. None of these paintings survived either. Heraclius also wrote about art at this time, he wrote about oil paints, and egg white plus alum, for miniature painting. A/D 867 CONSTANTINOPLE, Under Basil I in 867, their Second Golden Age starts and the "Dark Ages" are over. So is the Second Golden Age after the capture of Constantinople by the Forth Crusade in 1204. This new Latin kingdom only lasted fifty years or so and left way for the Byzantine Renaissance which only produced more mosaics with an even stiffer style and more churches. Their art and architecture did influence Russia and Rome though, because they were just spinning their wheels at the time. Other parts of the world were doing better, India was traveling at warp speed and I've got a little to say about the Tang period in China also. GERMANY A/D 960, OTTONIAN, The near end of this period comes with the "Ottonian golden century" 960-1060, under Otto the Great of Germany, painting pictures is resumed, icons on board, but the quality was dismal, Icons continued in Russia until 1600. A/D 1100, ROMANESQUE, Wall painting are the final stage of Antique art, the "Second Dark Age". The Early Middle Ages has already started. These fresco were done in a crude cartoon style but lead the way toward the early Gothic paintings. Nowhere near what we left a thousand years ago. Giotto is really the first sunny day, in 1300, Italy. Chapter 8a B.C. Persia, India ART ADVANCES, 4000 B.C. to 1670 A/D SOUTHERN & EASTERN ASIA PERSIA 4000 B.C. PERSIA, Later called Iran, the land between the Tigris and Euphrates river, and to the east of it to the Indus River in India. Susa, to the east of the Euphrates, on a tributary of the river, is were the earliest pottery and signs of life were found. Flint, stone and clay, that's what they were made of. As always, natural resources are important to any starting culture. 2700 B.C., PERSIA, is in the Bronze Age and raising horses. The bridle ornaments, weapons and jewelry show an early connection to the Far East. These designs are present up to the ninth century. 900 B.C., The Sanskrit language and the caste system came from an invasion into the area by Aryan people of the North East. These ideas left their mark here and in north India, where they also settled. 750 B.C., The Scyths, or Iranian race, conquered the Cimmerians, north of the Black Sea. The Sarmatians in turn conquered them in the forth century B.C.. Their predatory and killing nature lead the Greeks to calling them complete barbarians. Their art is referred to as "Animal-Style Art", creatures of the herd and hunt. 612 B.C., The Medes Scyths destroyed the Assyrian Empire and were in turn destroyed by the Achaemenid Empire of Cyrus. 550 B.C.. It included from Lydia south of the Black Sea to the Indus River, Egypt, and the Babylonian Empire. Cyrus, Cambyses, Darius, and Xerxes built that empire. Xerxes's tomb was carved on the cliffs above the Iranian plains, like the Egyptians, only with side view torsos and a fire alter representing their god, Ahura Mazda. Cyrus had a free standing sarcophagus of stone blocks, seven steps high. The palaces at Susa and Persepolis were much more grand in style, naturally they were built by slaves. The work took one hundred and fifty years and Alexander the Great turned it to rubble. He had the same ideas that Sherman had on his march through our south. Xerxes had an audience hall that could hold ten thousand people, made of sun dried brick, 15 feet thick, and a ceiling 60 feet high. The carvings are more realistic than Egypt's, full profiles mostly, the animals show much more action. The palace at Susa had columns with double bulls on top with twice as many flutes as the Greeks would have. 323-250 B.C., The Seleucid period. Alexander destroyed Iran. 200 B.C., Mongolian textiles from graves of this period and Persian rugs of the sixteenth century have similar patterns of twisted, grotesque animals. They wore woven peaked hats with ear flaps and leather pants, appropriate for horse riding on the windy steppes of the Black Sea and Caspian Sea. 250 B.C.-A/D 226, The Parthian period, traders of silk between the Romans and the Chinese, money making mongrels. A/D 226-642, Sassanian Dynasty, their first palace was built at Ctesiphon out of solid rock, Mesopotamia. It was classed as one of the wonders of the world, they also had tombs carved into the cliffs. The artist worked sculpture, metal, textile weaving and architecture, no paintings. The pointed arch was developed and bricks were set with gypsum cement. Their carpets were world famous, the most famous is called the "Springtime of Chosroes". A/D 276-293, Bahram II, developed chain mail armor that would be the rage of Europe a thousand years later. A/D 570, Mohammed was born in Mecca, taught monotheism and was forced to leave. His arrival at Medina in 662 marks the beginning of the Muslem calendar. Praise be to allah, Arabia was unified politically. In the eighth century the capitol was moved to Baghdad from Damascus. The mosque was their first concern, built by Byzantium architects who were brought in to do the job right. Towers, called minarets, were erected to call the faithful. As Sassanian power was overthrown, Islam spread through the land and Iran became a stronghold of Mohammedanism. The ceramic artist and the architect built together in white, yellow, blue and rose, from Persia to Turkestan. A/D 1010, The Book of Kings, illuminated scriptures. A/D 1258, Baghdad was destroyed by the Mongol Empire, ruled by the Khans. Illustrations combined the Persian and Chinese styles, not much to work with but their working at it. It's a primitive style. A/D 1369, Tamerlane of Turkey conquers all, and the Master of Miniatures is painting in Iran, painting legends of the past. He still uses the cartoon line, but he brought illustration up to the level of the calligrapher at least. Art goes no farther around here so we move over to India with their textiles and carpets. INDIA & SOUTHERN ASIA EARLY INDIA 4000 B.C. NEOLITHIC, Pottery and weapons were found at Amri, the first city on the Indus River. If Ancient India were the face of a clock, the Indus River would be 10:00, Old and New Delhi are at 12:00 and touched by the Ganges River on the other side top right, at 2:00. The Kistna River would be lower east at 4:00, Ceylon is an island about two hundred miles long and one hundred wide at 5:30, the Waghora River is at 9:00 just above the city of Bombay. Civilizations start on the major rivers or islands. 3000 B.C. INDUS RIVER, The Mohenjo-Daro and Harappa excavations in the Indus Valley show contact with Mesopotamia, which had fully developed palaces and mansions by now. In Egypt the pyramids at Gizeh have been built, and on Crete the Minoan civilization is in its top form. Mohenjo-Daro is a great city also, some thirty acres in size, with streets running north, south, east and west. Houses were made of fired brick of a better quality than Mesopotamia, they had more wood to burn and had hotter kilns. Separate bathrooms in the homes were connected to sewers under the side streets, as tall as a man. In the center of town was a well fed bathing pool, cleanliness was number one, I like that. Their sculpture was at a high standard, anatomically correct with complete control of the medium, as the Torso from Harappa shows. These are a phallus-worshiping people with a mother goddess. They had clay toys of animals, not combat symbols. Harappa had 35,000 people by 2300 B.C.. 2000 B.C., India cultivated a sap eating insect that secreted an alcohol soluble stick-lac or lac, or shellac paint. By adding borax from Tibet it became a water-soluble permanent red paint. Boiling removed the crimson to magenta color, adding alum made it a dye. Madder root made a similar color without the shellac. Colored resins from the sap of trees and boiled roots from as far away as Singapore made red, crimson and yellow dyes. Insects and insect secretions made the brightest and dearest magenta dyes. I think "Imperial Yellow" and "Mandarin Yellow" were made from Monghyr puree, named after a city in Bengal. Other yellows were made from weld family vines and rhubarb leaves, tea leaves made nice tans. Transparent Cyan Blue was a major cultivated trade product, made from the leaves of a plant they grew. Tapestries and rugs were colored with these dyes. Mordants of alum or metal bases were used, the Poplar and Tamarisk tree barks, pomegranate husks and grape leaves worked as mordants also, all giving a different color. Cotton and wool textiles, rugs, dyes and pigments were big export products. Morocco and China used the alcohol based sap of a tree as paint. Malaysia had the best turpentine based damar mastic, but no one used it yet, they used the soft copals that were alcohol based. Greece and Italy were going to be happy with Chian or Levantine mastic from the island of Chios. Chian mastic also dissolves partly in alcohol, Batavia damar desolves completely. Thus the Paint Wars continue. Damar mastic resin is from the damar fir, Chios or Lavantine mastic resin from the pistachia tree, Bombay Mastic etc., and the ancient oleoresin are soft resins, damar makes the best natural picture varnish because it is the hardest of the soft. It keeps oils from wrinkling and forming a skin, and is soluble in mineral spirits. Any mastic resin added to oil paints permit painting layers in rapid succession, oil paint without damar must be completely dry before a second coat is applied, or it will chip off. Egypt had the best linen and cotton, but didn't do rugs or windows, their pigments were solids not dyes, except for some reds. 1500 B.C., Priests were singing hymns from the "Vedas" and later from the "Brahmanas", and around 1000 B.C., the philosophical "Upanishads". These were to become the basis for the three religions of India, Hindu, Jain and Buddhist. 1200 B.C., The Aryan invasion came from Iran and North, they took the place apart and added a new class of people to the castes system, the surfs. 612 B.C., The Achaemenids civilization of Persia is the largest and most important in the world. 500 B.C., Cyrus, Darius, Xerxes rule from the Mediterranean to India. They built great palaces in the middle area, at Persepolis. 500 B.C., Mahavira founded the Jain sect, Gautama became the Buddha, as Prince Kapilavastu of Nepal he became enlightened by resisting the demon Mara and his daughters. He was buried in a stone mound 54' high called Stupa No. 1. Asoka, a king in the Maurya Dynasty urged more followers with large inscribed pillars, one was topped with four carved stylized lions in sandstone. Religious merit could be gained by walking around the pillar. Missionaries were sent to Ceylon, Burma and the East Indies with this type of symbolic art. Formulas were developed for making monuments and images that trained carver's could reproduce. Every body was a good carver, they were on an upswing and approaching high art standards again. 323 B.C., Alexander the Great destroyed all of Persia. 323 B.C., Alexander the Great added the Graeco-Roman influence to India, artists became more independent in style while the religious dominance was wetted down some. Most of their great art was destroyed, either by Alexander or later by the Moslems. 200 B.C., In the western region at Ajanta, near Bombay on the Waghora River, people lived in the jungles hiding-out from invaders. They dug caves near the river, not ordinary caves, these were carved and painted caves. The painting fresco on the walls started around 200 B.C., the work still there was done about A/D 400, in the Gupta period. They were fresco secco paintings in blue lapis and azurite, pearl whites, crimsons, brown ochers and green malachite, in a fresco smoothed, 60' x 60' cave room. They really believed that men were beautiful too, not like their face scarring neighbors and intruders, the Aryan's in 900 B.C., the Scyth's in 700 B.C., and East Asiatic's in 400 B.C.., Alexander was just the last straw. 100 B.C., Ceylon was relatively unscathed since the third century B.C. and principally Buddhist, they built a city at least eight miles in diameter. This was their capitol in Anuradhapura, trading with Greece and Rome, they were their equals in grandeur. Red, yellow and green were the main painting colors, with little brown or blue, painting just never was their thing. 180 B.C., Farther inland from Bombay and Karli there's an interior called "Chaitya Hall". They carved a large temple room in living rock, 125' long and 50' high, a very intricate and repetitive interior. A small version of the stupa at the back the temple was there for people to gain merit, by walking around it. These are gentle people, followers of the Good Law of the Compassionate One. Religion was making great artists by giving people time to paint and sculpture, everybody likes to have their work appreciated. The best India artists were alive now, supported by holy families and monasteries in different regions. At the same time on the Ganges River, parallel developments were taking place, at Mathura and Mattra in the Indus Valley they carved in red sandstone. The best preserved work is where the invaders were least, at the Kistna River at Amaravari. They worked in a green marble that was a pleasure to carve, and kept high standards until the Gupta kings in 320, who ruled the Aryan north, formed the classical style and drew the artists into developing a new easier image to copy, a dumbing down as it were. A/D 100, In the battle areas, figures were losing their fine quality of definition and going back to the more mass produced symbolic style. 242 A/D, Persia was back in power and defeated the Roman emperor Valerian. Sassanian palaces were grand, a typical one at Ctesiphone, Mesopotamia, was classed as one of the wonders of the world. It had pointed arches, an original innovation of the time, a barrel vault with a span of 84' that runs through the center of the building. Gypsum mortar held the bricks and smoothed the outside painted surfaces. These were great warriors, now was the time and the place "chain mail" armor was invented. A/D 400. Many mold-made fresco mortar plaster casts of figures were found in the ruins of Hadda. A/D 400. Java Island is farther out in the East Indies, they based their art and architecture on India. A 100 foot high monument was made on the Dieng Plateau, you could walk and worship up the circling path, past 1000 panels of reliefs. This would be three miles of sculpture if placed end to end, they could make the figure do anything. These people included Cambodia under Jayavarman II, and raised art another notch in realism but never left their religious symbolism. Their influence shows in the Taj Mahall. by the 1600's they controlled most of India. but with a lot less people and a little cooler. Another hidden grand temple was carved in subterranean caverns on an island in Bombay harbor. 4000 B. Two hundred feet deep. 5000 B.C. the Chinese were to become great miners. wool and felt were imported from Mongolia. where you walk around. and the Sassanian Palaces of Mesopotamia that were still great at this time. the crowning stone carving weighed 80 tons and was pushed up a ramp 4 miles long by elephants.C. and Brahman carved out of solid living rock. This plain extends a thousand miles down to Shanghai.. In southwest India. in art and religion. brown and orange. ordinary household items were made of bronze with pride. Near Ajanta in Elura. in this area. the water based was fired on clay. jade and marble were found from the Shang-Yin period. 700 A/D. It was to be a feudal society of kings and nobles. the Great Pyramids of Gizeh in Egypt from 4000-3000 B. High quality carving in bone.C.. China would be covering the walls with tapestry. carved out of solid rock. the tower to Siva is 216 feet high built without mortar. to A/D. England.A/D 600.. 1000 A/D. ranking with the Palace of Cnossus. Flint was found in these clay mines. India's artwork was getting closer to the Flemish standard of the time. Ceylon had buildings twelve stories high. China. was painted on wood... the best wool coming from the Kansu region of Tibet. All the cities of the greatest cultures at their peak periods. ivory. by this time white clay was rated the best. Buildings were big but paintings were getting smaller. The tower is becoming increasingly important in the Ganges Valley. China's Dynasties ART ADVANCES. the bronze casters were the best in the world. this clay rivaled the great kaolin clay from the opposite side of the known world. New Jersey. Eight colors on one rug. golden yellow. India.C. Tapestry rugs of wool and felt were an advanced art. big time. Egypt starts smelting bronze and building pyramids. Honan. the Moslems are slowly taking over. three blues. where Peking is now.. rose. They also had pictograph writing. when a new Muslem in control decreed portraits were a sin.. The Tai people from southwest China establish the Siamese style. Cottons were stamped or printed with Hindu and Persian motifs for export. from a tree sap. Tibet. there still standing today. Alexander's Mesopotamian palaces in 3000 B. bronze was cast in molds. 3500 B. many different kinds of clay were available. Greece is still in the Dark Ages at this time. 1200 A/D. 1670 A/D.C. sculpture was massive 800 A/D. Fine silks were already cultivated from the silkworm "Bombyx mori".C.C. Chapter 8b B. 1600 A/D. 1300 A/D. water and lacquer paints were developed.C. These carved four story buildings were to be lived and prayed in. China tribes were already settling and civilization had began its development on the Yellow River plain.. . Here in Delhi. Egypt made water. here India and China met. and would stay the leader for three thousand years. in 4000 B. The same latitude as Trenton. About the same time farming started and domestic dogs and pigs were kept. the Aegean Pre-Greek city..C. to 1912 A/D CHINA 8000 B.. SHANG DYNASTY 2000 B. but never as great as the Egyptians. Buddhist. the Ning-Po lacquer from the Rhus Vernicflua tree. red which turned to tan. where I was born. Artists were painting in water based colors on silk. This period was based at Anyang. a temple city. just like Egypt at this time. Jain. Cotton and dyes were imported from India. France and Spain made turpentine and mastic paints. Lacquer was the current winner in the Paint Wars. the three sects. Morocco made an alcohol based paint called sandracca (sandarac). curving roof lines and fancifulness that make Bangkok synonymous with the East. that's two hundred feet straight down. India made dyes and lacquers from trees and scrubs that were alcohol based. 700 A/D. wax and lime paints. in design and quality. Egypt was into painting murals on walls. 8000 B. the Acropolis of Greece in 440 B. Persian influence in calligraphy and illumination in book making was the fashion but India was a little behind in their painting skills. China.C. the heart of china on the old Ho River.C. Grain was the first harvest of these peaceful Hsia people. 1555 A/D. at the Delta. talk about a relief carving! This is one of the "Wonder Cities" of the ancient world. Alcohol paints were winning in the Paint Wars. C. the mighty Ch'in. making countless images in clay as stone was scarce.C. 722 B. T'ANG DYNASTY A/D 618-907. the wars were over. a luminescent green fluorite was carved into bowls and cups. Anyang was destroyed by the Chou people of the west. silk was traded with Rome. but the Eastern Turkestan people of the oasis. crackle glaze was new and well controlled. One of the emperors.. 10. ink on silk. Competitors worked on idea projects of the emperor and were rewarded for ingenuity and style. representing the times. The Chinese style of brush work. He was killed by the Golden Tartars who made their capital in Peking. or a circle divided by a wave line. White and black jade were prized by the Chinese and found along the southern oasis route. Confucius.792 new temples were being built. The central portion of this vast area is the arid Takla Makan Desert. We have a good record of the Han. It seems like similar minerals and materials are found on opposite sides of the continent. they started a dynasty that would last until 256 B. where rivers disappear into salt marshes. were glazed in colors never seen before. Art and bronze work were at the bottom of the pendulum's swing. lacquered objects and pottery. scrolls. three or four stories high. the poet-painters followed. The Han Dynasty lasts until A/D 220.C. They never got very far in architecture. represented by long and short lines. Scrolls were big.. India supplied lacquer and colors until they cultivated their own tree sap lacquer. he came about the same time as Homer. All of northern China was overrun by Tatar tribes. colored red for Yang and black for Yin. lots of clay though. Buddhism was dominant. Heavy taxes made him unpopular and the Han Dynasty took over. Lead was the paint protector against water. Ch'ang-an was on the other side of the Yellow River from Anyang. T'ang T'ai-tsung defeated the Turks who tried to take Ch'ang-an. became a poet painter and started the Academy of Artists. These weren't the European Turkish. with very little color. one reason was the custom of burying clay figurines with the dead. SIX DYNASTIES A/D 317-589. Exploratory mining was big. silk. Art stayed on the high road. mass cinnabar was carved. which included the Yang. believed the good life would come only to those who fulfilled all their moral obligations to the state. religion was out of the picture. and fine china. The head of the Ch'in family became the first emperor of China.CHOU DYNASTY 1122 B. community and the family. Both north and south of the desert are a series of oases that are the backbone of the trade routes linking China with the West and India. cobalt and zinc were at the alchemists cutting edge. Ning-Po lacquers on wood. Eastern Turkestan is a drainage less basin surrounded by high mountains. CH'IN DYNASTY 249 B. The canons written by Hsieh Ho gave directions on painting great paintings. red lead was also the choice of the Phoenicians for painting their boats. sculpturing reached the high standards again and things were looking good. YUAN DYNASTY A/D 1234-1294. These oasis cities were Buddhist communities. Pottery was at a high point also. The religious painters were adding new colors to their interpretations. The things people do when their not at war.. all patrons of art. and was just as important. Their homes were like later pagodas. people were again working in the arts. but the artists were not at war so their . They wrote "The Book of Changes". The simple Taoist priests at this time who started a movement to simplify life would become a cult of magic that practiced alchemy by the end of the Han Dynasty. Paintings and portraits were hung in their homes. nice tile roofs. 20. These were good times. it would improve until a western warring state took them over. hundreds of artists were hired to paint the Buddhist grottoes and sanctuaries. Hui-tsung. with some changes. silver was added to bronze to make black bronze. Bronze. Nice guy. HAN DYNASTY 207 B. Basically. portraits. they only had wood to work with. story telling was in.. 3.C. New pigments were found and devised. The Mongol invasion ended the Southern Sung dynasty of artists. Fresco were painted in the Indian tradition. The arts were flourishing. The poet-painters moved south and kept working. SUI DYNASTY A/D 589-618. or the active and the Yin the passive. Ajanta shading was now band after band of solid color. China's greatest works were now to be done in the simplest strokes. all showed good brush work. higher than it had ever been before. with a special insignia and all. the "good brush" it was called. an iron black was used to dye silk for trade in the Mediterranean area. SUNG DYNASTY A/D 960-1279. 30" long and 1 or 2 feet high. he started the "Great Wall" and building canals.C. departing from religious themes.. The Manchus. acting like courtiers and priests. One of the temples. marked a religious site. a sword. That's as far back as I can find in Japan. A/D 794-897. No paint. they used the potter's wheel and casting molds for figures and houses placed around grave sites. still stands today. a hundred thousand new ones. Continuous wall painting continued into continuous scrolls. Three Precious Things were given to the founder of the Japan Empire. a decorative. The Sui emperor in 589. the Horyu-ji in Nara. A/D 593-646. trading with the world. At least three times bigger than Alexander's Empire. the oldest wooden building in the world. China became a great center for these highly colored vases and dishes. a nonstop flight to the top. India teachers or well trained students painted the walls of the Golden Hall of the Horyu-ji. This new worldly art has a new goddess of beauty and fortune. black bronze. clay and lacquer was used. like fired clay. the "tosa style". Peking again became the capitol and the great imperial palace was built.excellence continued. This wall painting was labeled 'yamato-e'. in the 12th century. she's no longer an Indian goddess but a colorful. the Mongol captured all of China. textile patterned wall paint. Marco Polo came through at this time. through Korea. the only method. then it was finished with colored lacquer.794. no decorations. . a jewel. This was also the period of the famous "five-color" enameled ware. The reigning emperor is killed and the Empress Suiko starts the first art period. and be done in many tones with the drawing done in black. with a halo. 3' high. CH'ING DYNASTY A/D 1644-1912. to 1704 A/D 660 B. frogs. This secular art developed into the woodblock print five hundred years later. The Jogan period. carving grottoes in the Indian style. the first written language and temples with priests and nuns.. the Byzantine Empire remained until the Turkish conquest in 1453. intricately carved. Kichijoten. A/D 317-589. "High art" in "dry lacquer". bronzing and painting. This was a new permanent medium. color and line were still at a cartoon stage.C. Chapter 8c B. but art was in a tailspin. Korea was the chief source of arts and crafts. Tatar tribes overran China and built new temples to Budda. nurturing their high art standards as the wooden seated Bochisattva in the Chugu-ji Nunnery in Nara shows. The Hakuho period continued in the fine arts. became very proficient in carving. The Han dynasty exerts some influence through Korea that is felt in bronze and Confucian ideals. who conquered Turkestan and Tibet. where a story was told on a scroll to be shown a few inches at a time. An average scroll might measure 1'4" high x 23' long. Genghis Khan. these artists were modelers rather than carvers. and unglazed. up to and including the Black Sea and Persian Gulf. Blue from imported Persian cobalt and red from copper. color and portraits were introduced to a people that were just now reaching a "dry-brush" approach to interpretation. colored porcelains. the Wei group was most active. small religious feuds moved the capitol to Kyoto where art continued. Bronze had developed from the barest knowledge to adding silver to the mix. the Ch'ing dynasty would encourage artists to continue but only some porcelain ware remained showing the perfection of the past. The seesaw was working. The last Roman Emperor was displaced by German soldiers in 476. A/D 71 0. Cloisonne enamel was introduced to China. they were two or three hundred years behind Europe in some respects. Japan was on top. A simple "torii" post and beam. religious texts and copybooks for artists. and China. and four thousand new temples. There were people there. and with it Japan reached the top standards in realistic sculpture. and hares. thinly.. perhaps the grandest palace in the world. as practiced by Byzantine craftsmen.C. Bronze was also cast. Another high point is the black bronze "ya kushi" in the Golden Hall. This brought China to the highest sculpture standards and Japan.C. factories for porcelain were re-established and for three centuries the finest porcelain ever seen was made. The cartoon outline was taken to new lengths by an artist named Toba Sojo. 200 B. life-like noble lady. and a mirror. ordered the repair of a million and a half images. 660 B. A Buddhist monk lead the Chinese army to victory. A/D 646-710. making a superior non-tarnishing. A/D 1000. the West was gone. Lacquer on wood was now decorating fine houses. post and lintel. Fresco were as well done as the 500 A/D Ajanta murals of India. The best high points of art were incorporated from Sassanian Persia. India. The Suiko period produced some of the best Nipponese sculpture. very quickly. MING DYNASTY A/D 1368-1644. Cloth dipped in lacquer was wrapped around a wooden armature and built up with more cloth and lacquer. Color was added to the dry-brush. especially color. In Walt Disney's style his characters were monkeys. wood was the only building material. zinc yellow and flawless glazes.C. These people believed in a female sun god. The later Nara period was called Tempyo. to A/D Japan JAPAN. extended their rule to Indo-China. Woodblock printing was a new medium used in the making of encyclopedias. everybody tried brush painting. 1420-1506. In 1794 Sharaku designed one hundred thirty prints of actors of the theater. I like one standard size for all mediums. Earth & Sea Grids PAINTING CHAPTERS CLEANLINESS IS #1 The first topic is cleanliness. A/D 1500-1550. was a patron of all the arts. the god of war. I use acrylic gesso on my oil palettes surface so the dried paint removes easier. bright colors and gold leaf continued in the Tosa style. so it's an accumulative poison. Wash the size off the paper with this water also. Supports. is shown as a mild mannered monk. PAINTING SUPPORT SURFACES My painting surface of choice is thin linen. Chapter 9 Cleanliness. Dependable viscosity will insure a complete stroke every time. than primed with acrylic or oil gesso. A/D 1615-1867. Travelers came to the city and bought the woodblock print. prints were made in as many as eleven blocks. (new window) HEMP MAKES THE STRONGEST CANVAS SUPPORT One acre of hemp is equal to four acres of forest to produce the same amount of paper. Cut paper towels or rags into 3 inch squares. The church and nobility ceased to be patrons. Keeping your colors clean also includes the consistency of the pigment. The East and West are now parallel in sculpturing although Japan doesn't have marble to work in. ruling from Hyoto. Triangulation. oil paint will not stick to acrylics. done in black and white and then full color. Maybe I should say it again here. PVA acrylic or gel medium glued to 1/8 to 1/4 inch beech or mahogany plywood. it divides into five classic sizes.A/D 1192. keep the water clean. Shinto. If you can afford it. Horizon Line. 22 X 30. Screens and sliding panels for homes were done by the school called Kano. Later the panel can be attached to stretcher bars or cradles for strength although this is not necessary. By 1770. The Momoyama period. Zen Buddhism was the favored religion and their priests controlled the art and trade of the time. and when folded into small triangles will apply paint in the early painting stages. The way was left open for artists to do their own thing. When painting water colors.Sponges . porcelain manufacturers. In oil's keep your palette colors clean by mixing larger quantizes with a palette knife instead of your brush. Placing the Image. The lacquer makers. Rabbit skin glue is good also. A/D 1688-1704. especially when your working in oil where cleaning brushes takes time and materials. A/D 1568-1615.Chalk . The eighth Sho gun. Unkei. Hemp. screens and panels. The remnants of the Chinese Sung Dynasty infiltrated Japan and influenced a quieter form of art. and woodblock print makers now had the opportunity to make their work entirely Japanese in style.Wipes. These beautiful prints would influence some European artists. it's a very important first block in building a painting. ending the old style with great and simple strokes. Brushes . it will reduce the surface tension and increase the color flow. civil wars and stone castles decorated with gold background screens. still mainly black and white. A rag and a latex glove is also recommended for spreading around early oil paint. paintings went from scrolls to screens. A/D 1392-1568. perhaps Japan' s greatest sculptor is slightly before the great Claus Sluter of France. art was on another slide. Always put the tube cap back on any tube of paint right away. metal pigments are heavy and can't be eliminated from the body. these will be used for cleaning. In water painting they will blot paper back to white. The Genroku period was a time of great luxury. Kubilai Khan twice tries to invade Japan but each time his fleet was destroyed by storms. Perspective. Don't use just thinner as a medium. Sky. The Indians and the Japanese were spared Mongol domination. You need that guarantee to trust your brush. Utamaro finally dispensed with the black outline and added powdered mica to the background. Yoritomo made himself a Shogun in Kamakura. That includes acrylic gesso. see the award winning medium chart. How to make fine art canvas covered wood or masonite painting surfaces. a Zen priest. the military took over running the country. in the early stages. it sweetened the water and wine. Reflections. was a painter of merit. The theater and the ladies of the Green Houses lived in a world of their own. (new window) Use accurate measurements in your oil and fresco mediums. the water color standard. flower arrangement and tea ceremonies were a change from the battlefields. The Romans liked the taste of lead. A/D 1449-1474. Oda Toyo. Hemp pulp paper can be recycled 20 . Accuracy of Line. The Ashikaga family were the new Shoguns. Four Vanishing Points. Aerial Palette for 10 Concentric Rings. Painters made designs on pottery. It's important for health reasons also. Yoshimasa. Just hot/hard (today it's called Ampersand) pressed masonite is good too. Keep the cap and tube clean and rolled. add a bit of ox-gall to the cleaning and mixing water. A/D 1274-1281. Tokyo was the new capital. The artists were now being paid to glorify war in the highly realistic style. You can paint a whole picture with one of these beauties. Nylon brushes give deep texture at fluid viscosity. The brush goes from small to large under control. 4 parts Stand Oil. Here's another starting method for oil that is BASED ON THIS WATER COLOR TECHNIQUE. #3 Designer's brush. it requires very little dry sanding with #220. Before the sheen leaves. Signet. This style of brush is very important in my paintings. Take your first used.WIPES The first tool on your oil or acrylic painting is gray chalk on a white primed support or white chalk on a colored ground. Series 43.CHALK . Oil brush #6. done with two types of very long hair sable brushes. The last stage of a painting is the calligraphy. the best is by Isabey. Those flat ferrule. The thinnest layer should leave no brush marks. Put the horizon line in and the top and center reference marks. OR this medium. in place. Three or four sanded coats.times compared to 4 times for wood pulp paper. Choosing the best brand W/C paper for the job. start adding color with the sponge. when I get down to the last stage of painting including the details. 25% Alkyd and 75% turpentine or mineral sprits. Gemini 300# rough and cold-pressed are my favorite. Winsor Newton water color brush and hammer the end of the ferrel as flat as you can. (new window)The new Series 8B I designed for water colors is complete. hot pressed and cold presses are excellent. Those colors will be set and not move when the paper is wet the second time. flat end brushes they sell today as lettering brushes are a distant choice not to be considered. Trim any wayward hairs and you've got the best acrylic filbert I've ever found. The next series of brushes are the brights and long flats. it dusts off easily with a feather. You will need #2. Extra long. 11-22-6. the longs make a longer stroke and the brights blend and mix more. Yarka makes a filbert of sable. long. matching the view. go for the gold! BRUSHES . Twin Rocker 300# is a great American company everyone should be proud of. Cobalt Blue or Bt. They have very large deckles. #12. used in every picture. The final ground is as smooth as possible so it won't make unwanted textures. Robert Simmons. Great for wet in wet painting. Utrecht 1-800-223-9132 sells a decent synthetic. and #10 for long square ended lines and corners. In oil I start with a 1/2" #14 Windsor and Newton series 807. lettering brush. 1 part Turpentine. treat these original strokes like precious paint over the gesso. BRUSHES AND THEIR TYPES. This is one of my main brushes. 2 parts Raw Cold Pressed Linseed Oil. these are very useful brushes. First is the round pointed long script liner. When done in this method every stroke can be used in the final picture if its needed. long flat sable for a 22 x 30 or a 3/8" #12 flat for a 15 x 22. is a beautifully cupped filbert hog bristle brush that holds its shape. I paint in my outlines with very thin Ultramarine. thinner and thinnest is the way to go. Also on hand are the #10. it requires 60-80% less chemicals to produce hemp paper than wood pulp paper. 1/3 Sun Dried Linseed Oil and 1/3 damar or Chain Mastic Varnish with 2% drier (drier is optional. you may also if you paint thickly and show texture in the paint. They used to come in long. On W/C's I paint with a 3/4" or 1" long flat sable after the sponge work. Wash and wipe down the 300# paper with a 3-5" elephant ear sponge to get rid of the external sizing. always sand with a sanding block. They are perfect! I tested them all today and am proud and very happy. medium and short back when Mr.SPONGES . that's what Tintoretto used.4. #8 or #10. it's like a paint pencil. #8. #1 to #8.8. whichever is appropriate. A shorter hair brush of the same style for tight work is the W/N 3A. flat end. ready for the next day's work. Hemp cloth is stronger and longer lasting than cotton cloth The strongest weave is a herringbone weave. this is the type of brush I prefer. Raphael and Grumbacher also make a very good lines of flat brushes. Strathmore makes top flight water color papers. If you used 2% drier it will be dry in 18 hours. The sooner you pick it up the better. Wipe on the big colors with a medium of 1/3 Venetian Turpentine. Here is my workhorse brush. Kalish Kolinski Sable Chisel Brushes. The last style is the round ferrule. To prepare a surface for acrylic and oil I have used pre-made Fredric's Acrylic or Oil Gesso. and #6. I prefer the texture of the subject represented in smooth paint with sable brushes. OR this medium. it has the best consistency. wet-dry sandpaper. and the left and right object reference points dotted in pencil. fine red sable. Hemp has a growth rate to maturity of approximately 2-3 months as compared to approximately 80 years for a coniferous plantation. 2% Drier. 2 parts Venetian Turpentine. A FEW STYLES TO GET THE JOB DONE. .6. Umber. Use this brush to do the shadows and finish the first day's work. then wash off the chalk before adding the local colors. Series 6318. Waterford 300#. don't overwork it just get a 100% coverage as accurate and as bold as you can and let it dry. it yellows worst than oil). 1/2 part Wax. most artists like the hog bristle hair brushes as their main workhorse. In oils. thick. In oil you use a small triangle of gauze or good lint free paper towels (the cheap one's won't shed). Arches 300# belongs in this esteemed group. Personally I don't like mineral sprits at all. Langnickel was alive. #10 and #8. HORIZON. Don't paint a picture of more than 90 degrees without two center lines because you will have to move your head from side to side to see the whole scene. These triangles will insure the accuracy of the objects position. Small. Compose the picture from what you see. The overlap of both eyes is 90 degrees. they are angled in your head. The top marking point will complete the format of the final painting because the bottom is marked by the top of your picture. Next find the center of the image. W/C's need a full bellied pointed round like the W&N series 7. Find a marking point on the center line close to the horizon line as your center marker. they work equally well. the least amount of distortion is in the center 60 degrees. #6. each eye can see 45 degrees that the other eye can't. I use the same style brushes for acrylic and oils. Mark the sides of the image with reference points. Measure with only one eye. and keep your head at the same relative position to the painting throughout. they are easy to find at a glance. Both eyes can see a total of 180 degrees. Each eye can see 135 degrees. you would have "plane triangulation". well used hog hair bristle brushes. Two more triangle marking points anywhere in the picture will connect to one of the existing points forming another lineal triangle. If your used objects on a similar "concentric ring". Find left and right side scene marker points also close to the horizon line. LINE OF SIGHT The horizon viewed at sea level with both eyes will appear flat because your focus with both eyes is on one point. 7. your total view is 180 degrees. 9 and 10. (new window) ACCURACY OF LINE. You can't do that at higher elevations. so the top of the painting is touching the bottom of the scene. What brushes are best for what duties of stroke. shared by the view of both eyes and you have compensated it flat. TRIANGULATION. the higher your elevation the more the curve is noticeable. on any concentric ring around you. Photographs and use descriptions of over 200 brushes. This is lineal triangulation. The horizon line is curved. MOVE. Each eye is angled off the frontal plane by 30 degrees. Astronauts see a sphere. the overlapping view is 90 degrees.000 foot it's 200 miles away. Start by making at least two triangles using obvious marker points joining and starting from one common marker point. Draw in a chalk center line and the horizon line. PERSPECTIVE PLACING THE IMAGE Position your painting support directly below the scene. if you're using different lineal distanced marker points in more than one concentric ring.That's it. or a tangent meeting point of objects. the curve is too evident. 90+45+45=180. (new window) . At sea level the horizon line is 2 1/2 miles away. This center mark can be on any distance away from you. if it's not perfect composition. 8. at 10. Distant objects are relative to nearby objects from your viewpoint through "lineal triangulation". your right eye. I use this system for portraits also. you have that much undistorted overlapping vision. not both facing forward. LINEAL TRIANGULATION A MARKING POINT in the picture is an easily recognized still object or a crossing of objects. Most paintings should be in the 60 degree area. make great paint erasers for W/C's and 1/2" squirrel filberts make the best toning wash and glaze brushes for all mediums. Notice.DRAWING THE IMAGE Draw with a piece of inexpensive school chalk. A parallel front of the building reaches out to 180 degrees. thin the pigment with a little water and medium mixed together to give the film strength. shape or direction. Keep the wash graduations smooth so you can use any part in the final picture. The outline you draw belongs to the objects behind it. a long pointed round ferrule brush. (new window) PERSPECTIVE AERIAL AND FOUR POINT LINEAL PERSPECTIVE ON LOCATION (en plein air) This is me or you lining up a painting to an image relating to the horizon line. A square building viewed from the top has four sides and four 90 degree angles in view. The perpendicular sides of the building are in the 3rd and 4th point perspective. the 90 degree angle uses up 90 of the 180 degrees. in the background. FOUR VANISHING POINTS The vanishing points of a square are 90º degrees apart on your horizon line. Before painting in the final outlines with a liner brush. except there are no straight lines in nature. below is also the nadir V. the biggest patterns first. lay your painting support on the ground. they curve up and down to the aerial and terrestrial vanishing points.P. A book or sheet of paper will be 90º. dust off the loose and caked on chalk with a feather or soft brush. remember. Here are links to painting examples (new window) using this new technique that is not now being taught. The top edge can look like a straight line. but will be soon I hope.000 Ft. The curve of the earth cuts off your line of sight vision at 2. start on the reference points. thin the color with turpentine so it will dry fast. Paint the outlines in Ultramarine Blue and Brown. The building sides are heading to two vanishing points 90 degrees apart on the horizon line. Cover the first 100% with as little overlap as possible. If your painting in acrylic. these two side vanishing points are out of the picture. To see the painting's progression. It's impossible to show two 90 degree vanishing points in a 60 degree picture. Never let the outline show as a line. At 10. Aerial Perspective is relating the size and color of the object to the distance it is away from you. Wash off the chalk before blocking in the local colors. From the front side.P. unless you're going with a darker foreground for contrast. The terrestrial V. you can see 200 miles. When the medium is oil. A 60º equilateral triangle held with a point under one eye will accurately mark a 60 degree picture on your horizon line. Compose the picture from what you see. On colored grounds use white chalk and on white grounds use a pale gray. Here is a drawn example of 90 degrees on a concentric circleing horizon line showing a 90 degree rectangle building in perspective. use the contrast of the shapes color or intensity against it's background. they are actually curving up and down to touch the vanishing points out of the picture. not 180 degrees. Draw simple outlines of shapes on obvious concentric rings with chalk. Simplify this texture with sparse. cameras are 55º. and most pictures are 60º. a raft would disappear over the horizon at that distance if you were 60 inches tall. PERSPECTIVE. it's unnatural. MOVE. that's 90 degrees on the horizon line. whichever color is appropriate. Inside these big patterns show the texture with short directional lines. the building top and bottom lines curve to the side vanishing points. . 1:10 representative lines of size. place a corner between your feet. If we can see two sides.5 miles. because it contains no wax or oil. none of these 90 degree angles are visible. the odds are good that you can't see both horizon line vanishing points in a 90º picture. Rembrandt's Gray pastel is what I use. if it's not a perfect composition. is very far away. THIS CHART SHOWS 10 COLOR PROGRESSIONS OF LOCAL AND SHADOW COLORS FROM THE FOREGROUND TO THE BACKGROUND AND SKY. The important thing is changing pigment color for your shadows and highlight colors again after one mile's distance. Ring 2. 15 to 25 yards (13. Looking over the top two corners of your support marks the left and right verticals of your painting view. Ring 1. Ring#7 is one mile out there. is about 10 yards (9. find some objects to mark this distance. more than one hundred miles and the mountain colors are very close to the sky color. Ring#7 is actually a mile in distance away from you and Ring#10 is 100 miles away. Directly above our canvas support is the bottom of our image. Many objects in a row are nice.86 m) away from you. The Aerial Palette for 10 Concentric Rings. you should first notice a value difference here. AERIAL PERSPECTIVE ON CONCENTRIC RINGS CONCENTRIC RINGS. . is 25 to 55 yards (22. Ring#6. Ring#8 is 20 to 50 miles away from you. These color changes are obvious when you pick your colors at these distances. Ring#9 The tint of ultramarine blue changes to cobalt blue. The shadow and highlight colors are getting tints lighter with the added purple and green mix which makes a bluish distance color.14 m) distance from you. Ring 3.The horizon line is your eye level. there is not much color change between 20 and 50 miles. Ring#10. The darkest shadows may be an ultramarine blue and burnt umber mix depending on the time of day. Ring#4. Within this first ring are the darkest dark shadows.86 . PLUS WHITE. Magenta and Green make the darkest neutral shadows in the foreground.29 m) away from you. Ultramarine blue is added to the analogous purple and green mix.22. The distance between the ten concentric rings really starts to increase from there out. PART OF PERSPECTIVE I like to think of Ring#5 as a mile out. Here starts the addition of a minimal portion of the split analogous Green and Purple color mixed 1:1.70 . not to be repeated again in any other ring.50. Ring#5 is a little less than one mile in distance from you. That's easy to remember. Colors change to a tint of Ult. A color-in picture and palette to download.All Ring 1 foreground noonday shadow colors change from a Magenta-Green to Purple-Green shadow in the middle ground. (new window) 4 Point Lineal Perspective Continued .Blue for the far background. Nine o'clock morning shadows are a neutral dark mix of Bt.Blue.Umber and Ult. (new window) Full color wheel to download. . including all of your peripheral vision of both eyes is 180 degrees. The full visible horizon in front of you. The dimensions of this support would vary depending on how far away the support is away from you. The center section is the only un-distorted section of the three. each eye sees 120 degrees.The horizon line is 25 miles out at sea if you are 6-foot tall standing at sea level.000 foot high mountain. The picture's blue line is the horizon line in front of you in three 60 degree chunks. Each eye is aimed 30 degrees off center. This section should be the maximum and normal width of your landscape support. It can be seen with both eyes at the same time. It's 200 miles out if you're on a 10. For top accuracy use only one eye and keep your head in the same place and only use that center 60 degrees of overlapped vision. Everybody can vision 180º. You must include the peripheral outside of the 55º overlap of both eyes. Close your left eye to view the right maximum view and right to view the left maximum view. 60º is just about your two extended arms in front of you. . You won't see both vanishing points of a 90º box on a straight horizon line. 125º. You have to turn your head to include more than a 60º view. I paint the view directly above my canvas. Every square object has a right and left vanishing point 90 degrees apart on a straight 180º horizon line at sea level. That's how I judge my paintings left to right view each time.HERE IS THE STRAIGHT HORIZON LINE USED IN CONJUNCTION WITH THE SURROUNDING CONCENTRIC RING HORIZON LINE. toward the horizon. These points can be shared by other buildings if they're aligned at right angles to the first buildings side. . The same with a telephone pole. If two sides with one 90 degree angle is in view.The box is where your feet are. the lines at your sides are parallel. but they still lead to the vanishing points 90 degrees apart on the horizon line and the combined angle total is still 180 degrees. the building's top visible sides are angled toward vanishing points ninety actual degrees apart on your horizon. Any tilted building at any angle would have it's own set of vanishing points. the sides are angled to these vanishing points. The three angles are the two vanishing points on the horizon line and the top of the building. The total of the three angles will still equal 180 degrees. directly under your eyes. the top angles will seem to increase but the angles on and touching the horizon line are decreasing. No matter how tall the building is. heading to the astral vanishing point. if you're standing in the center of the railroad tracts. the terrestrial or nadir vanishing point. the horizon line is where your eye level is. Have you ever heard there are no straight lines in nature? It's true. FIRST THE CENTER LINE OF YOUR PICTURE The horizon line is always at your eye level. There's another vanishing point down below. it has straight lines at eye level and curves to a point up there. or how far away it is. As the buildings recede. The farther away the building is the closer its top angle is to flat. they curve and join at some point out there in front of you. TERRESTRIAL AND ASTRAL VANISHING POINTS The "astral" and "terrestrial or nadir" vanishing points are above and below the building,180 degrees apart. Since we're seeing two sides they stay 180 degrees apart. The building starts off at eye level as two parallel lines, than they curve gradually upward toward the vanishing point directly above you. The terrestrial or nadir vanishing point could be used like this. Your looking obliquely down at a table top with a rectangle lighter on it. With your angle of vision it's 45 degrees below the horizon line, 45 degrees below your eye level. The sides of the lighter are heading down to the terrestrial or nadir vanishing point plum-line down from your eyes. To find the optical center of any side of a building, in any rotation, join the four corners of one side of the building with an "X". Straight up from the center of the "X" is the top of the gable. The ground your standing on, if it's level, connects visually to the distant horizon line. Let's say you and your friend are both six feet tall. A hundred yards away, on level ground, his eyes and your eyes would still be level to the horizon line. The line connecting your feet is the variable, it's angled up to the horizon line making him seem smaller. To use this principle on an object, let's say a canoe is setting sideways in front of you. You want to draw it one hundred yards out there. You need to get the right length to distance ratio to make it appear the same size. This is easy, connect the two end points of the canoe to a vanishing point on the horizon line in the direction you want the canoe to be in, either on or off the center line of your picture. The canoe is correct anywhere between these two lines. The same principle applies to the mast if it were a sailboat. PERSPECTIVE TOOL I made a stick for the horizon line and used it to plot two vanishing points 90 degrees apart, it can extend ten foot for larger paintings. A bar attaches to the back of the painting, level and behind the picture's horizon line. Standing at my painting. I mark on the bar where the buildings V.P. meets the horizontal bar. It has hard arms on pivots that clip onto the bar and lock down on the vanishing point. Sometimes times both vanishing points are off the page in a 60º painting. This tool will adjust for the earth's curvature. Match up the buildings most extreme top angles with the arms and clip the perspective arm bar on the horizon bar by matching the angles of the arm bar to the image in front of you. I look at the building and point to the extended vanishing point to the left or right of my picture and clip the arm on there. The windows on that wall all have the same vanishing point. REFLECTIONS AS SEEN BY YOU HERE IS A REFLECTION DEMONSTRATION (new window) Your reflections are only there for you to see, they come straight toward you, not straight up and down in relation to the sides of your picture. LIGHT AND CONTRAST EFFECTED BY EDGES IT IS LIGHTEST NEXT TO THE DARK AND DARKEST NEXT TO THE LIGHT. There is no term to describe why the sky is darker next to the white cloud or lighter next to a dark building. Light interpretation as it relates to object edges. With the sun overhead and the foreground and background in sunlight, the object behind is darker than the closer objects edge. Look at the sky as the background, notice any object is darkest next to the light while the sky is lightest next to the dark object. It's coolest next to the warm, as when a sun lit edge meets the shadow. The "Culminating Point" is a reflective term, in omni light the closest part of an object is the brightest. The sky contrasts combine both the earthbound object's contrast rule (it's darker behind the object) and the water contrast rule) it's lighter behind the wave), it can either be lighter or darker behind the closer cloud and a cloud farther behind it. SKY, EARTH AND SEA GRIDS Have you ever noticed that barometric pressure keeps the cloud bottoms flat? If you made a grid from the center line vanishing point to the top corners of your picture every ten degrees, and added horizontal lines spaced one hundred feet apart toward the horizon line, the variable would be the space between the horizontal lines. On earth grids, concentric lines touch the horizontal grid lines. On sea grids, use only the center vanishing point lines and wave's horizontal lines. Earth and Sea Grids will keep objects attached to the ground plane and sea waves in perspective. (new window) Sky Grids will keep the flat bottoms of the clouds made by the barometric pressure at one altitude. Chapter 10 Pigment Color Symbols, How & Why the RCW Works RCW 36 COLORS IN THE ARTISTS' REAL COLOR WHEEL There are 36 colors in the Artists Real Color Wheel. It joins the Light (RGB), Crystal (both) and Pigment (CMYK) color wheel in one color chart. Because of color shifts when printing the RGB, CMYK is used. Darkness in the Yellow to Red and Cyan to Royal Blue ranges have been added to the RGB and CMYK colorwheels, independently to each other. This same Real Color Wheel can be made with 3, 6, 12, 18, 24 or 36 colors Start with yellow at the top and "Read Red Right," the three R's of color. Play the wheel like a typewriter. There are only twelve basic colors you must remember, forward, backward and opposing across the middle. "across the middle" is what makes the Real Color Wheel different from all the rest still being taught today as of 06-11-01, 7-13-9 (we are gaining ground, 20 universities in one month this year requested this RCW). The RCW is a modified combination RGB/YMC color wheel. Now when an artist wants dark yellow, it's dark yellow on the warm side like Naples Yellow, not the cool side (Yellow-Green). That's artist friendly! Yellow is represented by "Y," Magenta by "M," and Cyan "C." A three color primary color wheel = YCM. A six color wheel is YY CC MM. A twelve color wheel is YYYY CCCC MMMM. A thirty six color wheel is YYYYYYYYYYYY CCCCCCCCCCCC MMMMMMMMMMMM. A pure unadulterated yellow would be Y, YY or YYYY etc., half yellow and half magenta would be YYMM, or the color red, each color has four characters in the twelve color wheel. Orange is YYYM. Scarlet-crimson is YMMM. The opposite of YYYY is MMCC, Ultramarine Blue. Making a 6,12, 24, 36 and on up to a 1,000 RCW colors. (new window) SYMBOLS OF TWELVE PRIMARY, SECONDARY AND TERTIARY SUBTRACTIVE PIGMENT COLORS YYYY=Yellow, YYYM=Orange, YYMM=Red, YMMM=Scarlet-Crimson, MMMM=Magenta, MMMC=Purple, MMCC=Ultramarine, MCCC=Cobalt-Azure, CCCC=Cyan, CCCY=Turquoise, CCYY=Green, CYYY=Yellow-green. Cobalt is a pre-made tertiary pigment paint for the color MCCC, Cobalt Azure, it is opaque. It's in the range of the ancient mineral color Azurite. Cu 3 [C03 ] 2 [0H] 2 , A copper idiochromatic color. Azure can easily be mixed with the analogous colors copper phthalocyanine blue and a good ultramarine blue or the primary transparent cobalt violet (magenta). In fact with a transparent cobalt violet, (a cool magenta), you don't need a tubed Ultramarine Blue, you can make it. One way or the other, Azure is a beautiful color that nature uses often. Cobalt Blue is common in the mineral Azurite. Azurite includes both transparent and opaque ultramarine blue to cyan colors. The new w/c pigment Magenta ShinHan Opera will mix a perfect blue or cobalt blue with cyan. Each element can only make its own range and texture of colors. No other element has its similar unique capabilities. By modifying the element we can make its opposite or complementary color, just as the red Cuprite crystal of copper and the sediment of copper do naturally. By explaining minerals and crystals, you see the elements that make and color compounds. This color wheel joins the element, crystal, chemical, pigment and the light color wheel together as one, and agrees with the nature and your own of eyes "after image." (new window) To make the light color wheel match the pigment color wheel, replace the RGB dark path of Yellow (which has a Green tinge from Black as light is subtracted,) with the RCW neutral dark path on the warm side to Brown, that's the Red, Orange and Yellow's dark color. Than change Cyan's RGB darkest color to Ultramarine Blue's darkest color. Now all the colors in will have working oppositions, matching the colors you see in nature, and the colors in crystals representing the elements. HOW AND WHY THE RCW WORKS Element Colors, Crystal Colors, Chemical Color, Vegetable Colors & Pigment Colors, they all become dark on the same color paths. While painting, darks should be made to match nature by mixing in the opposite complementary color and not by adding black pigments. These same pigments are used in all media, the brands below are W/C's but the same pigments are used in all media. This RCW 36 colorwheel has the brand pigment names and the more important, generic Chemical Class names. It also includes the pigment chemical name in these Chemical Classes, and the Color Index Name, and the Color Index Number. Just what you need to make the most reliable choice among brands in all media. Each brand name pigment is a chosen color made from one or more Chemical Classes in combination. Each Chemical Classes color travels on a graduated path changing color and Pigment Color and Color Index number as it moves. The PC number itself also has a graduated path of different related colors. Different brands, different names, same color.. or close. You have to find the right brand color, start with the Chemical Class color. Daniel Smith did a good job, so did Grumbacher. Example; From the element Copper comes Copper Phthalocyanine as a Chemical Class with a path from green PG7 to cyan PB15. PB15 has a path from cyan PB15:1 to a transparent cobalt/ultramarine blue hue PB15:6. Only PB15.3 is true cyan, Manganese also makes Cyan. To paint a sky you need the purest PB15.3 cyan near the horizon line and by adding magenta you get the sky's zenith color of ultramarine blue. Manganese is also a Cyan hue. Manganese Blue PB15 (made of phthalocyan and phthalocyan chlorinated copper) is closer to the pure cyan color and can't be made with PB15.3. Manganese blue can make P15.3 with a little magenta. Grumbacher doesn't sell a Manganese blue hue but they have a great cyan called Thalo blue. Manganese genuine is made by fixing barium manganate on a barium sulfate base. Manganese blue transparent is made by Old Holland. Blue-Violet is between Cyan and Magenta and is Ultramarine Blue in color. Blue-Violet is a photo industrial color term for the blue filter used to make the yellow printing plate. Blue is opposite yellow. Red, Green and Blue are primary colors on the Light color wheel only.. because light is subtractive and red, green and blue are the more saturated colors. Red and Blue pigment colors are secondary colors and can be made mixing the pigment primary colors of transparent Yellow and Cyan or Cyan and Magenta. Red is not the opposite of Green, they are both secondary colors capable of being mixed. As in the RCW, the same brown to yellow color intensity path of yellow is found in both element crystal compounds, (new window) and class chemical compounds. The elements lead and iron have oxides with similar ranges of color from yellow to brown and red to brown as the synthetic chemicals and natural oxides, just like their crystal counterparts. Pigment color oppositions match the natural color elements crystal oppositions. Just as the lead element only makes yellow and blue crystals. The RCW also matches the chemical class colors with their paths to darker color intensities and the full croma colors of the YMC/RGB colorwheel, but in not the subtractive way that it gets dark. For we pigment artists, pigment color oppositions should match the element's natural or it's crystal opposition. The titanium crystal color path to darker color intensities moves right across black to the opposing color. The Pigment Color numbers mark that color's position on that Chemical Class path. Chemical colors and combinations make new brand name colors. Brand color names are still arbitrary, Pigment Color numbers and Color Index numbers are not, but they don't give the pigment's attributes. They are: from transparent to translucent, mono-toned or dual-toned and are never granular. THIS RCW COLOR WHEEL IS BASED ON COLOR PATHS IN ELEMENT CRYSTALS, OXIDES, CHEMICAL COLORS AND VEGETABLE COLORS IT WORKS IN PIGMENTS, COMPUTERS, DYES AND STAGE LIGHTING Yellow and red both darken to brown in crystals, natural oxides, chemical class pigments and vegetable colors. Yellow to Brown Elements in Crystal The Chrysoberle crystal with the element Beryllium is the standard yellow centering to brown transparent crystal. The Citroen Quartz crystal with the element iron includes from yellow to orange to brown. The Chalcopyrite crystal with iron will show colors from, yellow, orange, tan, red and brown. Yellow to Brown Chemical Class Pigments Diarylide Yellow makes these colors. Diarylide Yellow AAA, Diarylide Orange, PO34 Diarylide Red, PR166, Disazo Scarlet Diarylide Brown PY12 brown. Yellow to Brown Chemical Class Pigments Monoazo-Aceoacety Benzimidazolone makes this path of intensity for yellow colors, just like oxides and crystals. Benzimidazolone makes these colors from yellow to brown only, like the Chrysoberle crystal and calcimined lead oxides. Benzimidazolone Yellow H3g, PY154 CI# 11781, yellow to yellow-orange. Benzimidazolone Yellow PY151. Naples Yellow Hue Benzimidazolone Orange, PO62, 11775. D.S = Permanent Orange. Benzimidazolone Orange H5g, PO62. Schmincke = Chrome Orange Benzimidazolone Orange H5g, PO62, Lukas W/C = Helio Genuine Orange. Benzimidazolone Orange HL, PO36, 11780. Benzimidazolone Red, Deep Scarlet, PR175, 12513. Benzimidazolone Carmine, Hf3c, PR176, 12515. Benzimidazolone Brown, Permanent Brown, PBr25, 12510. Benzimidazolone Maroon, Napthamide Maroon, PR171, 12512 Benzimidazolone Bordeaux PV32, 12517 Both are matched in the Real Color Wheel.Mars chemical compound colors colors are synthetic iron oxides and follow the same color color intensity scale getting darker as iron oxides.Lefranc & Bourgeous. Quinacridone. PBr7. Chemical class compound pigments. is not transparent as has always been claimed. COPPER. . (new window). transparent and translucent. Brown Ocher Pale.6. Vandyke Brown.Schmincke. PY10. Isoindolinone Yellow.Old Holland. translucent and opaque. Gold Ocher PY43. . Red translucent with magenta under-tone.0.. oxides can make translucent and opaque pigments. PB15 is a primary pigment color. polarizing filter. opaque. Ultramarine Blue PB29. Dioxine Yellow Nickel Complex which makes Nickel Dioxine Yellow. One is a strong yellow to mix with magenta making orange to crimson rose. used as the Thalo Green opposition. "Iceland Spar crystal". translucent.3 is Senopia's pure cyan. Indian Yellow is a set of two colors. Potassium Cobaltinitrite. colorless. dual-tone. Cyan to blue. and the sky above us. These are handy colors as used it the sky. translucent Perylene Red BL. burnt. the brown/side Indian Yellow. Iron oxide natural colors. Opaque and Translucent . Anthraqinone A Vat Pigment makes these colors. These two transparent duel-toned colors mix a lot of greens and reds. Aureolin. which makes Anthrapyrimidine Yellow.Talens. Quinacridone Sienna. The Copper Phthalocyanine chemical class. Quinacridone Magenta Y form. Yellow to Orange path in Chemical Class pigments. like in the the Real Color Wheel. it's a translucent.5. Cu3[CO3]2[0H]2. Red-orange. translucent and Phthalocyanine Blue PB15 transparent (Cyan) combined will tint from blue to cyan.2 Dinydroxy Anthraqinone. Quinacridone Red. Includes cyan. the under-tone of any tested pigment will not show lighter on a black paper.Old Holland. Burnt Umber translucent. including bright red. Anthraquinone. Brown Ocher Deep is close to Iron Oxide Burnt Umber. which makes Dairylide Yellow HR70. AZURITE crystal. Cyan. translucent. Chemicals can make a transparent dark brown pigment. also aggregate and mass. transparent Perlene Red. transparent Pyanthrone.Blockx.5 mass-tone. The pigment's mass-tone color looks darker than ultramarine blue. Italian Earth natural translucent high silica content. a weak opaque. the main and most light fast magenta. Yellow Oxide O/s hue in mass-tone. The chemical class of Ultramarine blue is a complex silicate of sodium and aluminum with sulphur. Crystal compounds Cyan to Blue in color depth. calls it Cobalt Blue Tint. RCW36#13.. . Indian Yellow can be made with these Chemical Class colors. transparent yellow-orange to yellow and raw sienna hue to yellow. translucent Pyantrone Red. Tetrachloroindolinone. Iron Oxide. Disazo. RCW36#22ring1. PR192. Both strong and weak opaque colors all will lighten a black paper. Iron Oxide Brown natural. trigonal crystals. PR101. PO61. (new window) Translucent pigments are semi-transparent or semi-opaque. translucent high silica content. the other is for lower croma greens.Yellow to Brown Oxide Pigments. Quinacridone Gold. CALCITE crystals w/COPPER. Red Ocher dark red/side translucent. RCW36#3. so they are not transparent. Red. depending on the mixture. Iron Oxides. transparent. Iron Oxide. . CaCO3. CALCITE crystals. Grumbacher Iron Oxide Raw Sienna. PY40. RCW36#5. shows blue in mass. PB15. True Transparent Test. . Holbein. azure (cobalt blue) and ultramarine blue hue. Transparent Yellow to Magenta and Yellow to brown Chemical Class pigments. it makes only slight variations in this blue hue. In this crystal light cyan turns into dark ultramarine blue. ALIZARIN to Red and Brown Chemical Class pigments. Red-Burnt Sienna hue Cyan darkens to ultramarine blue hue in these transparent crystals and class chemical colors. Standard Azure/Cobalt color. 73915. PR122. Brown Ocher Pale red/side. This color range is as the cyan Iceland Spar crystal and many other crystals. . Transparent blue is possible in the Azurite crystal. [MCCC]. PBr8 Manganese Brown.Blockx. Alizarin Crimson 1. which makes Isoindolinone Yellow R. Red Oxide hue. allochromatic. Using Transparent Yellow. Venetian Red natural opaque PR101 . . weak opaque colors. Gold Ocher Light orange side. transparent TC Isoindolinine Orange. Here are the transparent yellow chemical pigments. Brown Ocher darker yellow/side. Dual-toned Indian Yellow color images. RCW36#10. Tereachloroindolinone. Nickel Azo metal complex is the element. try it. (Indian Yellow Brn/s hue).Golden Artist Colors. 500 yards. from yellow-orange-ocher to yellow. On 6-10-06 I received a welcomed new color from Golden. Permanent Yellow Deep. AERIAL PERSPECTIVE All concentric ring lines stay at an even distance around you. CI68420. Chrome Yellow Deep (not lead chrome). Nickel Complex Azo PY150 and Quinacridone PR206. paint manufactures are making many verities of Indian transparent yellow and just throwing them at the wall to see what sticks. Duel-toned translucent. Dual-toned Indian Yellow color images (new window) Chapter 10a Concentric Rings. Anthrapyrimidine Yellow. What you need is a transparent yellow to mix with the other two transparent primaries so you can make a darker neutral. Indian Yellow Golden Hue. Aerial Perspective Color Palette. Sennelier. 100 yards. the background uses green and purple [CCYY+CMMM]. the lights are brightest and the shadows are the deepest. Lefranc and Bourgeois. from yellow pale to yellow deep duel-tone. Today. 10 yards. Color aerial perspective values in the distance can be recognized from ring to ring. PY97 Arylide Yellow Fgl. Indian Yellow (Imitation). 1/2 mile. Vat Yellow 20. Old Holland is shining! They have the most complete set of transparent Indian yellows. Holbein. Indian yellow Hue green/side Nickel Azo Yellow and azo methane copper complex PY129 BEST GREEN/SIDE INDIAN YELLOW. made with Arylide Yellow PY7. PY83 Diarylide Hr70. PY83 Diarylide Hr70 / PY43 Yellow Ocher. Greenish-Yellow. Today. Schmincke. make clean reds and yellow-orange yellows. Yellow Lake. PY83 Diarylide Hr70 plus PY43 Yellow Ocher Iron Oxide. It's translucent because of the addition of Yellow Ocher Oxide. PY1 Arylide Yellow G / PO1 Hansa Orange. Talens. any distance that is obvious in your scene should form on a concentric ring. 50 miles. Duel toned. My print research turned up the cow urine history of this very important color and this information started spreading in 2002 and Indian yellow hue started appearing. These are the same pigments as in Old Holland's Indian Yellow Brn/s. This is good Golden Indian yellow Hue. Talens. I'm not as sure the puritan reason of harming the cows with too much mango leaves which is their favorite food was the real reason England stopped importing the raw material. Schmincke. Gamboge. There's a difference between colors 10 yards in front of you and 50 yards in front of you. is not transparent so it is not really a Lake (transparent) color. Daniel Smith. PY153 Nickel Dioxine Yellow Complex. Makes clean reds and warm yellows. New. Daniel Smith. Indian Yellow. . 50 yards. adding the extra cyan gives more ultramarine blue to the mix. Yellow Lake. Sennelier. is a translucent duel-toned yellow-orange in mass-tone to cadmium yellow hue under-tone and top-tone. Duel toned. 12-16-12. Golden Artist Colors. Don't use one distance's palette colors in another ring. Makes clean reds and warm yellows. In the printed copy describing this new Historical Fluid Acrylic Color I was happy to see my information which was first put on the internet in 1996 regarding original Indian yellow. CI48545. Indian Yellow Hue. 1 mile. Each rings colors would not be repeated inside other rings. New Gamboge. Grumbacher Indian Yellow Hue. 10 miles. The internet loves information and Golden used it describing their new Indian Yellow Hue on their Historical Fluid Color Chart. Duel-toned orange-ocher to yellow. Makes great reds and warm yellows. Here are my basic ring distances away from me. duel-toned. Colors within the first 10 yards are at they're highest chroma. Duel-toned from yellow Brn/s hue to a Raw Sienna hue. it could have been political. soon you will see the difference in every ten yards.. Aerial Perspective PAINTING CHAPTER THERE ARE CONCENTRIC RINGS OF AERIAL PERSPECTIVE AROUND YOU EVERY OBJECT YOU SEE HAS IT'S EDGE ON YOU'RE CONCENTRIC RINGS. made with Arylide Yellow PY7. translucent. New 7-10-9. PY108. oil. less dual-toned then Nickel Dioxine Yellow. PY150. PY110 Isoindolinone. Nickel Complex Azo PY150 and Quinacridone PR206. 100 miles. The foreground rings use the opposition of green and magenta for a neutral dark [CCYY+MMMM]. Indian Yellow (hue). Nickel Dioxine Yellow. a G/s Indian Yellow. 7-13-9. Pr154 Benzimidazolone Yellow H3g plus PY10 Isoindolinone Yellow R. 1/4 mile. Yellow light and blue light make white light.S. and vice versa. What this means in paint is a slight difference in color oppositions. They each use the same colors differently but are the same color wheel. Three basic colors. Scarlet and Purple. one color off exact opposite.AERIAL PERSPECTIVE The color and brightness of objects are effected by the addition of air and moisture in the air. divide to six. . Chap11g 36 REAL COLOR WHEEL PIGMENTS. it's Green and Purple. twelve. RGB/YMC. air is a filter of Yellow and adds Reflected White Light. adding the pigments together makes a darker color. it's mixed with white. The Real Color Wheel is for pigments. two color mixed together have more light and get lighter. Split complementary colors are two colors next to each other called "analogous". plus Cyan and Magenta. I won't agree with what is currently being taught to academic artists in each school grade in the U. in the background the cooler colors of green plus purple are added to the local color instead of the normal opposite color. and the three primaries for light subdivide into the whole range of color that is shared by both systems. Three primary colors for pigments. thirty six or three-hundred-sixty part color wheels. The mix of Green and Purple make the cool Blue of the distance.. the split complementary colors of Green are on each side of Magenta. This is the real way the pigment artists color wheel should work. This filters out the Yellow. three primaries for light. instead of the main opposition being Magenta and Green. The 12RCW is all you need to paint with. twelve. Chapter 10b Light & Pigment Color Wheel are the Same. Three basic colors. Here's an example. There is a point in the distance where this color or cobalt blue is the only color in distant mountains. in each case the primary colors combine and subdivide into the whole range that is shared by both systems. twenty four. When Yellow is used in the distance. Green is opposite Magenta. it's additive. Conversion of Light to Pigment THE REAL COLOR WHEEL HOW TO USE THE REAL COLOR WHEEL. Shadows on the foreground object are made by adding the opposite color to the local color. This combination has a blue cast to it. is subtractive. twenty four. thirty six or three-hundredsixty part color wheels. Chap27 Three primary colors for pigments. divide to six. Light as in computers and stage lighting. The Yellow-Red-Blue (new window) color wheel is incorrect and limiting. the 36RCW divides each section of the 12RCW into three allowing it to match pigments exactly. dark in pigment. CC = Cyan. and "Read Red Right". Any three pigment triad on the RCW will make a neutral dark. Scarlet Crimson is YMMM. MMMC=Purple. [4Y+4M]+[4M+4C]+[4C+4Y] equals [8Y+8M+8C] or [8YMC]. YYMMCC = YMC. #3. half yellow and half magenta would be YYMM. This combination is twice as bright as Yellow. tube form = mass-tone. MM = Magenta. CCYY=Green. White in light. YM = Red. Green is opposite Magenta. OPPOSITES ARE SIX COLORS APART. In light. THREE COLOR WHEEL Y = Yellow. a primary triad division without oppositions. There are only twelve colors to remember. magenta and cyan to mix twelve hues. M = Magenta. MMCC=Ultramarine. This is a page shows accurate full color colorwheels and full color paintings using only the three color transparent primaries. Color #1 = YY and color #4=MMCC are complementary opposite colors on a six color wheel. The twelve color wheel (12RCW) is enough to paint any picture with pigments. Light adds to intensity. the sixth color away from any color is halfway around the color wheel. CY = Green. A pure unadulterated yellow would be YYYY on a 12 color wheel. MC = Ult. Combining a less brightly lit colored light. so it's additive. Red. THE LIGHT AND PIGMENT COLOR WHEELS ARE THE SAME COLORS PRIMARY. or Neutral Dark in pigment. Yellow is represented by "YY". SIX COLOR WHEEL. 12RCW#1 AND 12RCW#7 ARE OPPOSITES IN LIGHT AND PIGMENT. Y+M+C = YMC.Start with yellow at the top of the color wheel. dark in pigment. YYYM=Orange. YYMM=Red. YYYY=Yellow. RGB color wheel. (new window) Link is to a clickable pigment sample chart of the RCW. We'll play the color wheel like a typewriter. CYYY=Yellow-green. Orange is YYYM. Ult. Here. This equals Neutral White in light.Blue. CCCY=Turquoise. Learn to name a color and have that image of that color in your mind. SIX COLOR WHEEL #1. Magenta and Cyan. COLOR SYMBOLS FOR A THIRTY SIX COLOR WHEEL 36RCW IS THE STANDARD BECAUSE IT WILL SHOW ALL THE MANUFACTURED TUBED COLORS. Magenta is "MM". White in light. THREE COLOR WHEEL. YYMM = Red. In light there are no degrees of black pigment. . or the color red. Cyan is "CC". LIGHT. adding color to color makes it lighter and brighter. a split complement (glossary new window) of Green would be Scarlet and Purple. Ultramarine Blue is "MC". TWELVE COLOR WHEEL each color has four part symbols representing transparent yellow. Mixing two opaque pigments decreases the new colors intensity. COLOR SYMBOLS FOR A 6RCW. YY = Yellow. 50% of each color Red and Green will equal brown light. C = Cyan. Here's an example.Blue and Green (light's primary colors). #6. #5. MMCC = Ultramarine. Each color has 1 part. Red is "YM". the primary colors in pigment combine into Neutral White in light or Neutral Dark in pigment. Real Color Wheel color uses twelve letters to describe each primary Analogous colors are two or more colors next to each other. and three light primaries equal white light. YMC. In the combination. 36RCW. The most intensive Yellow light is made from the two less intensive colors. YY+MMCC = YYMMCC. Here are the details. In a six color wheel. Opposites are 17 colors apart. #4. The opposite of Yellow. PIGMENT. Each color is 120 degrees. EACH COLOR HAS 30 DEGREES. Light is additive. The combined triad equal White in light. only degrees of added light. Pigment has 100% intensity in its pure state. MCCC=Azure or Cobalt Blue. (new window) A thirty-six. Twice as much added color will make a light twice as intense. Ultramarine Blue. PRIMARY. and "CY" is Green. One on each side of the opposite color Magenta. and in light these same three light primaries secondary colors equal white light. the three R's of the color wheel. CCCC=Cyan. forward backward and across the centering middle dark to the opposite side. 6RCW. Any three of my pigment triads make a neutral dark (battleship Gray and darker). The formula. YMMM=Scarlet-Crimson. Split complementary colors are opposite colors in a "Y". CCYY = Green. #2. [4Y]+[4M]+[4C] or [4YMC]. making it the opposite color or the complementary color. YYYY is MMCC. COMBINES THE LIGHT AND PIGMENTS TRIADS each color is 60 degrees. the Yellow light is twice as bright. MMMM=Magenta. YM+MC+CY is the same as YYMMCC. 100% Red Light plus 100% Green Light equals 100% Yellow light. 100% Cadmium Red colored Light and 100% Thalo Green colored light. Greater detail about how to use the RCW Color Wheel. Yellow printing ink is opaque today. can be seen in the crystal of that element. Now you can use yellows opposite color in either light or pigment color wheel and get a neutral dark mixture. Those darker areas of the RGB/YMC light and print color wheel are the the areas that are incorrect for the pigment artist. dark cyan in pigment should stay on the cool ult. Here is the 36 color RCW palette with an extra warm yellow row to match pigments. Don't use the Color Wheel Pro brand color wheel. I use this transition in the Real Color Wheel for Cyan by using Ultramarine Blues dark as the dark of Cyan. (new window) Red graduates to this Brown naturally in light and pigment. this keeps it cool. blue side. plus four extra Yellows. New in 2009. Cyan dark when represented by print has a high percentage of black and Magenta ink because the thin layer of printing ink prints would print this dark colored transparent ink as a tint. Here is how that translates into pigments for painting on location. Simple. They are the same color wheel. Yellow passes through Brown before black and Cyan passes through Ultramarine Blue before turning black. you will notice the high amount of Magenta needed to darken the Cyan darker end under-tones in print and light. That doesn't represent the artists pigment correctly. Just as yellow darkens to the green/side dark. I made a transparent yellow giclee ink (new window) from Tartrazine PY100. the shadow color on a cyan object does. Thalo blue. I'm looking at a cyan blue tarp crumpled in a pile. To match pigment to light. Green equals [4Y+4M+4C]+[4Y] or [4YMC]+[4Y]. they will all print correctly. This means adding transparent magenta or transparent Purple or translucent Ultramarine Blue or transparent Anthraquinone PB60 color to the Thalo Blue to make the shadow color. This hue shifts in light as dual-toned pigments shift. from the hardware store. Look at a Cyan colored object. Looking into the darker shadow folds to match the color by making it with with pigment I see Magenta being used to make the dark. This tint color in the light color wheel has the same green tainted dark that yellow has when it changes to black by subtracting light. For the artist. duel-toned Indian yellow. We have ink-jet printers today that apply all the colors at once. Cyan dark uses blue's dark and Yellow's dark. In this pigment color wheel which follows the rules of chemistry in the elements. Neutral colors can be made by mixing the complementary colors in light or pigment. It would take more then one pass through the press to make a dark cyan color if other colors were not used in the addition. The pigment itself does not change hues. twice as bright as the Green and Red Lights by themselves.3 copper phthalocyanine Blue on white paper and let this dry. 36 is the perfect color wheel to display all colors. it doesn't work for artists that don't use black pigment. PB60 Anthraquinone is a dark Ultramarine Blue transparent. Your yellows will not only make nice greens but you'll have the all the browns you need and were meant to have. Green Light plus 100% Red Light. Black over Yellow is a green/side dark. This is the basics of the Real Color Wheel. The natural color progression of any element of color. It's the first color down on white paper so it need not be transparent to work. it will mix with transparent yellow to a (close) neutral dark and with brown to a neutral dark.Red [4Y+4M]+[4C+4Y]. Cyan does darken to the green side in the computers RGB color system. I saw a new automobile from Japan painted with a yellow to brown dual-toned color. Then photograph the results and print it and break it down in an RGB image. while Yellow graduates to Green then Black in light. Another car was cyan in the sunlit areas and ultramarine blue in the shadows. 50% Green Light plus 50% Blue Light = 50% Cyan. Black pigment and Yellow pigment mix to a Yellow-green. The RGB/YMC computer color wheels won't work for pigments because they add black. Now. because the three transparent primaries mix to a dark neutral I use more colored ink and less black ink. that's four combined neutrals. The Real Color Wheel for artists really works well. The sunlit areas were a very bright yellow and the shadows were dark brown. Here is a page that includes nature photographs showing how the complementary opposite colors orange and cobalt blue mix a . Cyan dark as a pigment has no yellow in it. a tint of Thalo Blue. Smear and streak the mass tube color or add water to make an under-tone streak to PB15. = 100% Yellow Light. Here are the hexadecimal codes (new window) to work in the computer's CMYK-RGB color space. making Yellow Light. The 12 RCW color wheel is enough to paint anything in front of you :) CONVERSION OF LIGHT TO PIGMENT 100%. making a "Y". as the thickness changes the color's change. triadic colors form an equilateral triangle. The axis from the sun through your eye to the center of the rainbows circle is the basis for the angle of an incidence you see as the rainbows refracted light. On the ELEMENT PERIODIC TABLE. thus splitting up white light into its spectrum colors. Quantity on Earth. the light splits in different directions at different speeds. they're 120 degrees between colors. Cadmium is not a solid pigment. Arsenic. is refraction away from the normal. LIGHT AND COLOR TERMS ALEXANDRITE EFFECT. Complements of Nature.Green. Color Producing Gasses . CRYSTAL CHROMATE (COLOR) ELEMENTS THERE ARE 92 NATURAL ELEMENTS. orange red and sometimes greenish. iron. Complementary colors are opposite colors. 5-20-10. (new window) Chapter 10c Crystal Chapter. glass and water give dispersion of light with the proper incident and reflecting angles. PLEOCHROISM. (new window) I have my own w/c Indian yellow now. In crystals other than the cube crystal. colors are side by side on the color wheel rim. Periodic Table CRYSTALS. DIFFRACTION. Elements color in harmonies. The chrysoberyl alexandrite is red in candle light and green in daylight. Diamonds. means colors side by side around the rim of the color wheel. silicate. is stimulated by radiation. Light & Color Terms. violet and magenta the least. The green comes from iron. ISOTROPIC. The peridot crystal is in the olivine category. it's a magnesium. making this an idiochromatic home color [not foreign] crystal. INTERFERENCE COLORS. makes yellow and sometimes blue. 180 degrees apart.Yellow. crystals in which light travels in all directions at the same velocity.Easily displaced. so it's allochromatic foreign and not written in the symbol AL 2 03 . diffraction is light bending around the edges of a mass. ANALOGOUS. Centering. Any medium in which the high-frequency light travels more slowly than the lower frequencies are called dispersive. yellow. The water droplets in a rainbow are at the proper angle of refraction to give each color seen by you. IDIOCHROMATIC. Order here. INCIDENT ANGLE. minerals colored by elements which are a regular part of the chemical composition. #22 through #30 are the coloring elements that give color to crystal compounds. IT'S BETTER. The deviation of a ray of light upon entering a transparent medium. CLEARER AND BRIGHTER THAN ANYTHING ON THE MARKET TODAY. orange. CLEANER. persisting luminescence after stimulation. the change of color when viewed from different directions. REFRACTION. Ruby is an aluminum oxide colored by chromium. a substratum dye. means moving from the high chroma rim to the center's natural dark position. EIGHT ELEMENTS MAKE UP 99% OF THE EARTH'S CRUST. The primary triad is a very wide split complement. Analogous. DOUBLE REFRACTION. ALLOCHROMATIC. red to deep red. lights entering angle. when light enters a cube or amorphous structure the incident ray is slowed by the atoms inside. Color Elements. The emerging ray is separated into the colors of the spectrum. Cadmium. Split complementary colors are on each side of the opposite.neutral dark. Each person sees their own rainbow. Red refracts most. minerals colored by a foreign element are called allochromatic. (new window) About the Other Color Wheel The Red-Yellow-Blue color wheel (new window) The transparent three primary RCW color wheel.Elements. it's a clear transparent yellow. an incident ray enters and splits. The ratio of the speed of light in a vacuum compared to the speed in the structure is called the refractive index. RCW Water Color Transparent Primary Palette with Tartrazine yellow Clear. DISPERSION. LUMINESCENCE or FLUORESCENCE. yellow-green. a thin film of soap or oil will change the direction of the incident ray laterally and cause the prism effect. each ray traveling at a different speed. PHOSPHORESCENCE. REFRACTIVE INDEX. Aluminum. . Blue [MMCC] in spinel both opposite colors. Arsenic As 33 --.Yellow-green in sphalerite. pentavalent As +5. Yellow.Analogous system of connected colors. GASS.6 brittle metallic.White. resembling chlorine and iodine.Green [CCYY] in beryl. This color scale is different in each crystal.S/G Aluminum Al 13 2. all analogous colors of the copper element. (working) Colors of gas by adding electricity. Lead. Cobalt. ore bauxite.Green [CCYY] is in the mineral malachite. active. divalent. (S/G) Is the ratio of size to weight by water displacement. S/G SPECIFIC GRAVITY. Corundum S/G=4. Idiochromatic Primary and Secondary Colors. steel-gray metallic element. The Real Color Wheel uses this pattern to darken Yellow instead of using Black as in RGB color wheel. Manganese. CF4: blue SF6: white blue SiF4: light blue SiCl4: light blue Cl2: whitish green CCl4: whitish green H2: pink O2: pale yellow N2: red to yellow Br2: reddish He: red to violet Ne: brick red Ar: dark red COLOR PRODUCING ELEMENTS.6 divalent metallic element. Zinc. natural or calcined to Cobalt Blue [MCCC] and Ultramarine Blue [MMCC]. reaching its complementary color Ultramarine Blue. Brown-Purple Mortuum. Titanium is a centering element that goes from Yellow to Orange. Description Plasma. Astatine At 85 --. compounds in barite. Antimony Sb 51 4. Cyan-green [CCCY] in turquoise.Yellow [YYYY] in sapphire. Archimedes' Principle. . allied to zinc. Yellow-green. Symbol Number. Cadmium Cd 48 8. Yellow [YYYY]. PERIODIC TABLE. Nickel. Titanium. It is an element that can cross over the center dark. Barium Ba 56 3. Red. Symbol Number.Yellow-Green [YYYC] in chrysoprase. unstable. Vanadium. Copperas. dark-red fuming. S/G= A/A-W. divalent metal. titanium dioxide. Green [emerald]. Magenta [MMMM] and cool magenta [MMM1/2C].Oxides and native.1 liquid. light. ELEMENT .rare element. The "centering" term means the crystal itself has the ability and changes from any full spectrum color to a dark colorless color.poisonous. Yellow. The Real Color Wheel follows the crystals lead. S/G (Specific Gravity). S/G (Specific Gravity). Boron B 5 --. Brown [YYMMCC]. COLOR PRODUCING GASSES.8 hard. Beryllium Be 4 1. Green [CCYY] and Red [YYMM] in sphalerite. ore stibnite. Bromine Br 35 3. or ferrous sulfate. Orange. Orange.ore of Borax. halogen family. green vitriol. and Red [ruby].5 malleable. then Red to Brown and Brown to Blue in the Rutile crystal.White pigment.SYM No. Copper.7 metallic.Chromium.Light (tint) Pink-Orange [YYMM] in spessartine and rhodochrosite. cyan-blue [CCCC] in azurite. . is four times the weight of the same volume of water. Iron. Description CRYSTALS LIGHT AND COLOR TERMS. Pigment in 1842. inflammable and luminous.82 Solid non-metallic element in two allotropic forms. Nickel Ni 28 8. gray-white element. Oxygen O 8 --. poisonous.86 Malleable metallic.2 Hard. gray metallic element. The three.Diamond and graphite are organic.3 Yellow malleable metal.Brittle metallic. Potassium K 19 . source of red in allochromatic compounds.5 Malleable. Mercury Hg 80 13.9 Hard silver-white. A full spectrum element. Iodine I 53 4.53 Silver-white. polymorphs of carbon. converts elements into oxide compounds.34 Malleable. The opposite color to black is clear. used to form sulfates as white lead pigment. Zirconium Zr 40 6.07 Nonmetallic solid element.31 Malleable.74 Silver-white metallic. malleable.Non-metallic corrosive pale yellow gas. graphites two dimensional atomic structure is flat. oxidizes in moist air. radioactive. Gold Au 19. Chlorine Cl 17 --.86 Silver-white metallic. Red. Uranium U 92 18. silver-white high melting. they are allochromatic. combined in salt. Strontium Sr 38 2. allochromatic element.92 Malleable.93 dark-gray crystalline solid. (S/G) 2.5 Red. not white. chalk. allochromatic.Colorless gas. Molybdenum Mo 42 10. Cobalt Co 27 --.2 Brittle.14 Blue-white metallic element. is less potent. Soft. Lithium Li 03 . metallic.6 Bi-valent metallic element found only in a combined state. Selenium Se 34 4.Metallic silver pink element. now rare. oxidizes rapidly.divalent metal. yellow. Zinc Zn 30 7.dimensional tetrahedrally-oriented covalent bond of diamonds is strong. Manganese Mn 25 7.Gaseous.Calcium Ca 20 --.4 Non-metallic element. red-brown metal element.4 Metallic. Silver Ag 47 10. resembles titanium.20. the opposite of carbon. Chromium Cr 24 --. black. rare. Fluorine F 9 --. heats to a dense violet vapor. Selenium Se 34 4. Phosphorus P 15 1. silver element. Carbon C 6 --.8 Gray.Colorless inflammable gas.96 Gray powder metallic.55 Fluid silver-white metallic element. non-metallic allotropic element. burns blue. metalloid.97 Soft silver-white metallic element.7 White.5 Malleable silver element. and is soft graphite. combined in fluorite.5 Dark gray powdered metallic element Tin Sn 50 7. compounds limestone. Sodium Na 11 . resembles sulfur. Iron Fe 26 7. Vanadium V 23 5. Diamonds can receive the full range of colors from other elements. Silicon Si 14 2. Hydrogen H 1 --. blue-gray metal. Copper Cu 29 8. . amorphous and crystalline forms. Tungsten W 74 19. lightest element. lightest metallic. gypsum. burns white hot. and sulfides. Titanium Ti 22 4. Sulfur S 16 2. Magnesium Mg 12 1. Platinum Pt 78 2.3 Bright-gray. Lead Pb 82 11. low melting silver colored metal. metallic. similar to gray. hard and clear. 1 Cadmium Barium Yellow Pale.0000005 NON-METALLIC ELEMENTS Oxygen 46.3.002 Arsenic .8.00001 Platinum . PY150.3 Hansa Yellow Light. Nickel Titanate.ELEMENTS.3 Hansa Yellow Light.2 Nickel Titanate Yellow.72 Aluminum 8.00.6 Gamboge Lake. mass-tone. PY53.1 Lemon Yellow Chromate RCW36#1.0. 77357.5 Aureolin. opaque RCW36#1.02 Nickel .00002 Silver .00005 Antimony .6.Paint Locations RCW PIGMENT COLORS LOCATED ON THE REAL COLOR WHEEL Real Color Wheel for pigments RCW36#1.05 Strontium . translucent.00.0.00 Hydrogen . Anthrapyrimidine Yellow.1 Zinc yellow. translucent. PY3.9 Potassium 2. Cobalt. RCW36#1.09 Titanium . 77492 . QUANTITY ON EARTH CHART METALLIC ELEMENTS LIST Silicon 27. 11710 RCW36#1. top-tone. Brn/s RCW36#1.05 Selenium . translucent. opaque RCW36#1.02 Zirconium .05 Barium .0001 Tin . Anthrapyrimidine Yellow. opaque RCW36#1. Arylide Yellow 10g. translucent.0. duel-toned from ocher mass-tone hue to yellow. 68420.14 Phosphorus . opaque.04 Carbon .00.63 Sodium 2.59 Magnesium 2. PY108. PY108. 68420. PBr7. mass-tone. non staining yellow RCW36#1.0. PY40. PR35. transparent. mass-tone.02 Chapter 11 Pigment . O/s RCW36#1.0.0005 Molybdenum .005 Cobalt .44 Manganese .002 Lead .1 Chromium .0003 Mercury .00.6 Gamboge Lake.13 Iron 5. Brn/s RCW36#1.10. translucent RCW36#1. synthetic.0000005 Gold . top-tone. dual-toned from Raw Sienna mass-tone hue to yellow.007 Copper .2 Bismuth Vanadate PY184.1 Burnt Umber. 77788 RCW36#1. Yellow.6 Nickel Azo. translucent. Calcium 3.3 Indian Yellow.03 Chlorine .3 Indian Yellow.5 Cadmium Yellow Light.12 Fluorine .01.01. 77205 RCW36#1. synthetic RCW36#1.008 Zinc .07 Sulfur . transparent. CI# 74160 & CI# 74265 RCW36#27. CI# 56280 RCW36#4. PR108 RCW36#7. mixes with Thalo Green to mix Sap Green. PG7. 5gx. PR3. RCW36#3. top-tone. transparent. CI# 74260.6. Primary Transparent Warm Magenta is opposite Secondary Pathalo Green B/s.S. Napthol Red AS. mass-tone. Pathalo Blue plus Pathalo Green.0 Cadmium Red Light/Medium. translucent. Thalo Green (B/s). transparent. translucent.2 Yellow Oxide/Ocher Br/s.3 Raw Sienna. 77360 RCW36#16. 51319 RCW36#18. Translucent. Primary Opaque Cool Magenta. PO48. CI# 74160.0 New Gamboge.5 Cadmium Yellow Medium. translucent. CI# 74160 & CI# 74265 RCW36#29. 77007 RCW36#19.3.S.0 Cadmium Orange. top-tone. PR101. transparent Org/s burnt sienna. PhthaloTurquiose top-tone.3 Hansa Yellow Medium. CI# 48545. translucent.10 Burnt Umber. dual-toned from a mass-tone of yellow-orange to a bright yellow tint. transparent. PB15.0 Cadmium Red Scarlet.Yellow R. Yellow Light Opaque (New 2011) RCW36#2. 77492 RCW36#12.10 Quinacridone Rose. PY43. 77491 RCW36#2. 77007 RCW36#18. opaque RCW36#3. opaque. CI# 77346 RCW36#22ring0 Azurite. 77202 RCW36#7. Nickel Dioxine Yellow. translucent. similar to PY153. 77491 RCW36#2. 77007 RCW36#19. 51319 RCW36#15ring6 Carbazole Violet. opaque RCW36#2. Ultramarine Violet. transparent.7 French Ocher R/s. mass-tone.3&PG36. PY150. opaque. PR101. CI# 77491 RCW36#7. Phthalocyanine Green. mass-tone. 12467 RCW36#6. PBr7. translucent.6. D. Deep Yellow Ocher R/s hue.01 Naples Yellow Deep. Phthalocyanine Blue. 73900/73920. 77492 RCW36#4. PB15&PG36. translucent. PB15:3.S. opaque. PV49.0 French Ultramarine Blue.0. 73900 RCW36#13. transparent. Quinacridone Gold. PY110.0 Cobalt Violet. Ultramarine Violet. Benizimidazolone Brown. RCW36#4.0.9 Permanent Brown.0 Quinacridone Magenta. granular RCW36#3.1 Rembrandt Nickel Titan. transparent orange. CI# 77491 RCW36#3.10 Burnt Umber.6 Burnt Sienna. PB28.7 Italian Burnt Sienna. mass-tone.01. transparent. translucent. opaque warm red. transparent. PB29. 77492 RCW36#7. opaque.S. transparent. Isoindolinone. CI# 74160. translucent RCW36#4. D. translucent.4 Italian Deep Yellow Ocher R/s hue.6 Quinacridone Deep Gold. 77492 RCW36#5. CI# 77346 RCW36#25. 77202 RCW36#3. Cyan Primary.0 Cobalt Blue. PB28.RCW36#2. PB15.0 Carbazole Violet. PY35. mass-tone. translucent. Opaque Green Light RCW36#31. opaque. RCW36#7. transparent.0. PO62.2 Naples Yellow Light. PR122 RCW36#14. weak tinting strength PV15. Vat Yellow 20. 11710 RCW36#2. Pathalo Blue plus Pathalo Green.6. PBr25. G/s is Cyan and R/s is toward magenta. CI# 77007 RCW36#22. PO20. PR101. mass-tone. Secondary Color . translucent. 11775. opaque top-tone tint mass-tone only. Dioxazine Purple. top-tone. PB28. PB29. PB29. opaque.4 Goethite. D. opaque. Similar to Indian Yellow Original.10 Burnt Umber.05. 77492 RCW36#3. 77205 RCW36#2. translucent. PO49. RCW36#25. translucent. Benizimidazolone Orange. CI# 77202. RCW36#27.0 Permanent Orange. makes great reds and greens.0 Organic Vermilion. PBr7. PBr7. 77362 or PV14.3 Ultramarine Blue translucent.10 Burnt Umber.3. top-tone. Chinese Vermilion.4. translucent. 12510. translucent.0.7 Transparent Brown Oxide. top-tone. PV19. 77492 RCW36#5.0. D. translucent. mass-tone. 77492 RCW36#6. transparent. PR188. PBr7.2 Ultramarine Blue Light translucent. CI# 77346 RCW36#22ring6 Azurite. weak tinting strength PV15. Cyan Primary as is Manganese blue hue made by fixing barium manganate on a barium sulfate base. PR108.5 Italian Venetian Red. PBr7. PY43.6 Quinacridone Magenta.3.0.0 Cadmium Yellow Deep. PV23 (Rs). top-tone. PR122 RCW36#13.0 Permanent Yellow Deep.10. 77492 RCW36#3. PBr7. opaque RCW36#3.6 Transparent Red Oxide. PhthaloTurquiose mass-tone. G/s is Cyan and R/s is toward magenta. CI# 77491 RCW36#7. RCW36#4. Phthalocyanine Blue. Rembrandt Rose. PV23 (Rs). PBr7. opaque. PBr7. opaque. RCW36#3.10 Burnt Umber. CI# 77007 RCW36#19. Dioxazine Purple. Primary Transparent Warm Magenta is opposite Secondary Pathalo Green B/s.1 Burnt Umber. This magenta color mixes all colors beautifully.6. Phthalocyanine Green. Hooker's Green. CI# 74260 RCW36#33. Here is my palette after painting "what was in front of me". #4. mass-tone. Deep Gold.0.0. PG36. OIL & ACRYLIC COLORS. PY129. Brand names are important.6.3. Talens Ultramarine Blue Deep and Liquitex Burnt Sienna. The palette is two rows of fourteen wells. Arylide Yellow 1og PY3 and Phthalo Green PG36 RCW36#36. they are rarely the same color. PIGMENT IMAGES (new window) I hope water colors will be your first medium to work in like it was for me. Rich Green Gold.9 Raw Umber. mass-tone. Starting in the top left #1 well.6.10. opaque. At least get the primary colors making the whole range of colors. Martin F. for thirty years without black pigment. #01-WELL. translucent.RCW36#31. Cool Magenta to Yellow-Green on the bottom. PG36. PG10. Lime Green. You will still need PR:122 for a dark magenta color. Arylide Yellow 10g. Permanent Green Light. Talens Ultramarine Blue Deep and Bocour Venetian Red. Green Gold. Quin. Thalo Green (Y/s). opaque RCW36#36. PY35. reds brighter than cadmiums and excellent blues. cleanliness is number one.0. Chromium Green oxide. Nickel Chelated Azo. Binney-Smith. these make a warm or cool Burnt Umber. a very opaque neutral dark. This is the warm. warm or cool. Yellow to Warm Magenta on the top. Secondary Color RCW36#33.0. Phthalocyanine Green. Grumbacher Thalo Crimson for the Warm Magenta on top and Grumbacher Thalo Green below. Y/s top-tone. translucent RGB RCW (not to print) The Opera pigment by ShinHan and Holbine (new window) is more permanent than the old alizarine and very magenta bright. or cool . Phthalo Yellow Green.7. PG7. Brilliant Yellow Green. Permanent Green Light. transparent. PY3. Some wells have two colors in them to aid in the mixing. For this you need the right pigmented colors. Phthalocyanine Green. translucent and opaque RCW36#36. mass-tone.Palettes WATER COLOR PIGMENTS WATER. I like to keep the colors clean. Phthalocyanine Green. CI# 77288 RCW36#35. CI# 48042. mass-tone. pale yellow G/s under-tone RCW36#36. translucent. #02. dual-tone greenbrown to yellow. translucent RCW36#35. Weber.0. including the darkest dark's. PY3. PO49 RCW36#34. Azomethine Metal Complex Yellow 5g. I squeezed in enough Talens Ultramarine Deep to fill the top half. PG17. CI# 11710 and Phthalocyanine Green. Arylide Yellow 10g. PG7. Grumbacher Thalo Purple on top and Grumbacher Thalo Green below. CI# 12775. mass-tone. Arylide Yellow PY97 FGL. PG7 and Cadmium Yellow Light. Chapter 11a Watercolor Pigments . it makes a bright red but dirty blues. PV19 is not permanent but it is a warm magenta. a cool neutral for the background distances. translucent. under it in the same well I added Liquitex Burnt Sienna. #03. transparent RCW36#36. or Thalo Cyan PB15 are all phthalocyanine blue but that is also a misnomer also. RCW WATERCOLOR PALETTES * D. Grumbacher Cadmium Orange. Grumbacher Thalo Crimson. #25. I like the nickel complex for oil and PY100 Tartrazine for watercolors. #21. New Gamboge is equal to the hue of Original Transparent Indian Yellow Brown Side but they call it New Gamboge. the neutral cool Magenta to mix with blues. Out line your whites in pencil before you start. Winsor and Newton French Ultramarine Blue. Anthrapyrimidine Yellow is also equal in color to the Original Indian Yellow Br/s. It has more yellow in it than Grumbacher Yellow-Green. YYMM. a Nickel Azo complex. #27. PB29 Cyan. PY108. PY100 (the denser it is the browner it is) or PY150 are very important. referring to the incorrect red-yellow-blue as primary colors. erase the line. The second row also goes from dark to light. and Bocour Emerald Green on the bottom. June 2013. Grumbacher Cobalt Blue on top. #18. Anthrapyrimidine Burnt Sienna natural. cool. Latex thinned this way makes very precise lines possible. None were as brilliant or pure as my current Tartrazine mix. warm. Grumbacher Cadmium Yellow Deep. PY100 is also equal to the Original Transparent Indian Yellow Brown Side and it is only soluble in water. #09. Today it is also made from phthalocyanine by some companies and called a hue. Grumbacher Finest Emerald Green. The Old Holland Indian Yellow Brown Side synthetic made in 1900 is an oil based pigment. PR122 Dioxazine Purple. PY153 or PY100 are Orange/side Indian yellows. nickel azo complex Yellow is the brown/side. PY150. 5RCW color watercolor palette. PV23 R/s .S. #22. PBr7 Magenta. MMMM. Don't paint over the pencil lines or they will become black pigment and permanent. Grumbacher Cadmium Orange. don't damage the paper. a very good transparent yellow pigment. Nickel dissolves better in oil. #13. Grumbacher Finest Red. MMYY. then many brands appeared. #06. YYYY. Grumbacher Cadmium Yellow Middle. #24. #16. CCCY. I use ammonia to clean acrylic brushes. opaque warm and cool. YYYM. Two tubes. paint from light to dark. Bocour Olive Green. * Indian yellow Br/s. CCYY. #07. Liquitex Cobalt Blue on the bottom. Indian yellow original was in two parts. MMMM. CCCC. Nickel Complex Azo PY150 and Quinacridone PR206. Grumbacher Finest Thalo Green. Old holland makes both colors in oil. * Quinacridone Magenta PR122. #12. Arylide Yellow PY7. #26. #10. #05. MMMC. let it dry. #28. * Pathalo Cyan PB15. It made a nice colored acrylic paint (new window) but it bled through the acrylic medium. PR122 Ultramarine Blue. #20. 6-6-2006. I don't find use for the warm PV19. it lost a major battle in the paint wars. * Indian Yellow hue. Quinacridone/Nickel Azo Gold. Winsor and Newton Yellow. Grumbacher Vermilion Light. If I could have only 3 tubes of color to paint a full color. and Liquitex Ultramarine Blue on the bottom. water color painting. #17. #23. Liquitex Permanent Green Light on top. one color. Talens Turquoise Blue. #11. Indian Yellow Golden Hue. Indian yellow. Indian yellow. I discovered the problem while washing the first day's work on a new location painting.neutral opposition dark for strong foreground dark's. Paint up to the line. since the paper's white. then paint in the adjacent color. #15. warm Magenta. I also made a water soluble yellow ink (new window) for my plotter from Tartrazine. #19. Burnt Sienna natural. Grumbacher Finest Thalo Purple. nickel azo complex Yellow (with or without) PR108. PY150. Bocour Cadmium Yellow Medium. PY108. PBr7 Magenta. Talens Ultramarine Light on top. #14. Isopropyl alcohol is an excellent acrylic brush cleaner also. Also for the brown side Indian yellow they have Nickel Azo yellow. Golden Acrylics has some new colors in this range. PB15 6RCW color watercolor palette. since then first I made my own. Winsor and Newton Cadmium Yellow. Grumbacher Academy Yellow-Green. a medium magenta. Liquitex Acra Violet. MMCC. this new pigment to be released in the fall of 2006. PB16 & PB17. they tint to a Cadmium Yellow hue and make good greens. Liquitex Burnt Sienna. There was no transparent yellow when I first made this palette. the normal brown and purified yellow-orange. Liquitex Lemon Yellow. Grumbacher Thalo Blue. A note on ammonia: Ammonia is the solvent for latex masking fluid. It is PY150. Manganese blue transparent is made by fixing barium manganate on a barium sulfate base is also a cyan color. PY150. #08. 3RCW color watercolor palette. Even on kolinsky sable brushes. USED TO MAKE THE PAINT FLUID 4 parts Stand Oil. Damar will do that job. Driers yellow the paint in time. 5 DROPS DRIER PER 2 1/2 OZ. you can change your work in progress. PB29 Cobalt Blue. (new window) Chapter 11b Mastic Medium. PB15 12RCW color watercolor palette. PR122 Carbazole Violet. This medium will not yellow. except they could be redissolved with turpentine.kremer-pigmente. old day's of painting. today.de/ Shellac can be used as an intermediate glaze but not a final finishing varnish. PY35 Burnt Sienna natural. Anthrapyrimidine Cad Yellow Light opaque. 2% Drier. MY PAINTING MEDIUM. PB29 Cyan. Add 2% COBALT DRIER if you must.Ultramarine Blue. USED BY MANY ARTIST'S 4 parts Stand Oil. Dorland's or Drying Beeswax Mark. % Stand Oil Sun Thickened Linseed Oil Cold Pressed Linseed Oil Balsam Resin Turpentine. Add 2% drier and it will be dry in twelve hours. Make Your Own Oil Media. PB15. 75% damar and 25% Beeswax paste. PG7 Yellow Green New Green Gold has got to be next. in warm turpentine to make the paste and store it. a similar hue. #2. PBr7 Venetian Red Oxide. 1 part Turpentine. PB15 / PG36 Green Yellow/side.3 or manganese blue. 2 parts Sun Thickened Linseed Oil. Wax will dry-brush without drag. PAINTING MEDIUM. it should just drip off the palette knife. Table of Mixed Oil & Balsam Media OIL PAINTING MEDIUMS & MEDIA TABLE MASTIC MEDIUM THE MOST PAINTERLY MEDIUM OF ALL is this. because it was alcohol based. PB28 Pathalo Cyan. 1 part damar. OF MEDIUM dries in 12 to 15 hours. turpentine will keep the "soup" flowing. or the harder sandarac. Dissolve the beeswax 1:1. MAKE YOUR OWN OIL MEDIA TABLE OF MIXED OIL AND BALSAM MEDIA For the artist. use a damar varnish finishing coat. Turquoise. 2 parts Venetian Turpentine. PAINTING MEDIUM. PV23 R/s Ultramarine Blue. 2% Drier.C. nickel azo complex Yellow (with or without) PR108. This medium is a big loose paint. Comments . 2 parts Raw Cold Pressed Linseed Oil. Too much wax will cause the lifting of wet under-strokes. Sandraca was used as an intermediate isolating and hard final finish glaze. 1/2 part Wax. The Romans mixed this medium and pigments to make their "wax cakes" which were like our tube paints. damar gives wax the smooth slippery stroke and allows a buildup of paint. OIL MEDIA #1. THE HARD WORKING GLAZE 3 parts Venetian Turpentine. PY150. In the B. get it at http://www. Oil Media. 1 part Raw Cold Pressed Linseed Oil. 3 parts Sun Dried Linseed Oil. since sandarac (sandracca)is not widely available. Indian yellow. PR101 Quinacridone Magenta. If you want a gloss. 1/2 part Turpentine. #3. great for murals. TOP-TONE & UNDER-TONE See the Top-tone and Under-tone of pigments (new window) MAKE TARTRAZINE TRANSPARENT YELLOW Making PRIMARY Watercolors (new window) PASTEL Making Soft Pastels At Home (new window) PENCIL Prismacolor pencils mounted on the Real Color Wheel. . This mix has an edge bleeding problem. B 1 part Stand Oil 1/4 part Venetian More pick up. A- 1 part Stand Oil 1/2 part Venetian A little edge bleeding. An all round good medium used by itself.Nice glaze with turpentine. A Cold Sun Dried Pressed Linseed Oil 1 Oil 1 part. wet 16 hours. 1/4 part Turpentine. A 1/4 part. nice. No tack. oil 1/2 part Raw Cold Pressed Linseed Oil. raw cold pressed. balsam. No drier. fifth day light tack. 1/2 part Venetian Balsam. No drier. Venetian 1/2 part. It's made 1/2 part Sun Dried Raw Linseed Cold Oil 1/2 Linseed part. Three days dry. Three days dry. The drier is always optional. 1/4 part Cold Pressed Linseed Oil Needs no turpentine.1 part Stand Oil 1 part Stand Oil Wrinkles and skins. Cold pressed oil adds slippery to Stand Oil. A+ 1 part Stand Oil 1 part Venetian Balsam The turpentine evaporates quickly and needs constant replenishing. A+ 1 part Sun 1 part Thickened Stand Oil Linseed Oil 3/4 part Sun 1 part Thickened Stand Oil Linseed Oil 1/4 part. It has no flow-out problem. A+ Maybe the best medium. My current medium until I use it up. or mastic. 3/4 damar The new alkyd . part. 2% Drier. C 1 part Stand Oil 1/5 part damar 1/4 part Wax Stayed thick. Alkyd Oil Paint. Raw Cold Pressed Linseed Oil 1/8 part Wax Add 2% Cobalt Drier A+ I used this formula for all to dry in 18 my 1995 paintings. Cobalt Drier 2% dry in 12 hours. add: turpentine. some pick up. Dry in 24 Dorland's hours Wax A+ 1/8 part Turpentine 1/8 part Wax 2% drier. 1 part Stand Oil. 1/4 Wax Smooth and shows brush strokes. A+ Without added oil. Turpentine isn't needed to thin it out. A+ Cold Pressed Linseed Oil Adding Venetian Balsam makes a great blending glaze. 1/8 part Wax. Turpentine 1/4 part. Sun dried hours or get a linseed oil settles strokes. very painterly. smooth blend. 1/4 part 1/4 part Cold Sun Dried 1 part Pressed Stand Oil Linseed Linseed Oil Oil 1/2 part Venetian A beautiful balanced paint and glaze. 2% Cobalt A+ Drier optional. Dried oil paint can chip off dried Stand Oil 1 part. doubled paint. tacky 8 days. Best for murals. good alone. *Half Oil = Stand Oil 50%. *This has a big loose technique to change and change again . It breaks down quickly with turpentine and will run. Damar and Venice turpentine are both self flowing.Three days dry. . no drier. This medium stays very wet. Or when making a 2 1/2 oz. Cold Pressed Oil 1 part. Sun Dried Linseed Oil and Stand Oil paints too slippery. yellowing. Cobalt drier yellows more than oil. this is called solvent action. Turpentine in paint gives the most control but removes body. 1=10/10 parts. wax and damar and wax and oil media. It's easy to pickup when you want to lift an under coat. It's smooth and shows brush strokes in a painterly way. smooth and workable. 2/5= 4/10 part.no flow out . dry in 12 hours. Linseed Oil yellows. Three days dry.Matt finish. Alkyd Oil Paint. wax is non-yellowing.slippery . very good blending. Cold Pressed Linseed Oil and 2% Cobalt Drier. no siccatives (an old technique to speed drying) Yellows more than sun dried oil. bottle of medium. glazes well. B+ Sun Dried Linseed Oil and Turpentine. non-yellowing. Four drops dries in 20 hours. Cold Pressed Linseed oil. B Melt the wax in a double boiler or a pan in the center of a another pan of water. Alkyd is fast drying.adds self flow to oil . Bees wax emulsified with ammonia called cera colla also doesn't yellow as the Egyptian Grave Paintings show.down to earth good painting medium . Roman Wax Cakes were made like this. very smooth for a long time. no drier 2 1/2 days wet. dry 4 days. is fast drying and has no solvent action on dried layers successive layers of oil paint alkyd oil dries unless a sticky medium like an in 3 alkyd resin is used. Fast juicy strokes cover 100%. adds bite to the oil . dries in 12 to 15 hours. *Sun Dried Linseed Oil 1 part. no drier. Adds control to solvent action. Sun Thickened Linseed Oil = Three sunny days in a shallow lead pan 1/8 deep or less. hours. Stand Oil and Cobalt Drier.fast setting to over paint easily . All oils yellow in time. it has no solvent action and no adhesion qualities. A+ Turpentine and Chios resin together are as old as Sandarac "B. Turpentine 1/4 part. Wax increases solvency. Damar by itself takes 2 days to dry.smooth easy blend. Stand Oil. A+ Wax and Venetian turpentine. strokes just slide along. A. the whole paint film dries and dissolves as one. Very painterly . A+. too slippery. non-yellowing. More damar gives more gloss. *Damar and Wax and turpentine make a juicy soupier medium. It's made of long oil. Mix it with up to 50% bees wax. Wax and paint. Cold Pressed Linseed Oil. damar 1/10 part. you must add mastic or cold pressed oil. Boiled Oil = 200 degrees C for several hours. When making a big blend of sky and water. I made up my basic mix over ten years ago and still have it. *Damar and wax = A+. Linseed Oil wrinkles and skins by itself. no drier. dry in 30 hours without drier. wet 8 days. Stand oil by itself dries with wrinkled skin. A+ medium. dry in 3 days. 50/50. permanent and not as yellowing as oil. Heat turpentine the same way and mix them 50-50. Venetian 1/2 part. Alkyd resins are sticky and has no problem adhering to under layers. Wax. 2% Cobalt Drier. Damar dries differently than Oil. *Wax and damar. has no solvent action on dried layers.no turpentine needed . or stand oil. nonbalsam or resin. dry two days. Mastic and turpentine dissolves and redissolves itself so it's joined layers are a complete film. This basic mix is used in Moroger's. damar gives wax the smooth slippery soupier stroke and allows the buildup. no drier. no grab or bite. Add Cobalt Drier to dry in 12-15 hours. Stand Oil and Turpentine. damar 1 part. dry in 5 days. modified alkyd resin. Damar dries faster without Wax. Cold Pressed Linseed Oil . less than cold pressed linseed oil. Stand oil crawls with cobalt drier.nice glaze with turpentine. Turpentine 50%. A+ Stand Oil does yellow. strokes and marks fall out. Turpentine keeps the soup flowing . modified alkyd resin. *Oil-less paint. You have to replace the evaporating turpentine often.C. won't dissolve in mineral sprits. add 5 drops drier. layers must be dry between coats or they can chip off. This will keep the wax from getting too hot and smoking or catching fire. A Cold Pressed Linseed Oil 1 part. Wax and turpentine. wrinkled skin. Work and pickup with Turpentine." Wax was added in the early A/D. 2-5-7. Wax will dry-brush without drag. This covered mix will never harden so much that it won't break down farther with oil or damar with turpentine. Cobalt Drier 2% solution = dipping the palette knife 1/8 inch into the drier and mixing it with 1/4 inch of paint.needs wax . Best for mural work. too much Wax dissolves and lifts under-strokes quickly. Resin Mastic Paint. dry in 12 hours. dry 24 hours. Wax 1/5=2/10 part.adds slippery to Stand Oil .dry in two days. turpentine and 2% Cobalt drier.of long oil. Grumbacher Gel stays thick like Zec.blend-able . two days dry. B Walnut oil plus Alkyd oil is slower drying. Liquin properties. it is difficult to maintain painting consistency.strokes flow out by themselves in an uncontrolled manner . Cold Pressed Linseed Oil . Raw Cold Pressed Linseed Oil 4/5 part. A+ *Stand Oil 1 part. like Poppy Oil w/o the Wax feel. soaks into ground. No drier. = best glaze. fast setting. more pick up. greasy and self flowing . Some copals flow paint too much for location painting.gives paint a nice bite and feel to the strokes. Venetian 1/2 part. . extends paint 100%. Venetian Balsam Turpentine. Venetian Turpentine flows like Sun-thickened Linseed and Stand Oil. Raw Cold Pressed Linseed Oil 1/4 part. Sets very rapidly. Linseed oil cooked with red lead and added mastic. Maybe the best oil medium.Bleed over .slight bite . Alkyd and drier medium. Sun Dried Linseed Oil settles strokes. dissolves layers quickly. Cold Pressed Linseed Oil 1/4 part. non yellowing.four day dry. C Copal with drier drags. Wax 1/8 part. Venetian 1/4 part. dissolves under layers quickly. and I tried them all. Cold Pressed Linseed Oil 1/4 part. Sun Thickened Linseed Oil 3/4 part. A+ **Stand Oil 1 part. Apply a coat of thin shellac or egg white to the ground to prevent this. holds all strokes. Dry in 12 hours. wet 16 hours. flows out long after the stroke. smooth blend. Two days dry.strokes flow out by themselves in an uncontrolled manner . The Grumbacher Gel yellows more than the Grumbacher III. Sun Dried Thickened Linseed Oil 1/2 part. Archival Lean. *Venetian Balsam Resin Turpentine 1 part. nice. Sun Dried Linseed Oil 1/4 part. No drier. Good to use as the thinner instead of turpentine. Wax 1/8 part. separates and puddles. Stand Oil 1 part. Fifth day light tack. thin with turpentine. Cobalt Drier 2% dry in 12 hours. One hour.after four days it was still 5% wet. . damar 1/10 part = Stayed thick. Garrett Copal 50%. but runs and puddles when you add turpentine. plus Turpentine. A+ Grumbacher Gel . It does yellow slightly. a very fast setter. lifts under layers. a great and proven painting medium. A Poppy Oil. sticky. A Grumbacher Gel and Grumbacher III have thick and thin covered. Raw Cold Linseed oil 1/2 part. A+ *Stand Oil 1 part. and 2% drier. B Liquin reduces the length of your strokes and separates them. smooth with enough turpentine. dry in 15 hours. dissolve the Stand Oil to a consistency thicker than Raw Linseed but thinner than Sun Dried oil. doubled paint. Fast drier.needs Linseed Oil .Thinner than Cold Pressed Linseed . Zec is waxy smooth. Garrett Copal is the best I found. Venetian Balsam Turpentine and Cobalt Drier. Stand Oil and turpentine. some pick up. needs no turpentine. lifts lower layer. painted very well. Three days dry. Controllable light wash. dry in 3 days with 2% drier. heavy flow. dissolve the stand Oil to a consistency thicker than Raw Linseed but thinner than Sun dried. Sets very rapidly. dry in 30 hours. A+ Windsor Newton WinGel dries Very fast. Cold Pressed Linseed Oil 1/4 part = No tack. Zec and Cold Pressed Linseed Oil slows drying. Heavy tacky drag. lifts under layer and it is difficult to maintain painting consistency with just turpentine.two day dry. A Stand Oil 1 part. drier 2%.too thick to work with.blendable . redissolves easily. Venetian Balsam 1 part. add 2% Cobalt Drier to dry in 18 hours. 2% Cobalt Drier. A *Stand Oil 1 part. Sun Dried Linseed Oil 1/2 part. A+ *Stand Oil 1 part. hard to maintain consistency. lifts under layer. A.great control. Smooth . best blending medium.lifts under stroke . A+ *Stand Oil 1 part. Linseed oil and Stand Oil wrinkle and skin by themselves. A+ Stand Oil 1 part. Cold Pressed Linseed Oil 1/2 part. my current medium until I use it up.no flow out like Venetian . The best pre-made painterly medium I found. good glazing for portraits. it dries in one day by itself. Wax 1/8. The turpentine evaporates quickly and needs constant replenishing. Wax 1/4 part. It is better than Cold Pressed by itself and smoother than Grumbacher III. *Maroger's Medium. A Archival Fat. dry in 12 hours.needs 50% turpentine to flow . smooth with turpentine. like a soft wax. it's fast drying. Copal sets up fast. Sun Thickened Linseed Oil 1 part. Dorland's Wax 1/4 part.nice wax and oil feeling . nice. fast drying.two day dry. B Stand Oil 1 part. Sun Dried Linseed Oil 3/4. dry in 24 hours. tacky 8 days.I used this formula for all my 1995 oil paintings. dries hard and glossy. a little edge bleeding. Venetian Balsam 1/2 part.Stand Oil . very smooth. Three days dry. A+ *Stand Oil 1 part. this mix has an edge bleeding problem. Venetian Balsam Turpentine 1/4 part. Turpentine 1/8. Turpentine 1/4 part.needs Linseed Oil . Cold Pressed Linseed Oil 3/8 part. A beautiful balanced paint and glaze. Too much drag.Bleed over . smooth . Cold Pressed Linseed 25%.A down to earth good painting medium Stand Oil and turpentine. Stand Oil and turpentine. day to day work wet in wet. Venetian Balsam 25%. Zec and Mastic sets too fast. dries glossy. C Boiled Linseed Oil paints very smoothly. Grumbacher III . *Windburg Painting Medium . like Maroger's medium. without a skin. Oil is the tender trap. But if you don't use it soon after it is mixed (it comes in two parts). this causes cracking. Mussini has the right idea in making oil paint. Water is always bad to clean with. Alla prima is really the way to go in oil paints. it disintegrates. I still have my stash. Damar does not absorb dirt but a wax buffing will go a long way by deterring oxygenation. balsam or damar should be added. Venetian also yellows less then stand oil. As damar and mastic disintegrate in time they must be re-applied or melted. It does not mix with under layers that are already set and does not really stick well to flat dry oil paint. Damar over wet or dried oil paint works well. they need Raw Linseed Oil added to make a medium worth painting with. Damar and Mastic Varnish will dissolve with turpentine or alcohol and will disintegrate in less than one hundred years. throughout. Stand oil and Venetian Turpentine. it imparts a high glaze and is a good binder. Adding ammonia in the later stages is done also. Raw oil is the worst yellowing. they stopped already in Feb. they need Raw Linseed Oil to make a medium worth painting with. may chip off an under layer if it's not completely dry. get it before they stop making it. stand. Venetian Balsam Turpentine can be re-disolved. When there is damar in your paint layers the paint dries as a whole throughout. By itself it has a sticky. and can be redissolved with a solvent. absolutely the worst yellowing agent. Stand Oil by itself is the slowest drying oil of all. Copaiva balsam with wood alcohol and turpentine are the cleaners. Because of this fact. it still has an edge bleeding problem though. it imparts a high glaze and is a good binder. You fuse a disintegrating final varnish and paint with alcohol and copaiva vapor or just rub on a thin vail of copaiva balsam oil and it's as good as new. to apply a new coat. balsam or resin layers can be applied over any stage of drying paint. the damar would dry first blocking the oxygen from reaching the oil. It flows like sun-thickened linseed oil and stand oil. may chip off an under layer if it's not . All mastic and balsam resins dry differently than oil. Oil only. Using a slow drying oil like poppy oil is a way to extend alla prima painting time. with turpentine to keep it fluid it paints well. it's similar to Venetian. it will take a long time to dry. wet or dry. All mastics and balsams dry differently than oil. damar can be removed completely from an oil only painting. layers can be applied over any stage of drying paint. Venetian and Stand Oil together melt the paint too much.5 is weak. Mastic and wax are the least yellowing painting mediums. Damar. Fresh coats of damar can be added anytime. stand. Because oil is not a sticky medium. Alcohol will also dissolve resins and copals. 1:1:0. balsam or resin will inhibit stand oil's tendency to wrinkle. Now if you applied damar over the undried coat of oil and glaze. pre-made. oil varnish does yellow. heavy tacky drag that lifts the undercoat as you paint. The new varnish by GamVar by Gamblin is also removable and doesn't seem to yellow at all. Two similar layers of oil paint. weeks. TODAY THE MOST PERMANENT MEDIUMS ARE ACRYLIC POLYMER EMULSIONS MAKING YOUR OWN OIL MEDIUMS Any mastic or balsam dries differently than oil. Since new oil paint over dried oil paint will stick but oil is not a very sticky medium. Because of this fact. as oil is not a good binder by itself but stand oil and alkyd oil mediums are.Stand Oil is greasy and self flowing and lifts the under strokes. IT'S REALLY A GREAT PAINTING MEDIUM. I hope you have yours. 1:1:1 with turpentine makes the best of both world's combining tacky with slick. Don't ever use mineral sprits as a thinner. without a skin. as oil is not a good binder by itself but stand oil and alkyd oil mediums are. turpentine will make it slick and smooth. and oil mixed in will correct the edge bleeding. Poppy oil is also dissolved by alcohol. Driers are in a category by themselves. may chip off an under layer if it's not completely dry and it shrinks. PRE-MADE OIL MEDIUM Windburg Medium. Their film dries as a whole. '99. and it is permanent. a little stand oil. not in separate layers as oil does. The reason it is said to wait until a painting is dried before adding a finish is because of shrinking. Here is an oil 5 year yellowing test page link (new window). Yes. cold pressed is not nearly as bad. It flows like sun-thickened linseed oil and stand oil. heavy tacky drag that lifts the undercoat as you paint. less yellowing than stand oil or any other oil or balsam.) mixes 1:1 with turpentine. You won't have to wait because it will bond to the damar in the painting. Damar varnish does not yellow. Oil only. By itself it has a sticky. Because of this fact. In that sense it is not permanent. Venetian Balsam Turpentine can be re-dissolved. without a skin. and can be dissolved with a solvent. Each oil painting layer dries on it's own at it's own rate. The dry damar on top will hamper the oil drying underneath. Glaze balsams like Venetian or Canadian stick well as does stand oil. Oil only. (Oops. Here is when you don't want to wipe and remove an old damar finish because it is damar or mastic paint also. Or a new coat can just be applied after you wipe it down with turpentine if the gloss has gone. Their film dries as a whole. Copaiva balsam helps in removing the yellow of oil varnishes as well as fusing resin varnishes. Venetian and Stand Oil together melt the paint too much. Clean it with bread crumbs or a kneaded eraser. If you use damar in your medium (which won't yellow like oil does) you won't have to wait at all to apply the final finish of more damar. and can re-dissolve with a solvent. the film dries as a whole. one dry over the other will not crack but can chip because it's not glued well. Stand oil does not react well with any drier. balsam or resin layers can be applied over any stage of drying paint. causing another cracking problem. turpentine will make it slick and smooth. wikipedia. and oil mixed in will correct the edge bleeding caused by the balsam. Most pigments are ground in poppy oil with a small addition of wax to retard drying in the tube. Here is my web page guide to all media. very nice. it's truly a great medium. Venetian Balsam Turpentine. This is the second time it was dropped "blacked-out" and not show on Google's first fifty pages. Stand oil and Venetian Turpentine. plus how to make Maroger's at home. Mix in a sticky medium like stand oil. unlike Venetian balsam. Cold Pressed Linseed Oil is an all round good medium used by itself. I made my own Maroger's Medium. My colorwheel page was dropped by Google in 2011. 1:1:1 with turpentine makes the best of both world's combining tacky with slick. Balsam. with turpentine to keep it fluid it paints well. It flows like sun-thickened linseed oil and stand oil. It took several months to come back the first time.com/colorwheel. Linseed oil and Stand Oil wrinkle by themselves. Venetian and Stand Oil together melt the paint too much. so successive layers can chip off the shrinking drying under paint. damar and Poppy oil. great for portraits. imparts a high glaze and is a mostly non yellowing and good binder. the main page for the Real Color Wheel http://www. Without the drier this medium still yellows. It has no flow-out and turpentine isn't needed to thin it out. the first image is claiming to be made in 1908. 20th.realcolorwheel. (new window) Chapter 11c WHY ARE THEY TRYING TO CHANGE THE HISTORY OF ART? Jan. This time I have seen two false images on different sites showing that they had the correct primary colors in a triad before I did. This site. it's fast drying and has no solvent action on dried paint. add damar or balsam for better drying and adhesive qualities. turpentine will make it slick and smooth. heavy tacky drag that lifts the undercoat as you paint. How to Use the Real Color Wheel (new window) has been read 25. can be redissolved. as oil is not a good binder by itself but stand oil is. The image of the search is here.843 times (4-14-13).htm (new window) since 2000 (10 years) had been number one for the terms "colorwheel" or "color wheel". Unless the under coat is completely dry. Alkyd Resin or Liquin. Venetian Turpentine or damar will inhibit Stand Oil's tendency to wrinkle. it's still can't be found as a link on a Google search in 2013. they need Linseed Oil to make a medium worth painting with. Poppy Oil paints like soft wax. But the "Like" counter dropped back to 10 and won't go up any higher. First in the Links and than in the Images when that was introduced. Alkyd Oil Paint is made of long oil. This one is the search image for colorwheel on Google today (1-21-12). it still has an edge bleeding problem though.completely dry. I keep all the logs and screen shots of Google's searches to show it was sudden. http://en. By itself it has a sticky.org/wiki/Color_wheel (new window) . it yellow's the least of the oils and is very slow drying so it can be painted into for days. The history of art is trying to be re-written. Stand Oil is greasy and self-flowing and lifts the under-strokes. it does yellow. notice how it mimics the 1766 colorwheel. Adding Venetian turpentine and drier make it a great blending glaze. Stand Oil by itself is the slowest drying oil of all. Stand oil does not react well with any drier. 2012. Good News! I explained how this color wheel works on wikiHow and it made it to the first page of the Google search. Where is the Department of Justice when you need them? . The colors didn't exist back then and pigment wouldn't survive from 1908 like in this image. The third discrepancy is the two colorwheel theories before and after this 1908 fake colorwheel.The problem is three-fold. 8 or 10 color wheel there is no triad possible. or raw pigment content. . it is not as opaque. http://www.jpg (new window) and this same one on this site's page. they had an iron element Prussian blue which had a greenish black tint. In the element color wheel. Blue at the corners. and tinted them with White. and purple. 1916.theideasketchpad.jpg (new window) Here is the original I got before 2000. This theory is still taught today in 2000. Sea Green and Ult. was replaced by a mixture of Zinc and Ocher. mixed them with Gray. It has to be a 3. red. It made way for the new coal-tar colors. http://blog. Naples Yellow. He made a five color wheel with no triad. In a 5. Those names didn't exist at that time and "magenta" was not a named color yet. The principle colors he did have were. Albert Munsell. The last color wheel (square) of college record was by Church-Ostwald. 12. Van Nostrand Co. I also checked with the Princeton Library (new window) where the D. red. colors do not darken with black like in the RGB color wheel and the Munsell color wheel. An eight or five or ten color wheel will not work. 24 or 36 color wheel to have a triad and correct opposite secondaries. they had nothing. files are kept. Below is the colorwheel's layout copy with the names matching the faked 1776 colorwheel except for "scarlet red and crimson names which were taken from my site. artist's favorite for two thousand years. not magenta. green. yellow. Next he darkened the colors with Black. Red. Ostwald had no regard for opacity. THEORY. Rubins favorite. 1905. It has Yellow.com/wp-content/uploads/2010/10/vintage-color-wheel-600x804. They are saying magenta (madder lake back then and it was only close to magenta) is in a primary triad as is a cyan color that wasn't available either. No Magenta or cyan unless you conceder purple as the magenta and put cyan between green and blue. blue. The Color from the Italian town of Magenta's bloody war was the color of blood.gutenberg-e.org/lowengard/images/024_harris1a. THEORY. all pigments were replaced by their top-tone matching colors. than numbered them all.This sample above is supposed to be the original Moses Harris colorwheel of 1766. Here are the color theories before and after this alleged 1908 colorwheel. 6. Only the final dried color. Pigments were moving from the Iron Age to the Oil Age. Many of these practical problems were solved in the third statement of material trichromacy. look for the colour or teint in the system [wheel]. A decade before. Suppose it is required what colour is most opposite. in his Coloritto: or the Harmony of Coloring in Painting Reduced to Mechanical Practice (1725). colormaker George Field in 1817. The color wheels of Moses Harris (1766) a 20th century reconstruction of (left) the Harris color wheel of mixtures between two "primitive" colors red. yellow and blue. and opposite to yellow is purple. 7-23-01 . each inked with one of the painter's primary colors red. Le Blon innovated a system for using three separate printing plates. The English entomologist Moses Harris (1731-1785) published an especially elegant color wheel in his slim Natural System of Colours (1766). and credited Newton for the idea of describing color mixtures as a circle. (right) the Harris color wheel of mixtures between two "compound" colors orange. hand tinted engravings. and directly opposite you will find the contrast wanted. This was put on this page to show what was happening on 1-20-12 on our internet. green and purple. the most contrary to blue is orange. Le Blon is one of those many fascinating 18th century characters who focused a deep intellectual curiosity on an unexplored capitalist opportunity. but the RCW color wheel has moved up to 4th place. 12-15-12. by the entrepreneurial German printer Jakob Christoffel Le Blon (1667-1741). How they made paints in 1881. artists paints. Chapter 11d Tartrazine Acrylic Paint Didn't Work THESE ARE MY PIGMENTS IN MY 1ST TRANSPARENT ACRYLIC PALETTE. But his key innovation was to join Newton's hue circle with the three primaries of material trichromacy." The Harris wheel became quite influential it was studied and used by many 19th century English painters. note the imbalanced color distributions caused by the weak tinting strength of the blue pigment Harris's book briefly summarizes the established dogma of material trichromacy as a kind of commentary to his color wheels. which was a subject of keen interest to late 18th century color theorists: "If a contrast is wanting to any colour or teint. dedicated to the Royal Academy's Sir Joshua Reynolds (and reprinted in 1811 with a dedication to Benjamin West). look directly opposite to that colour in the system and it will be found to be green. or contrary in hue to red. That was wrong but he was among the first color writers to state explicitly the difference. and blue. 1881" (305 Kb. red. Harris is notable for his explicit recommendation of complementary color contrast. for "color wheel and colorwheel" 4 of the 5 images are the red-yellow-blue color theory. and artist Charles Hayter in 1826. including Joseph Turner and it spawned many related color wheel systems: by English naturalist James Sowerby in 1809. yellow. PAINTS AND COLORS from the "Household Cylopedia" (new window) PAINTS AND COLORS from the "Household Cylopedia. yellow or blue (and sometimes a fourth plate inked with black) to create full color mezzotint prints (right) the practical basis for today's multicolor process printing. presented as full page. while in Holland. varnishes-and-inks in 1881). Here is the latest search. A separate window. How to make house paints.As you can see a lot was copied and a lot was changed to match the Real Color Wheel. He was an artisan who had read and actually understood Newton's Opticks. I made this transparent Indian yellow PY153 from the only supplier in the world. 11-16-12 AND AN OPERA ACRYLIC. it's still perfectly clear. they now buy a thousand gallons a month (without the UV inhibitors). Now. (new window) But they both lost. paintings (oil) have needed a protective coating.I MADE ANOTHER ACRYLIC PAINT WITH TARTRAZINE PIGMENT. high or satin gloss. I thought it would be the best but they both bled through the acrylic medium. Tartrazine breaks down only in water. It's still the greatest for water colors. after 28 years (since 1989) of my testing. I discovered the problem while washing the first day's work. Chapter 11e ACRYLICS FINAL FINISH My Acrylics final finish is a Urethane Resin Acrylic. it lost a major battle in the acrylic paint wars. this layer has always turned brown and had to be removed at some point. of 30% Acrylic emulsion and 70% Polyurethane emulsion. (in 2001) a museum fresco supplier. the resin system we use in this product has such a high resistance to water that it was tested by a roofing tile manufacture in Mexico. Some say the final should be removable for cleaning purposes." For a long time now. with this and other acrylic-polyurethane emulsions we do not have to ever change or remove it. for 20 years now I have had to buy this finish from furniture finishing paint suppliers. 1 mil thick will block 99% transmission of ultraviolet light. Tartrazine made a nice colored acrylic paint but it bled through an acrylic medium. Alcohol will remove it. 5-24-99. It's not the original Indian Yellow and it breaks down better in turpentine than water but it worked. (If you use wax in your paint. Here is an art supplier I have found that has this outstanding product for outdoor billboards. Get it an any commercial paint store. This is what he wrote me yesterday. you can't use a . I say if it doesn't yellow it doesn't need to come off. Zecchi in Florence."Regarding the ClearFlex. Water Grids. Remember. Click to see it. Synthetic paints were invented in 1900 by a German chemist named Dr. This must be done because the new acrylic colors are not very opaque and show under colors. 01. links my latest painting with tips. Cadmium Red Light 04. That is when Liquitex introduced their acrylic paint. they can be made water soluble or as hard as plexi glass. Mistakes are corrected by over painting with white. Burnt Sienna. Water based acrylics are made by polymerizing the acrylic monomer by emulsification. or yellow where appropriate. 06. smooth blends are easier made with thin washes over dried paint. Acrylics are plastic. Winsor Newton 13. not their outlines. Pencil lines will also show through.. These paints were mixed with turpentine and could be combined with oils. (new window) Most of them are Liquitex acrylics because I liked the soft plastic tubes. warm Magenta 07. In 1931. (new window) ACRYLIC PAINTINGS All my acrylic paintings. In the 1930s this acrylic resin was brought to America by the company named Rohm & Haas and is now know as Dupont. Acra Violet. Otto Rohm who invented the first synthetic acrylic resin which became the roots of modern day acrylics. Colors of Water. These are great paints that dry insoluble to water. it is better to draw with a non-waxy chalk and brush off the residue with a feather duster. Vivid Lime Green 20. Winsor and Newton's colors are stronger more pigmented colors. Red Oxide 09. Night Painting. and won't harden and chip. Contrast of color and value separate the objects. Winsor Newton 10. Yellow Oxide 08. Golden Artist Colors (the company then known as Bocour Artist Color) introduced their version of acrylics but in only a few colors. Today there is a complete set of media to alter the handling properties in many brands. nice. Burnt Umber 11. Then. (new window) ALKYD PAINTINGS Alkyd oil medium (new window) LAST LOCATION PAINTING End Page. Plexiglas is solid acrylic. all pages link forward and backward. Naphthol Crimson. Thalo Blue 14.water based finish. Cadmium Red Medium 05. Light Emerald Green 18. translucent and opaque color pigments and new colors are being added faster then in any other medium. They won't yellow and as water based media acrylic paint. Cadmium Yellow Medium 03. (new window) Chapter 11f Painting Sun Light. Latex and acrylics and turpentine based acrylics were in a battle for supremacy in the 1950's. Thalo Green 16. 1930 Fairway Dr. San Leandro. Brilliant Yellow Green 17. (new window) COMPLEMENTS NEUTRAL Acrylic photo pigment chart of opposite colors to make neutral darks and browns. before repainting. Green Gold LIQUITEX PAINTS There are 42 Liquitex colors in all. to get back to pure white. Acrylics have transparent. they did not mix. Here is a complete acrylic palette. the outline belongs to the object behind. twice. Ultramarine Blue. Water Diamonds PAINTING CHAPTER . Dioxazine Purple 12.) Thanks Gary! Triangle Coating. Turquoise Deep 15. Permanent Green Light 19. Acrylics can be painted in thin layers or thickly without cracking. paint in the outlines with a light ultramarine blue. (new window) PAINTING TIPS Start Painting Tips Here. California 94577-5631Here's your Email connection to Triangle Coating. Cadmium Yellow Lemon Light 02. The sun's reflections. (new window). You are seeing directly into the water's depth. afternoon colors tend more to Magenta and Thalo Green. behind you is 30H minutes. 1. Shadows from the top of the water. Shadows have warmer interiors. Highlights reflect the sun or sky. 2. 2. WATER GRIDS (new window) ALL ABOUT DRAWING WAVES On the ocean water grid's start from the horizons center line of your picture and radiate outward toward the foreground. our perception of it can change. 5. 4. cool shadows warm light. 6. Find the sun's position left to right of the center line of your painting by laying the clock horizontally on the ground (30 min. In flowing water these lines will bend to show the direction and movement of the flow. they have . which happen on the incident angle. It is peaked at the top and rounded on the bottom. omni. Here are the different colors of light I look for on water. (new window) the color of air is cyan. Transparent or Opaque water's color. Sky and Cloud Reflections. Diffraction enhances a painting rule. Paint them with a flat brush to make pointed ends. Indirect. 8. where behind it is darker. Next is painting at night and painting water. Transparent water bottom's color. In the morning the main color oppositions are Cadmium Yellow light and Ultramarine Blue. Behind you the horizon line is at 30Vertical minutes. In front of you the horizon line is at 00Vertical minutes. That is opposite to a rock on land. Converging and Expanding Shadows. Aerial Perspective. Local Color is the main basic color of each object. Viewing trees from below makes them seem to converge at the top.=180º). Warm shadows cool light. Chiaroscuro is contrast caused by a single light source. 3. are the angle of incidence with the sun. they form with their ends on the concentric rings around you. cyan deepens to Ultramarine Blue.SUN LIGHT 1. if there is one. Stop the action of waves at these five distinct points and time the rhythm to position the succeeding wave patterns. If the sun were directly overhead these diamonds would sparkle with the sun's reflection all around you instead of being dark objects with or without points of light. Above you a little to the right would be. PAINT YOUR PICTURE WITH THE LIGHT FROM ONE HOUR OF THE DAY NO MATTER HOW MANY DAYS IT TAKES. WATER DIAMONDS A water diamond can have a sparkle at the incident angle. (new window) On water. Viewing trees from above makes them seem to converge at the bottom. PIGMENT TO LIGHT CHART OF COLORS. MATCHING THE PIGMENT TO LIGHT COLOR WHEEL WITH CRYSTALS NIGHT PAINTING LINK Notice How Your Eye Compensates Color While the Photograph Doesn't. 5. 7. Reflected Light. Painting at night. Directly above you is 15V00H. crossing grid lines show both the diminishing distance and stop the action at the peak of the waves. Diffraction also is the only way to project the light color magenta in its pure state. THE COLORS OF WATER A painting about waves. Above you a little to the left would be 15V05HL. On the ocean. to your right. Standing to view the front of back lit trees will seem to make the shadows seem to expand outward. 15Vertical minutes is the azimuth (vertical top center). Direct Incident Light is parallel and from the sun. fog and Clear Light are shadowless. Straight ahead is 00H minutes. Cross-calibrate the position of the sun by finding it's vertical elevation above the horizon line in minutes. Standing to view a row of front lit trees from the front. The sun's light is parallel. 3. 15V05HR. at a 90º angle of incidence. evening colors are Thalo Blue and Cadmium Red shadows. the shadows will seem to converge inward. sparkles. the area behind a wave is lighter than the wave because of the reflection of the sky. "It's darkest next to the light and lightest next to the dark". under the water. The sun rises 5 minutes later each day. 4. unlike the results obtained using other color wheels. It works with both pigment and light. the first color wheel ever to do that. that amount of yellow will prevent it from mixing to a really dark neutral. 3. medium or dark. Chapter 11g PAINTING CHAPTER HOW TO USE THE REAL COLOR WHEEL To reach a dark neutral use the darkest form of yellow. The rest of this color wheels colors will darken by adding the opposite color until it reaches neutral dark. Brightness . anyone working with pigments can reliably find truly opposite colors. all magentas darken with green. All Greens darken with magenta. Blue and red oxide or brown (both are dark reds) make a dark neutral. like the sky. 6. Cyan first darkens to blue. Burnt Sienna is dark orange. Darken a yellow object first with graduated color oxides like yellow ocher light. 1. Cyan and red darken neutral. All yellow-greens darken with blue-purple. Brown with a varying amount of blue works best. higher than the face was. all neutral darks can be lightened to neutral gray.to be logical. Burnt umber is a darker orange. it makes a neutral gray instead. burnt umber and cobalt blue will mix neutral dark which can be lightened to a neutral gray. orange or red (all of which are burnt umber) to mix with its opposite color. which will always mix to a neutral dark without using black pigment. Red Light will mix a neutral dark with cyan. Beach wash receding leaves dark sand and shiny rocks. Therefore. then add raw sienna or burnt sienna or burnt umber depending on the color needed. An artist can create the shadowed areas of any colored object by combining that color with its opposite as found on this color wheel. Cad Orange and cobalt blue will only make a neutral gray because orange is opaque with 3/4 yellow and 1/4 magenta. (new window) The involuntary complementary color shift retained in your memory after viewing any hue. After Tumbles. Transparent Indian yellow Org/s can be an orange hue in its mass-tone or a cad yellow light hue in its tint. Orange will darken farther with the addition of its opposite color cobalt blue which will make a brown. cobalt blue or cyan will mix neutral darks with umber. Cad Orange has twice as much opaque yellow as red does so you have to mix it with yellows darker form (which is burnt umber) to reach a neutral dark. 5. 2. Transparent Indian yellow Br/s can be a yellow oxide hue in its mass tone or a cad yellow light hue in its tint. Chapter 11h ARTIST TERMS GLOSSARY First let's make a list of all descriptive color words. Burnt Sienna and cobalt blue will make burnt umber. Red darkens with its opposite color cyan and mixes the color red oxide. Flat. Face. Adding blue to any yellow color less then raw or burnt umber brings the color to a green side which is not normally natural looking. Darken an orange object by first adding red. all blue-purples darken with transparent yellow-green. 7. Beach Wash incoming is lead by foam. Burnt umber and blue. Fall. Add that mixture to any yellow oxide color to darken it. Orange darkens first with the addition of red. This mixture will match nature every time. more cyan will mix a neutral dark. Burnt umber is the darkest orange. Analogous Any number of adjacent colors on the color wheel. Explosion. 4. Red Light will mix a red oxide hue and a burnt umber hue with cyan. Red lightens with the addition of orange. After Image Colors. Eight will not make a correct color wheel. red is black. Mid-tone. Adding white to a color. another name for color. A culminating (nearest) point often contains a highlight. added to any color.Brightness refers to high key colors. Adding air/distance to a color also lightens a colors value. Primary Colors The colors that make all other colors. Highlight Accent. Tone Grays added to any color. usually reflected illusion of the light source. a bright point. (new window) Gray scale A value scale from black to white.After Image The complementary after image that appears when you look at a color for a while and then look away. made an eight color wheel with the wrong oppositions. Natural changes and transitions of one color to another. Chroma. Under-tone. Tint Any hue that has been mixed with white or a clear medium. Values. Saturation Saturation relates to the purity of the hue. In painting it's called Pointillism or Divisionism as exemplified by Seurat's technique. Any color can become darker by adding it's opposite/complementary color. black or a neutral dark is 0% value. Successive Contrast . . Newspapers use ortho film. Optical Mixtures Colors that are juxtaposed and at a distance are perceived as a mixture. mixed them with Gray. White is 100% value. it has no opposites. in Ortho film. (new window) High Key Paintings with predominately lighter values are said to be "high key". Pan film will show red as gray. Adding a clear medium to any color. his triad was lopsided. Caused by a direct angle of incidence. See color wheels in a gray scale format. Shade A hue compromised with black to reduce its value and intensity or two opposite colors mixed to make a shadow color. Yellow. Complimentary colors In the Real Color Wheel red is opposite cyan. Lightness is than describing adding white and thus a higher value. Albert Munsell. Lightness and darkness are color modifier terms. halfway between the light and shadow colors. Hue The name of any color in any color wheel. in steps ranging from 0 to 10 or 1 to 9 or even 1 to 6. but showing gradual changes of an equal measure from one to the next. Another name for color or it could be the pureness or intensity of any color. Top-tone. and numbered them all. or neutral tints which can also gray. Next he darkened the colors with Black. This gives the same dark effect as adding black only the colors don't die a gray death in my opinion. and he had no Cyan. Gray scale Values and Aerial Perspective Values Value is defined as the relative lightness or darkness of a color. and tinted them with White. Mass-tone The wet color right out of the tube. In photography. Luminance Luminance is brightness on the gray scale. Yellow is innately lighter in value than blue. such as a glimmer on the side of a glass vase caused by the fluorescent lights or a window illuminating the object. Cyan is between green and blue. The shade by sunlight is different. This is still taught today :( Red is opposite cyan not blue-green. Magenta and Cyan. Here is how to make a color wheel with opposite colors. Raw and Burnt Sienna. mineral white. Barite is a translucent Mineral White in oil paint. Aluminum hydroxide. It's best in pastels. This recognizes red to be black. is hydrated aluminum silicate. Green Ocher. they would make the secondary color ultramarine blue. The more dispersed the solid the more translucent the liquid. barium sulphate. Or it can move toward the center of the color wheel and be a warm tan or brown as in the iron crystals.Matching colors on a gray scale set of values. It contains some sulfur that will effect some pigments. Cadmium Yellow and Ultramarine Blue mix into a green opaque color is they are both substratum colors and the yellow is precipitated on an opaque base. it's an opaque sulfur color. if you mix two permanent transparent colors like. like a rock. Wax. Vapor can be a colloidal transparent. http://char. Barite. colors happen when the dye separates from the solid or the colloidal color moves within the drying medium. Opaque. both colors are seen in combination on the solid opaque.. and ranges from transparent to opaque.txa. Translucent Translucent. I'll use the burnt umber and ultramarine for the darks and Indian yellow for the medium and light colors. In contrast. Red Ocher and Brown ocher are the iron particles precipitated on clay.edu/language/element/color/color. A translucent pigment on a translucent base of Barium Sulfate or Aluminum Hydroxide. they would make only an adequate dark because the Ultramarine Blue coloring is on a translucent or opaque base. (new window) If I were to make a gray value scale of color I would use Ortho negative film. Sienna.. coats an opaque solid with a transparent or colloidal dye. is heavy spar. is a colloidal solid. Transparent pigment Transparent you can see through. Venetian Red. balsom and mastic are transparent turpentine based vehicles to hold pigments. Yellow will mix either analogously around the rim of the color wheel. you will almost get to a neutral dark. I don't think the gray scale value scale has much painterly use in a color painting. Opaque Opaque pigment is a dense solid. COLOR NOTES ABOUT SOME PIGMENTS Ultramarine Blue is colloidal sulfur in a substratum form deposited on a base. calcium carbonate. or Orange and Red with Magenta. dye or stain. Aerial perspective values are different and should be related to the reduction of the local hue because of distance. Pigments that contain clay are Ultramarine Blue. When three primary transparent pigment colors are combined they will form a neutral dark. Use the Spectra PR122 or Sennelier PR122 transparent Quinacridone Magenta added to a Cyan Ferric-ferrocyanide (Iron) or a Cyan Phthalocyanine (Copper). Barite. it ranges from transparent to a calcined White that will sponificate clear in oils and is used in cements when calcined. Yellow Ocher. Cyan darkens into Ultramarine Blue. only degrees of translucent or opaque. . making Yellow-Green or Green with Cyan. Milk is a colloidal. this film is used in black and white print processing. It is decomposed feldspar. Ortho film would not make red and green the same value. Gypsum. is a hydrated calcium sulphate called light spar. However. not Naples Yellow. Cool colors Range from blue to green. PB60 anthraquinone = Transparent Blue Deep and transparent yellow PY150 to PY153 dioxine nickel complex + Isoindolin = Indian Yellow. Sienna is close to transparent because it's iron in a silica clay base. the beam of light will always show the colloidal particles. Clay. Value is the inherent lightness or darkness of a color hue. Staining. A Tyndall beam of light will pass through a transparent solution unseen. Cadmium Lemon is also a vat pigment precipitated on Titanium White as a base. mastic and balsom will not yellow. Here is a gray scale of value. Umbers. Chalk. What you get from this mix is the first step in neutralizing yellow or blue. both the same value. it's translucent in oil and used to extend the Cadmium Red substratum dye pigment. they can never be transparent. Ochers and Burnt Ochers. water. Than add the (Nickel) yellow for the complete triad. It can always be more translucent but never transparent. converts to Plaster of Paris when heated. Pan negative film recognizes red and green to be mid-gray.cornell. particles of solid so small there continually suspended but not dissolved. if you mix dark yellow transparent Indian Yellow Br/S and Ultramarine Blue. it will sponificate clear in oil. solid fat dispersed in clear water.htm Warm colors Range from yellow-green to purple. is an oil paint translucent Mineral White extender. oil. Green Umbers. like glass. is a mix of potash and alum precipitated together in solutions. Cadmium Yellow is a substratum colloidal color precipitated on a filler or base such as clay or barium. add more water and it becomes more translucent. Bleeding. Yellow Ochre. Turquoise is a transparent phosphate crystal of copper.Chapter 11i OIL PAINT PALETTE SETUP SPINNING PALETTE & OIL PAINT PALETTE LAYOUT Picture of a complete palette layout to paint anything in front of you. 11. Rembrandt Rose. Old Holland Yellow-Green Organic Opaque. iron. YYYY. 13. The right side is from Thalo Green on the top. and zirconium can produce the entire color circle. is the Standard Color for Scarlet. Rembrandt Rose. transparent Manganese blue. 05. 10. 28. Some elements like carbon. Schmincke Mussini Cadmium Yellow Middle. Mussini Cadmium Yellow Lemon. Bocour. Winsor and Newton Sap Green permanent. it also makes colors ranging toward the center. A complete lineup of pigments. Cyan. The transparent Yellow-Green crystal. It's opposite color on the other side of center is Cyan. Copper is an example. Red Oxide. they all have their special color and pigment properties. Mussini Cadmium Orange. 06a.2. The TOP-TONE is adding White to the color. The copper element could never be yellow. then . 35. 18. 09. Cobalt Blue. 12. MMMM. as most elements won't. Cadmium Yellow Medium. fluorine. Grumbacher Cadmium Barium Yellow Pale. Mussini Ultramarine Light. Naples Yellow (or lead-tin Yellow) to Quinacridone Magenta at the bottom. 37. Rembrandt or Mussini Asphaltum. when it becomes allochromatic with the addition of the foreign element iron to the compound. 01. The Cuprite crystal [Cu2O]. 6RCW#5. Grumbacher Green Earth. on the Standard Color Index. Cad Red. Grumbacher Thalo Blue. like Arylide. 27. [HgS]. Mussini Naples Yellow Light. Rembrandt Chromium Green Oxide. Pigment Names like PB15. 17. plus its complement. The transparent Mercury sulfide crystal. Mussini Opaque Green Light. Cadmium Yellow Pale. It has an analogous color range from Green to Red. CYYY. Below are 37 colors I keep on hand. White is in the middle of the palette. MMCC. 08. Crystals. 31. Mussini Yellow Raw Ocher. The painting properties of a pigment depends on the element making that pigment. Green Gold. 29. Gamboge. 04. 02a. 21. 15. . Blocks Venetian Red. 20. Old Holland Gamboge Lake Extra. Mussini Permanent Green Light. Acrylics Win the Paint War COLOR IN ELEMENTS MATCH THE REAL COLOR WHEEL Chemical Classes. Grumbacher Thalo Green Yellow/Side. 00. Ultramarine Violet. 02. 19.Fe]S. (new window). 22. Rembrandt Blue Green. Bellini Lemon Yellow. Turquoise. Cadmium Yellow Light. YMMM. is a transparent Red-YYMM. Mussini Cobalt Blue Light. The left side goes from Dioxazine Purple to Burnt Umber. The MASS-TONE is thick out of the tube. (new window) There is a space for each of these colors on my 27 RCW COLOR OIL PALETTE although I may not fill them all every time I paint. 14. with its limited range going straight across the board. Ultramarine Blue. YYMM. Mussini Naples Yellow Deep. 24. 27a. Cadmium Orange. Mercury won't cross over the center. each element has its own limited range. Sphalerite is the ore of zinc. New York. Old Holland Indian Yellow-Orange Lake Extra. I keep a space for 27 pigments on my palette. Grumbacher Dioxazine Purple. Bt. from Copper's dissolved sediment color. Yellow Green Opaque with Lead Yellow Light at the bottom. Mussini Burnt Umber. 30. MMMM. The UNDER-TONE is adding clear medium. Daniel Smith Quinacridone Magenta. [Zn. YYYY. Cadmium Red Medium. Mussini Raw Umber. quickly. They will also show that elements stay within their color boundaries. all oppositions equal Neutral White light or neutral dark on the RCW pigment color wheel. off the full chroma rim. YYYM. Color Index Names and Natural Pigments. Mussini Genuine Golden Green. CCYY. Mussini Phthalo Green. 6RCW#3 on my Standard Color Index. Rembrandt Chinese Vermilion Extra. CCCC. Lead Yellow Lemon is in the bottom left corner of the palette. Pigments In Oil Paint & Acrylic Paint.H. CCCY. 36. is RCW#11. Old Holland Indian Yellow Brown Lake Extra. all located on the Real Color Wheel. The top of the palette on the left is Dioxazine Purple. The ore of copper [Cu] is an opaque Orange-Red-Brown. Red-Scarlet. 26. Cyan-Turquoise or Cyan Yellow/side. 25. Mussini Zinc Yellow. Liquitex Carbazole Dioxazine Purple. Blocks French Ultramarine Blue. The bottom row of colors is Quinacridone Magenta. will show Brown. Chapter 11j Color in Elements Match the Real Color Wheel. 06. Sphalerite. 16. through the color brown. Thalo Blue or O. Cobalt Violet Phosphate. Mussini Burnt Sienna. Cinnabar also forms as an opaque mass. MMMC. Mussini Translucent Yellow Oxide. 07. Opaque Green and Thalo Green on the right. Yellow and Red are different hues of the same coloring element. Sienna. 34. Indian Yellow Golden. I keep all 37 of these oil pigments below on hand with me. 32. 33. and makes the perfect opaque Red Vermilion. Permanent Green Light. 23. Yellow Brown Lake Extra. Yellow is disabled except for the muddier and grayer green spectrum. It's called. some need added bulk and are precipitated on transparent. not every one is used every time. Liquitex has a new great medium for acrylics. yellow. crack. This is a heavy spar with very little coloring power. there are more colors available in acrylic paints. they are not identical in every respect. and Pyrrole Red. The arylide yellows contain no metals and are translucent. 12. 11. high chroma colors with excellent light fastness but without a deep mass tone. Additional products utilizing this chemistry. 12:00=Yellow. Pyrrole Orange. translucent or opaque. So by using black pigment. Magenta Quinacridone PR122. Transparent yellow can also turn red with the element iron. translucent or opaque bases. Transparent New 2003.Transparent yellow moves to brown in the elements Iron. Thalo Blue. Ultramarine Blue. Pyrrole Red Light. for the orange to medium red range. and Titanium. will extend this range into the darker reds. filling the cavities in limestone. 15. which has Titanium already in the compound. only an eight on the grayscale. They will make a neutral Dark. called heavy spar. Cadmium Orange. alumina. 17. transparent to translucent ACRYLIC POLYMER EMULSION. these are the primaries of pigment. Six including Cadmium Orange and Cobalt Blue. Isoindolinone Yellow. 02. chip or peel off. 14. Venetian Red. The pyrrole family of pigments is currently represented by three colors. 4:00=Magenta. Barite is crystal of barium sulfate. Some will say oil paints easier but thats just inexperience. never brown. With the introduction of the Pyrrole family of pigments in 1988. Lemon Yellow. are transparent. usually it's a pigment additive. 16. Nickel Dioxine Yellow and Arylide Yellow and only Bismuth as the opaque pigment yellow. The color wheel is like a clock face. Raw Umber. 07. 18. BARYTA WHITE. Burnt Umber. They are perfect opaque colors. Burnt Sienna. Thalo Blue PB15 and Quinacridone Magenta PR122 can make all colors. Yellow is the warmest color and the fastest to turn cool with the pigment Black turning it Green. Naples Yellow Light. Cobalt Violet Phosphate. Yellow on top and "Read Red Right". Indian yellow Brown/side These 18 colors are a very complete oil palette. For instance. It's clear and fluid like water. the oxide of aluminum present in clay. period. we as artists may have to contend with another set of pigment color properties. HYDRATE OF ALUMINA. Any dark neutral is is easy to mix with five different sets of opposition colors. They don't relate to the color properties we had at the turn of the century. 03. 09. Today we have three dual-toned chemical pigments for Indian Yellow. 04. and Titanium dioxide turns red or brown in the Anatase crystal.Cadmium Red Medium Light. Thalo Green. 13. Although the properties of these new organic pigments are in many ways similar to cadmium colors. Why aren't they adding them to clay to make them opaque? Cadmiums are very poisonous We as artists have lost opaque lead antimony yellow and a great transparent magnesium euxanthate yellow that was called Indian Yellow because we had no champion. It doesn't scratch off. That sounds like a winner to me. Indian Yellow Orange/side . Chapter 11k OIL PALETTE COLORS 01. dissolve. smudge. 2003. They are translucent not opaque. 08. and Van Dyke Red Hue brown to red. and 8:00=Cyan. so you can paint a complete full color painting with only three oil or water based paints. PIGMENTS IN OIL PAINT & ACRYLIC PAINT Acrylic paints may well be the all time winner in the Paint Wars. [Fe]. as in the Sphalerite crystal. The medium doesn't smell and costs less. 05. These are strong tinting. [Ti]. As you can see. Blending and Painting Medium. PIGMENTS. Quartz. As barium it's an extender in lead based and cadmium paints. Barite is a non-metallic mineral crystal mined in England. PY100. as in the allochromatic Citron crystal. Purple. . 10. but they won't make a black. BROWN IS DARK YELLOW IN PIGMENT. currently under development by the industry. PR122 Magenta plus Thalo Green make the perfect Neutral Dark for the foreground. (new window) Here is a full color wheel of pre-made commercial pigments. 06. heavy metals (bismuth and vanadium) assure opaqueness. More great news. Some of these colors can be replaced internally. Liquitex Acra Gold brown to yellow Qinacridone. Don't use the pigment Black in landscapes. Yellow Ocher. there appear to be good offsets for cadmiums in terms of these identified criteria. and the idiochromatic Sphene. The Bismuth Vanadate family offers the attributes being sought. It extends drying time a little and makes blending edges a lot easier. Indian yellow PY150. the dark has more Magenta in it so it's a different color. and Thalo Blue will make Violet. oil only. PY:150 which is brown to yellow. Grumbacher Bt. Cobalt Violet Light Phosphate transparent. 02. 05. Grumbacher Thalo Green. 07. 13. Indian Yellow Br/side makes a good dark and orange to red but Orange/side makes the brightest warm red. A photo pigment chip chart of opposite colors to make neutral dark. Purple. a perfect dark to light. Quinacridone Magenta PR:122. 21 COLORS A full oil palette with only 3 oil pigments. 01. Cadmium Lemon Yellow and Bt. neutral gray. The Antimony Lead version has not been widely produced since WW1.N. a dual-color from an almost warm Magenta to a cool pink magenta that matches the lithographic printer's magenta and mixes ultramarine blue with cyan. Yellow Ocher. Cobalt Violet Phosphate transparent. Cobalt Blue and Cadmium Orange make a wide range of grays. (Cool Magenta). a translucent Red Medium. 03. orange to yellow dual-toned. 09. Extra means synthetic. Transparent Yellow to brown dual-toned and O. Cadmium Orange. Old Holland. Ultramarine Blue and Bt. Venetian Red. Grumbacher Thalo Blue PB:15. Thalo Blue with Cadmium Red Medium. Mussini Cadmium Orange 12.Ultramarine Blue plus Burnt Umber makes another perfectly neutral dark. 04. 14. Ultramarine Blue. Sienna will all make a good opaque Venetian Red. Rembrandt Chinese Vermilion Extra. Sienna will make Bt. Umber. The three colors used to make this color line on top were: Old Holland Indian Yellow Br/side. This mixture has a very short range of neutral however because of the opaque red. Cadmium Red Medium and Bt. (new window) THIS WOULD BE THE BUYING ORDER IN OIL & ACRYLIC PAINTS.3 Daniel Smith. or Azure/Cobalt Blue. 10. Indian Yellow Orange/Side makes the best orange and red. Purple and Orange will make an opaque Burnt Sienna. 15. Blocks French Ultramarine Blue Light. Indian Yellow Brown/Side makes general color mixing easier. 08. (Discontinued). Sienna 06. Sienna will make Yellow Ocher. Today 1-1-13 we have an emulsified oil-acrylic mono Opera color which will do the same thing. Indian Yellow Lake Extra. Naples Yellow Light. Grumbacher Burnt Umber. Grumbacher Dioxazine Purple 11. (new window) A photo pigment chip chart matching the Real Color Wheel in pigment. it has a big range of warm and colors on each side of neutral. Grumbacher Cadmium Barium Yellow Pale. Grumbacher Thalo Blue. all (plus many more) use PR:122 Magenta.H. Old Holland and W. Kremer (new window) still . a warm translucent Brown to Yellow-Brown that cools with White. Mussini Raw umber. It will be the new "basic" color wheel because the color oppositions are accurate. Mussini Transparent Yellow Oxide. 17. 21. 19. Click the image to open a working image map (new window). Chapter 11m . it's for the Ebook which does not support them. Rembrandt Chromium Green Oxide opaque. 20.supplies it though. Start with "1 yellow at the top" and "read red right" around the circle. The old Red-Blue-Yellow color wheel is inaccurate. 18. Mussini Green-Gold Transparent dual-tone warning up to a transparent light Yellow-Green from a mass-tone green-oxide color. Chapter 11L This clickable map (new window) shows the true opposition pigment colors for mixing neutral darks. a translucent pigment that mixes with Rembrandt's Chinese Vermilion Extra translucent. a translucent dark tan to yellow. They mix warm or cool in the flesh range. The revolution of the color wheel. Grumbacher Green Earth. use Naples Yellow Light for the Yellow. CLICKABLE PIGMENT SAMPLE CHART This image below does not have links. replace you're old color wheel now. These oil colors make painting very easy indeed. Yellow Pigment Compounds that work with Transparent Triads for Full Color Neutral Dark Opposition Painting. (new window) RCW w/c Transparent Primary Palette with Tartrazine yellow Clear. PLOTTER LINKS PRINTER/PLOTTER ARTISTS.INDIAN YELLOW PALETTE. fresco and acrylic paints today. RGB-CMYK PRINTING COMPARISON (new window) PAINTING OF A FULL SPECTRUM COLOR WHEEL DONE WITH 3 PRIMARY PIGMENTS. (new window) These are the three real primary color elements using transparent chemical pigment names that will make the three pigments to paint a full color painting in any medium including fresco. Translucent to Opaque Pigments CHEMICAL PIGMENTS Here are some permanent chemical pigments used in oil. Transparent Chemical Pigments. 5-20-10 Order here. Click here to see a mixed red brighter than cad red light and a mixed blue as clean as ultramarine blue by mixing from just these three correct transparent primary pigment colors from the palette or with a printer. (new window) This was using the pigment Opera. THIS IS WHAT TRANSPARENT INDIAN YELLOW W/C SHOULD LOOK AND BEHAVE LIKE I changed the transparent yellow to a transparent darker brown to reflect it's duel-tone properties. Now you have a very warm yellow and by using just a little tartrazine you can make a bright yellow Chapter 12 Chemical Pigments: Permanent Transparent Yellows. these colors as "genuine" are not available or used today. I have my own w/c Indian yellow now. it's a clear transparent yellow. CLEANER AND BRIGHTER THAN ANYTHING ON THE MARKET TODAY. it's a primary color but you still need PR122 to make the darker full magenta. water. IT'S BETTER. PERMANENT TRANSPARENT YELLOWS PY150 azo nickel complex = Indian yellow Br/s. Note that Transparent Indian Yellow and translucent Gamboge are hue/color names. BEST . BEST PY153 dioxine nickel complex = Indian Yellow Golden. PY83 stable di-arylide HR = Indian Yellow PY97 arylide Yellow FGL = Indian yellow PY108 anthrapyrimidine = Indian yellow B/s PY153 dioxine nickel complex = Indian Yellow Golden and Brown with PY42 iron oxide added. = Gamboge Synthetic. Medium PR88 Thioindagoid Red. PY153 dioxine nickel complex + PY3 stable di-arylide on alumina. sulphur complex = Ultramarine Blue PB28 oxides of cobalt and aluminium = Cobalt Blue PG17 anhydrous chromium senquioxide = Chromium oxide Green PY129 irgazine green = dual-toned green to yellow-green PV14 cobalt violet opaque . from yellow to magenta to brown only YELLOW PIGMENT COMPOUNDS THAT WORK WITH TRANSPARENT TRIADS FOR FULL COLOR NEUTRAL DARK OPPOSITION PAINTING Oil Transparent colors are precipitated on alumina. aluminium. also in Vermilion to Red Scarlet dual-toned PY110 isoindolinone R = Indian Yellow org/s addition to PY153 (by themselves isoindolins are not dual-tone) PY129 methin copper complex = Golden Green. BEST PY153 dioxine nickel complex + PR260 isoindolinone = Indian Yellow Golden. translucent green/brown to yellow Benzimidazolone. PY153. PY97 arylide Yellow FGL = Indian yellow mass-tone hue.3 copper phthalocyanine = Cyan (Thalo Blue). Gamboge. Indian Yellow Green with PY153 PR101 synthetic iron oxide = Translucent Yellow to Brown PR177 Irganzin Yellow. BEST PY3 stable di-arylide = Yellow Lemon opaque on barium sulfate. from yellow to red to brown TODAY'S 7-23-8 TRANSLUCENT TO OPAQUE PALETTE PIGMENTS needed for their opaqueness and brilliance. Madder Lake. wax. PY150 azo nickel complex + PY42 synthetic iron oxide = Indian Yellow Brown. BEST PY153 dioxine nickel complex = Indian Yellow Golden. Alizarin Crimson.PY153 dioxine nickel complex = Indian Yellow Golden. PY150 azo nickel complex = Indian yellow Br/s. PR101 synthetic red iron oxide = Red Oxide PY42 synthetic yellow iron oxide = Yellow Oxide PBr7 natural iron oxide. PB60 anthraquinone = Blue Deep PB15. greenish-gold Benzimidazolone. the oxide of aluminum present in clay. PG7 Chlorinated copper phthalocyanine = Green PG36 chlorinated copper phthalocyanine = Y/s Green PY83 stable di-arylide + PG7 chlorinated copper phthalocyanine = Sap Green Y/S PY83 stable di-arylide HR + PG7 chlorinated copper phthalocyanine + PO43 perinone orange = Sap Green O/S PY129 methin copper complex = Green Gold PY129 azomethine = Genuine Green Gold. raw and calcined = Sienna and Umber PB29 silica. Indian Yellow PY83 stable di-arylide = Yellow Deep. Other bases for these colors could be cyclohexanone. Blue. Indian Redgold. tints to Ult. Italian Brown Pink Lake. a perfect red. greenish-gold PY129 Irgazine yellow light. manganese also makes a cyan hue. Medium PO20 cadmium sulfo-selenide = Cadmium Orange PR108 cadmium seleno-sulfide = Cadmium Red Light. dioxine nickel complex + PR 260 isoindolindon = Indian Yellow Golden. BEST PY129 Irgazine yellow light. TODAY'S TRANSPARENT CHEMICAL PALETTE PIGMENTS PY150 azo nickel complex = Indian yellow Br/s. an acrylic polymer emulsion or gum arabic for w/c's. PY83 stable di-arylide + PR101 synthetic iron oxide = Italian Brown Pink Lake. dioxine nickel complex + PO61 isoindolor orange = Indian yellow orange PY153 dioxine nickel complex + PY3 stable di-arylide = Gamboge PR 170:F5rk naphthol carbamide = Scarlet Pink PV19 quinacridone = Rose PR122 quinacridone = Magenta PV23:1r carbazole dioxazine = Purple PV23 dioxine nickel complex = Permanent Violet Bluish transparent secondary blue. BEST PY153. Indian Yellow Green PO69 isoindolinone = in Indian Yellow Orange side additive to PY153 PR260 isoindolinone = Indian Yellow Golden. PY35 cadmium Zinc sulfide = Cadmium Yellow Lemon PY37 cadmium sulfide = Cadmium Yellow Light. it's also in Gamboge. Sap Green. makes from yellow to red to brown only Quinacridone. The skull is the basic division of the human body which is eight heads high.Chapter 13 Head. The parting between the legs is one quarter head below the middle of the body and the widest part of the body. There is an equilateral triangle with points in the pupils and between the closed lips which is the center-bottom of my front teeth. SIDE VIEW HEAD The head sideways is one head length high and one head length wide. . To me this is an important trait. I started with an oval that fit on my skull's front view. vine black and Naples yellow. The smiling mouth lines up under the pupils. The ear connects to the head on the horizontal center line. Stick Figure. the two iris usually equal the maximum smiling width of the mouth. This charcoal self portrait drawing is on a white background. The nose also gets larger with age. through the nostrils of the nose to the point between the top front teeth. The bending line is in the "top to bottom" middle of the body. FRONT VIEW The face triangle is from the center of each pupil. The classic pigments are vermilion. Red Oxide and Ultramarine Blue. Body. I believe the ear gets longer with age. The bottom of the nose is between the pupils and bottom of the chin. and the backbone/skull pivot point. Life Drawing. Childs' Proportions. My head is 5 eyes wide not including my ears. The bottom of the ear varies with the individual and age. My horizontal center line of the skull dividing the top to bottom is in the pupil. A Burnt Sienna glaze was then used for warmth where it was needed. The pupils are in the middle of the head. Bend Line. 1/3 below the nose is the chin crease. The top of the ear is on line with the top of my eyes. Divide the head like this: From the top of the skull. the bottom of the top teeth. The ear hole is in line with bottom of the nose. Elizabeth Vigee-LeBrun HUMAN BODY PROPORTIONS More information on Human Proportions. (new window) The marking points on a normal twenty year old. HEAD START WITH A (3 x 4) OVAL. It was then painted with only two neutral dark making colors. 1/3 below the nose is between the lips. When drawing the head I consider the horizontal eye line the center of the head. every bodies triangle is a little different. One quarter of one head down on this second head is the shoulder line and clavicle. 1/4 of a head for the neck space and 1/4 head down on the second head. That is. for a total of 8 heads high. It's 3 and 3/4 heads up from the bottom of the feet. This leaves space for the for the neck support muscles.Five eye widths span the center of the forward facing skull. the top of the bend line triangle is 4 heads up from the base. total. including the 1/4 head neck space. The two center heads overlap by 1/4 head. The space between the pupils is an average of two and a half inches. The width of one eye is usually equal to the space between the eyes. everybody is a little different. The nipples to the belly button equals one head length. The neck space is 1/4 of one head length. that's the bottom of the third trunk head. The width of the waist at the belly button is one head length wide. at the bottom of the second head. The shoulder line is two head lengths (not widths) wide and is the top line of the torso triangle that extends down to the top of the hip triangle. From the belly button to the space between the legs is one head length. Not more. the younger the higher. The chin to the shoulder line is 1/2 of one heads length. and is two head widths wide. This between the leg space is actually 4 1/4 heads down from the top. The second head starts under this neck space. The top three torso heads were lowered 1/4 head because of the empty neck space. From the top line of the hip/trunk triangle to the space between the legs is 3/4's of one head. THE BODY PROPORTIONS OF THE BODY A perfect body is 8 heads high. The nipple line equals one head length. under the chin of the top first head. Males stay higher. . The rib cage can be represented by an oval two heads high. The lower arm is one and one quarter heads long. put the trunk triangle in. is one and one half heads long. connects from the center of the shoulder ball which is a quarter head circle. Start with the center vertical balance line from top to bottom. 5. The third triangle. This bend line can also be measured as four heads up from the base. It's accurate. To see the animated action of this figure. The calf muscle is higher on the outside. Add the calf lines and the stick figure is finished. bend line triangle. within the trunk triangle. a female's shoulders are narrower at two heads wide. Now add the hands and feet. Its top line is 1/4 head above the space between the legs and two head widths wide. equal to the average face up to the hair line. The upper arm. knee caps and rib cage. click the image. The upper arm. The foot is one head length long. and ready to add the muscles. Just below the leg space. The bottom of the forth head from the top plus the neck space is the space between the legs. Accurate 8-head-high human figure for artists. starting at the top of the (lowered) second head to the bottom of the third head. shoulder line and arm lines. balanced. connect a line to the bottom of the knee cap for the inside of the leg. The chest side view is one head. starting at the space between the legs. 4. Connect another line from the outsides of the top of the bend line triangle to the bottom of the knee caps. The second triangle is the trunk triangle. The ankle bone is higher on the inside. From the outside point of the bend line triangle down to the bottom of the knee cap is two head lengths. third. the width of the shoulders is two heads hight. these simple steps include the lines that can catch any action. legs. That's it. the legs and the body are the widest. The bend line is always the center of the body. from the shoulder triangles outside edge. side by side. THE DRAWING ORDER OF A STICK FIGURE. width wide. In other words. will fit in the trunk area. Two egg shaped heads. From the center of the knee cap to the ground is two head lengths. The bottom of the knee caps are two heads up from the bottom of the feet. Finish the torso triangle and the bend line triangle. From the bottom of the bend line triangle. 2. which is one and one half head lengths long.The center of the body is the bend line. which has no added 1/4 head space for the neck as happened in the top 4 heads. the space between the legs. to finish the form. The big torso triangle is from the shoulder line to the top of the hip/trunk triangle. the hip bones down to the space between the legs. the shoulder balls. Divide it in half showing the top of the bend line triangle. Define the head. fast! Now. The ankle is 1/4 head high off the ground. This drawing is a male. 3.. The hand is 3/4 of a head long. Not more. (new window) . TO CATCH THE ACTION 1. at the nipples. upside down. The knee cap is a 1/4 head length circle. the bend line triangle is a quarter head high. which forms the top line of this small. . . It's an age to head size ratio.Accurate 8-head-high 7 year old female human figure for artists. The rest of the body has the same divisions as an adult body. . A 17 year old would have 8 full sized heads making up the divisions their body. This 7 year olds head is 1/4 of one head larger than the 7 heads used to make the rest of her body. devided in half at the space between the legs. 1/4 head above the space between the legs. The center of the human form should be at the bend line. Check it out on yourself. .Here is da Vinci's figure. Michelangelo is right. Michelangelo's David matches my chart. . two little Hawaiian girls that live in Lahaina right under the "Lady in the Mountain" (new window) My notes and that painting's progression. (new window) MY LIFE DRAWING SESSIONS (new window) .Fantasy Portrait of Kiana and Breea. She was the beginning Realist painter while still in the Romantic period and spanned both periods.2 hour session I conceder Elizabeth Vigee-LeBrun (1755-1842) one of if not the greatest portrait painter ever. Do not paint the head too high on the canvas since it makes the model look too tall. thinking that it might also be of interest to others. . the body would not appear as elegant and the head would appear too close to the shoulders. he should stand up for a moment before you begin so that you can sketch the general outline of the body. take care to allow more space on the side to which the body is turned. You should also have a mirror positioned behind you so that you can see both the model and your painting at the same time. Make sure that the women are comfortable. when the wars started. Do we not recognize people we know from behind. especially that of a young man. AN ESSENTIAL RULE You must sit your model down. the same applies when trying to achieve an overall likeness. You should be as far away from your model as possible. This is particularly necessary for men since we are more used to seeing them standing than seated. this is the only way to catch the true proportion of the features and their correct alignment. even when we cannot see their face? When painting a man's portrait. Courbet (1819-1877) and Bouguereau (1825-1905) ended the Realist period. and it should be in a place where you can refer to it all the time. "ELIZABETH'S ADVICE ON THE PAINTING OF PORTRAITS" Excerpted from the memoirs of portrait painter Elizabeth Vigee-LeBrun (1755-1842) "I have decided to add here at the end of my memoirs the advice that I wrote my niece. it is the best guide and will show up faults clearly. that they have something to lean against. the model will become too small." POINTS THAT SHOULD BE OBSERVED BEFORE YOU BEGIN TO PAINT You should always be ready half an hour before the model arrives. If you were to sketch him sitting down. 2 The palette must be prepared. and a stool beneath their feet. 3 People or business should not interfere with your concentration. This helps to gather your thoughts and is essential for several reasons: 1 You should never keep anyone waiting. though if you draw the head too low. as well as the sitter's bearing and particular mannerisms which it is essential to note. Mme J. but at a higher level than yourself. when drawing the body. Tripier Le Franc. then paint the mid-tones and finally the highlights. Tell them not to bring their friends to the sitting. this will eventually blend with the mingling. You should try and complete the head. blue and green. it is vital for a true likeness and is a very important key to the personality. Study van Dyck. although you may consult artists and people of taste. in the corner of the lower lip and at the top of the chin and they should always blend in with the surrounding tones. Choose not only the most comfortable but also the most fitting for the person's age and character. You must also tell them that they are marvelous at posing. especially if the sitter's skin is very fine. While you are working on the head of a woman dressed in white. should have a peach tone in the hollows and a golden rose colour on the more fleshy parts. There should always be highlights on the brow bone. The reverse will result in a visible difference. these two highlights often give way to others less golden in the middle of the upper eyelid. if the background is sky than the rules are different and you should put something blue behind the head. should never look grey or dirty. this is why you should allow models to rest and aim to keep their attention for as long as possible. especially for the public. but if the person is angry you will often see the whole pupil. on the same bone on the other side. and the mid-tones. It is then interrupted and reappears near the eyebrow. The eyelashes in the shaded part are clear and stand out bright and this is why you should use ultramarine when painting a light part that is in shadow. this adds to the resemblance. Some people have large pupils and others small. the two colours merging imperceptibly with the highlights to emphasis the facial bones which should be golden. than on the middle of the nose. there are a great many people who do not know how to look at a painting. the finer the light should be. accompanied by a strong reddish touch in the cavities. When the eye smiles. midtones and reflections from the nose. Do not be discouraged if some people cannot find any likeness in your portraits. such as in the self portraits of Raphael. You should take care that the highlights diminish gradually and that the most salient and consequently the brightest part is always the most luminous. drape her in a neutral colored fabric like grey or light green. interior parts of the ear etc. and ensure that you make the pupils round. Always thicken the highlights and always make them golden. but always cautiously. in three or four sittings. For this reason one should sometimes break into the blue tones with gold. or at least along some part of it. Shadow must be strong but transparent at the same time. talk to your model. Rubens or van Dyck. My experience with women has led me to believe the following: you must flatter them. depending upon the position of the head and the eye. The mid-tones should be broken up and less thick than the highlights. or at least the basic stages. so that the pose will only add to the likeness. Take care not to be too heavy with the latter or the eye will look as though it's full of tears. Never use a heavy consistency of paint on the pupils: they will look more real if they have a transparent quality. neither too light nor too dark. are either in the pupil or in the white of the eye. eventually becoming the shadow that defines the shape of the brow bone. which should either be facing forward or at a three-quarter turn. if more feebly. The colour of the cheeks. The setting of the eye is always painted in delicate bluish or violet tones. Likewise for the head. both sharp and diffuse. keep a little white fabric to drape around the head. you should build up from the darkest colour. say they are beautiful. but they are always perfectly round. the cheek bone near the nose. The white of the eye in shadow should be a pure and pristine tone. that is to say not a thick but a ripe tone. Sometimes the eye should reflect light from the nose and share some of its shadow. Between the highlights and the mid-tones there is another tone not be overlooked. The background to the sitter should in general be a subtle and uniform tone. the nostrils and the darker. if however you wish to paint her in white. according to the way light falls upon the head. The eyebrow should be prepared in warm tones and one should be able to see the flesh beneath the gleam of the hairs which should be light and delicate. It is made up of shadow and highlights. they will then try harder to hold their pose. the lower half of the pupil is intercepted and covered by the lower eyelid. This mid-tone mingles softly with all the other mid-tones. shifting mid-tones. on the bridge and the lower lip. In between these highlights is the natural flesh tone which fades into the center. for it too should receive some of the reflected light. which should be darker or lighter depending on its shape. After this shadow. such as the eye socket. so that your gaze does not wander from the model's head. above the upper lip. Immediately after the first layer comes the flesh tone. Observe the forehead well. a situation to be avoided at all costs. in the middle of the lower eyelid. chosen according to the complexion of the sitter. Try several different poses. take care not to give the sitter an ambiguous gaze. and the highlighting on the head should emphasis the bone and muscle. there is a definite concentration of light on these prominent areas. that they have fresh complexions etc. This puts them in a good humor and they will hold their position more willingly. The light returns. allow an hour and a half for each sitting. there is a slightly golden . which has tints of violet. for they all want to give advice and will spoil everything. The sharper the nose. When the forehead has a square but prominent bone. This in turn gives way to the colour of the temple where there will often be a blue vein visible. although they are not quite the natural colour (this is so with any object you paint). just beneath the hairline. the mirror might also help you decide upon this point. Whether you are painting in pastels or oils. On the head. the sparkling lights. if they are unpowdered. The first is at the top of the forehead.Before you begin. You should paint in as much detail as possible. depending upon the whiteness and delicacy of the skin. Observe the eye socket. The upper half of the pupil is always intercepted by the upper eyelid. two hours at the most. or the models will grow bored and impatient and their expression will change noticeably. the latter being weaker than the former. an inevitable error if one does not follow the method I have just described. you might notice how in general the German. You should observe the part where the hair falls next to the skin so that you will be able to render it as realistically as possible. MEASURING COLOR. For example. . which is more prominent. the tone should become a little warmer: the accumulation of these hairs has the same effect as a mass of curls falling onto a well lit forehead. Horace Lecoq de Boisbaudran. Prisms. the chest area becomes a little deeper in colour towards the point where the collar bones meet. try and paint the complete ear and study its cartilage formation well. Sundogs & Halos CHAPTER #14 IS ABOUT LIGHT. there should never be a hard line between the two. the base of the jaw should have warmer tones than that of a man. As far as possible. SPECTROSCOPE. It is also essential to study the ear and to place it in the correct position.reflection. 14-06. like metal. the shadow between the breasts should be warm and transparent. The shadow thrown on the neck by the ear is very warm in daylight. 14-03. sunken cheeks. should in general be less luminous than the cheek. you should make the shape as beautiful as you can. depending upon the colour of the hair. 14-09. whose beard absorbs the naturally warm flesh tones beneath. have something of the background colour. There are rules for the gradation of light. The shadow on the neck should also be very subtle and less ruddy than the face. PRISMS. the hair and the skin should mingle slightly. such as I have described for the head. study the art of antiquity or beautiful examples in nature. The colour that determines its shape should be warm and transparent. apart from the ear hole which should always be dark and opaque. even when highlighted. the mid-tones which curve around the breast should be as light and fresh as possible. So if you happen to be painting a German. curls reflect light in the center and a few stray hairs break the uniformity. BOTTOM VIEW. understanding that it is a link between the head and the neck. Its flesh tones. the best conditions for painting breasts occur when the light is direct and the colour should grow gradually stronger towards the nipple. in form and colour. the way the neck sits upon the shoulders is different from that of other peoples: it is wide. the heel and the knuckles are always darker than the rest of the body. LIGHT TERM GLOSSARY. If the head belongs to a woman." Elizabeth Vigee-LeBrun (1755-1842) *** Eakin's "line of action drawing". 14-08.net Chapter 14 About Light: Terms. such as the elbow. These people also have very strong temple bones. SPECTROSCOPE. the kneecap. This is an on line link drawing lesson (new window) that references Eakins. thick and rises high behind the ear. put the model in a position where they are well lit. you should conserve this characteristic trait. otherwise the colours may bleed into the shadow and the main flesh tones of the face. Look at the heads of Greuze and study the way in which your model's hair grows. The hair should be drawn in a body and should remain as such for the most part. TOP VIEW. 14-12. NOT PIGMENT 14-02. LIGHT TERM GLOSSARY. RIGHT ANGLE. mailto:dlg@dangheno. MEASURING COLOR. it is probably better to use a glaze. 14-04. 14-10. Above the eyebrow. and especially the Austrian race. for the rest of the body. The shadow is warm. even if you are going to paint hair over it. this way the hair will not look like a wig. 14-05. as well as the way they reflect light. If you have to paint breasts. TOP-SIDE. By Dan Gheno. 14-11. INTERNAL POLARIZED LIGHT EDGES. LIGHT TERM GLOSSARY. Rainbows & Spectroscopes. The edge of the hair should. the jaw should be drawn in subtle tints with delicate mid-tones in order to obtain the depth between jaw and neck. If the figure is seated. and Sargent. in general the articulations. along with the prominent forehead and the usually flat. this will add to the likeness and the painting will be more truthful. Likewise. It is essential to observe the proportion of the collarbones relative to the position of the head. The highlights on the hair are only visible on the prominent parts of the head. 14-07. for this helps to accentuate the turn of the head. have ears that are situated a little too high according to perfect proportion. the light focuses strongly upon the thighs and will gradually fade towards the heel. Visible light ranges from 3. Very small distances are measured in angstroms. Orange is at 593 nanometers Yellow is at 578. So much for additive and subtractive. on top and Ultramarine Blue. YYMM=Red. The three primaries of light are Red. red and green make a less intense. they combine and equal white light. red and green make a less intense subtractive yellow.100 angstroms = Ultramarine Blue. is measured by a spectroscope in wavelengths. each visible color has a different wavelength distance between peaks.000 = Orange. YYYM=Orange. [YYMM+MMCC] is the same as [YMC+YMC+MM]. MM=Magenta. CCY=Turquoise. there isn't enough chroma in light's secondary colors to make a primary color. MMCC. Yellow-Yellow-Yellow-Green is at 575 nanometers Yellow-Green is at 574 nanometers Green is at 539 nanometers. The top and bottom of a spectral analysis will show Red. INCIDENT light rays are parallel from the sun. SECOND REVERSED RAINBOW. This system measures wavelengths and emits colors in light. POLARIZED LIGHT EDGES.5 nanometers. It reaches from 440 nm to 620 nm. This system explains the progression of colors in the rainbow.500 = Cyan. Both the light's yellow and the pigment's brown can be increased in intensity to make a bright pure yellow. Both make the same colors that white light emitting sources do. Pigments reflect color and do the same reflecting as the elements making crystals of color. Green and Blue. such as a TV or the sun. Combine them like this. there is no red here. EXTERNAL SPECTRUM. just before the green is pure.000 = Red. red being 7x10 [-7]m or 760 nanometers. LIGHT IN A SPHERE. Violet is at 390 nanometers. 14-18. The Yellow wavelength is half as intense as red or green. MMCC=Ultramarine Blue. the longest waves. 7. CC=Cyan. Red begins at 760nm. MCC=Azure. LIGHT TERMS GLOSSARY PULSES of emitted light are like packages shipping off energy. 14-17. on the bottom. 14-19. These light dots from a TV or spectrum colors from the sun combine optically to produce white or the full range of colors. In pigment two secondary colors. YYMM. the next one won't leave until the proton supply is built up again. Combine the two white lights and magenta light and you get a higher intensity magenta light. That means those three colors comprise the entire spectrum. violet and purple. but here in the EM spectrum. I don't know where those terms came from in the first place. Light travels 300. can not be seen but 350 nanometers can be distinguished and will turn on an appropriate switch. both will make a brighter yellow. 4. brown. one Magenta and one Cyan. SUMMERY RAINBOWS AND SPECTROSCOPES MEASURING LIGHT WAVES YYYY=Yellow. 5.000 = Green. YMM=Scarlet/Crimson. Turquoise is at 505 nanometers Cyan is at 490 nanometers An equal mix of green and blue is seen as the less intense cyan. two primaries. 14-14. but there's enough chroma in the primaries to make a secondary. 6. a trillionth of a millimeter. The pigment color wheel. The visible spectrum minus magenta. subtractive. 5. would be at these nanometers. Ultramarine blue light and red light combined to make the higher intensity magenta light.700 angstroms for Red light.5 nanometers. it's strongest at 437 nm and starts at 538 nm.800 angstroms for Violet to 7. YMC stands for one Yellow. We're exchanging chroma for intensity. 7.14-13. 14-16. the other colors are percentages of those three colors.000 kilometers per second. RAINBOWS. Thomas Young and von Heimholtz developed the wave theory of light in 1890.700 = Yellow. So additive and subtractive is not really a good way to define light and pigment colors because here mixing colors in the EM wave spectrum and there in the pigment physical mixing spectrum both make subtractive colors. CYY=Yellow-green.600 = Red. at 490. POLARIZED LIGHT EDGES. it's strongest and most intense at 624nm and ends at 540nm. Cobalt blue is a 477 nanometers Blue ends at 380nm. Purple is at 400 nanometers. RAINBOW POSITION. Magenta. By adding light or white pigment. 14-15. CCYY=Green. . Another measurement system measures light waves in nanometers. What we can say is that brown is a less intense yellow as in the orpiment and iron crystals and the Indian Yellow pigment. Red and Green are at equal percentages here making Yellow. 4. We know light is additive in that adding all colors of the spectrum equals white light. except for Magenta which isn't seen in a Electromagnetic Spectrum. MMC=Purple. Diffraction is what happens to a ray at its light stopping edge. CENTER OF CURVATURE. This is color diffracting. or. I agree. The hypotenuse divided by two equals the prisms height. The longest red rays refract with the greatest angle out of a prism. Refracting angles happen inside the prism each time light passes through the surface skin. they're parallel. white. Diffraction enhances a painting rule. and is the last color seen before the dark of night. one hypotenuse and two inclined planes at 45 degree each. green and than a dark space. Yellow is the combination of red and green light. Red and yellow on one side. OBLIQUE is not normal. A LASER'S beam is a continuous mono-frequency. or 90 degree angle. Lens's are converging. Normal is straight up. There spending more time in the reflecting atmosphere. the shortest wave to angle out of white is sometimes green. is the focusing point of a sphere or concave mirror. and it will have one "right angle". Magenta waves are still angling out of the straight white light already passed the stopping edge. because the second plane is a perfect mirror. and turns it on and off. and clear. green. A laser produces this beam. the bottom view is through it. You can't see through two 90 degree planes. two sides and the hypotenuse. deep in the heart of the shadow. the "green flash" seen on the ocean horizon at the moment of sunset. Magenta is the color in the center of an interferometer's white test for principal focus of diffracting dispersed light and making INTERFERENCE colored light bands. made on an interferometer. He didn't notice the diffraction. Newton said light had particles going in a straight line. The whole spectrum is represented by four bands. INTERNAL PRISM SPECTRUMS happen in the transparent phases of the prism. Normal is also perpendicular to the earth. white. A right angled prism's ratio is 3:4:3. white. This light is internally reflecting. White light from the sun comes in transparent vibrating waves or rays. A beam of light at 46 degrees will break the water surface at 1 degree. the center of diffraction. in real time. The REFRACTION ANGLE doesn't change inside the transparent substance. blue is on the expanded side. The left and right sides of the top view. NORMAL is adjacent to the surface or horizon line. etc. green. focusing on a spot inside the shadow's void behind the earth. it does not diffract and lose color. Polarized edge spectrums happen on vertical or horizontal image edges. not both at the same time. It's a light that will only go in a straight line. DISPERSION of wavelengths and rays happen when the spectrum is divided in two by a substance. 44 degrees will stay internal. carrying coded information. EXTERNAL SPECTRUMS happen with sunlight off a plane in the 46 degree or over reflecting phase. red and blue are in the magenta light. or through two transparent planes at a 45 degree angle. changes the hypotenuse into a mirror. Warm Magenta is outside the red on the rainbow. on there way to a principal focus point on the center line's axis. the missing magenta color or have a name for cyan. The side to height ratio is. and parallel light. cyan and ultramarine blue on the other. Diffraction also is the only way to see the light color magenta in its pure state. bends the most. as a droplet of water or a crystal ball. plastic or diamond. Yellow and orange angle a little but red. side four. will not leave the surface of the water but stay internally reflecting. dark. Spectrum edge lights are seen through transparent phases. but he did notice separated colors could be recombined back into white light. a sphere focuses in its center. it will bend last. the longest wave. The top view is over the hypotenuse. and two 45 degree angles. The interferometer combines and separates magenta and green light with a clear band of no light. yellow and cyan are in the green light. DIFFRACTION is a light ray angling around a solid object. looking through a prisms two planes angled at 45 degrees to each other. . The longest wavelength color can make the greatest diffracted angle. Magenta is in the center of a diffraction record. Total INTERNAL REFLECTION will keep an obliquely angled ray from leaving the reflecting skin of a substance. than yellow and green rays. the ray is white. Red peaks out a little farther and reaches greater angles.The angle of incidence is equal to the angle of reflection. making "bits" of light. PRISMS Take a right triangle prism made of glass. Red is on the compressed edge of transparency. never leaving a straight glass fiber cable. monochromatic. height three. First magenta. diverging or flat. pulsed and diffracting. not bending. magenta. they are opposites. but at the skin of the substance. an object. Light under water aimed with a narrower than 45 degree angle of reflection. All three plains are transparent in the top view over the hypotenuse until the line of demarcation at forty-five degrees from top. exactly 90 degrees perpendicular to the inclined plane. magenta. but emitting from the wave peaks. Converging lens's are thicker in the center. "It's darkest next to the light and lightest next to the dark". that's 7 1/2 degrees short of perpendicular to the side plane. TOP VIEW Draw a line on paper and center the prism's bottom hypotenuse and top 90 degree angle line on it looking straight down on the prism perpendicular to the hypotenuse. intensified by reflection off an internal surface mirror. with the sun going through two transparent planes. HYPOTENUSE AT 45 DEGREES Start with the prism in a right angle down position. adding 33% into the condensed view. refracted through the skin of the 45 degree inclined hypotenuse. Entrance refraction is 7 1/2 degree making the effective angle 37 1/2 degrees. This top position is good for seeing internal spectrums and producing two external spectrums at the same time. and the light perpendicular. there's 7 1/2 degrees of condensed spectrum before the mirrored line of demarcation removes it. shows the line of demarcation. from a 90 degree perpendicular to the hypotenuse. into the hypotenuse plane. each projected 7 1/2 degrees off the hypotenuse. not one. Two 7 1/2 degree spectrums are leaving the left side's plane simultaneously. This entry and exit is transparent and will be for forty-four and a half more degrees. 30 degrees apart. Upon tilting one side or the other will start a line of transparency. Subtract 7 1/2 degrees for the refraction leaving tax. compression starts immediately. entry. and exits 135 degrees later with a 7 1/2 degree spectrum. to the left and right. by mirror entry right. The three thirds are condensed to four fourths to fit. and the white light will become the green center. From the top you see through two transparent 45 degree planes. It will stay a mirror for the next 44 degrees of rotation. 7 1/2 degrees to the right of center. The hypotenuse plane is also transparent. compressed and shining. bottom first. This compressed 1 degree span can emit a projected spectrum. the other right angle vertical facing the sun. The added fourth side is not transparent. and vice versa. by adding +15 degrees of refraction. and it's an internal mirror. it forces compression on the transparent section from the line of demarcation onward. from the top straight down [+-] 7 1/2 degree. The left side's image size has increased 15 degrees past center into the right. These activated parallel pulsing protons are having a ball. there's only this one degree of no distortion. the sun enters 7 1/2 degrees off perpendicular. or 37 1/2 degrees the same as the entering refracting angle. Position. the left underside becomes transparent. the two half prism lit edges form a complete spectrum. Continue the line around the prism and add two more parallel lines inside. The compression ratio equals twice the distance at half the compression. the spectrum is on that decompressing transparent line. So. Light enters at 45 degrees and exits at 30 degrees. parallel to the sides [+] 7 1/2 degree. . and the hypotenuse parallel and equal to the light's angle of incidence. You are looking down into the two 45 degree inclines. Divide the hypotenuse area into three equal spaces and the prism's top view will increase it to four. it would be going down through two transparent planes. The sun's light enters from 90 degrees to 97 1/2 degrees. transparent compression has made a window for a spectrum to project through. The light has changed course 135 degrees. from the bottom. notice there are two lines. the mirror will be like a window shade going up with transparent compression under it. the prism is standing on its end with the hypotenuse on the sun side. The right underside plane stays a mirror at 7 1/2 degrees. Top-side view. right angle view of the 45 degree incline. This forth space is the vertical short side being refracted. both only 7 1/2 degrees off the plane's 45 degree angle to the hypotenuse and 180 degrees opposite each other. Top-vertical view. The lower transparent half stops with the spectrum on its leading edge. the total area is compressed and includes the overlap. This is the prism angle. The three spaces appear to have become four. a 37 1/2 degree incident light on a 45 degree plane. The total reflection is 105 degrees. The right spectrum is direct. they share the plane progressively till the 0 degree. The left spectrum is reflected off the right mirror. making the internal exit angle 142 1/2 degrees. There is no distortion from a top 90 degree. with two refractions and one 45 degree angle. There are only two degrees where both visible sides are reflecting mirrors. and that's looking 90 degrees adjacent to and perpendicular through the hypotenuse on top.PRISM. Compress the two opposing and trailing half spectrum edges of transparency by squeezing out the middle light with the line of demarcation's mirror edge. it emits through the bottom hypotenuse at a 7 1/2 degree angle. With the hypotenuse on the bottom. color dispersed by the substance and spectrum united by transparent compression. by refraction. with a spectrum. BOTTOM VIEW Looking through a prism's hypotenuse. The top-side. RIGHT ANGLE DOWN. Two mirror image's start on the next degree and move the transparent section out of view in 7 1/2 degrees. and you're left with a 30 degree emerging angle for this stream of light that's been. The full vertical view through the side plane has increased from 100 degrees to 120 degrees. This spectrum only happens reflected off the mirrored first half of the condensed base. Perfect symmetry of double spectrums occurs from perfect angles of incidence. By compression. dividing the outline into three equal spaces. they overlap. There are two crossing emitted spectrums leaving at 7 1/2 degrees out of the hypotenuse in this configuration. Both sides are mirrors for 7 1/2 degrees of tilt off dead center. TOP SIDE VIEW Now rotate the prism so a short side is vertical and touching the drawn line. The reflection portion of the plane doesn't compress. it's a 15 degree refracted image. compression left. you're looking down on the long hypotenuse side at a 45 degree incline. Here's an example. Turning the prism to vertical lights up the vertical edges. POLARIZED EDGE LIT SPECTRUMS Magenta and cyan. place a prism in the sunbeam and adjust it so that it casts a rainbow spectrum onto something white that is not in the sunbeam. Horizontal to vertical. You're watching the fire and marveling over the perfect spectrum when two white dots appear from nowhere in the middle of the view. Notice that magenta isn't there. The internal prism's spectrum is two reversing half circles. only refraction and dispersion. It is a psychological color. . just like the Real Color Wheel. Any white sun spot surrounded by dark shadow will show great complete spectrums with one degree missing along prism's beam axis. Look through the top position's. Starting at 1 degree with a no color unpolarized edge. Try as you might. the horizontal radius lines or dark edges are normal looking. two different opposing edge angles light up with half the spectrum each. you are looking through the prism. As long as there's a dark center for Ultramarine Blue to form in. Yellow and Red left and Cyan and Ultramarine Blue right. It is not bending the meaning of words too sharply to say that magenta is a pigment of your imagination. they are changing polarized light stations. The prisms internal spectrum color-polarizes opposite every 180 degrees of rotation. ??RIDDLE?? What were the white dots? Her headlights. The brighter light effect will override transparency and turn the hypotenuse into a mirror. There is never transparency in the mirror but there's a bright light mirror effect in the transparency. yellow and Ultramarine Blue are eliminated from this spectrum by diffraction. it shows up on the leading edges of two groups of edge angles in the prism. edge polarized spectrum colors. the light spectrum is on horizontal edges. the red and yellow half of the spectrum appear on the right side of the darker object's edges. while vertical is in the maximum colored light phase. looking through the plane left of center and through the hypotenuse. White light is dispersed by entering the substance. While the vertical position lights up the vertical edge. Viewing the prism in the top. 8-18-9. or. In an oil slick the the prism is distorted and merges to show the magenta color. listening to some ol' hoot owl by the campfire. The EM spectrum has wavelengths in a line. The station change happens on the beam reach. It will look like two crescent moons touching points. May I suggest a simple experiment that you might find informative? Submitted by Leslie Walden. minimum to maximum colored light edges in 90 degrees of rotation. red and blue at the two ends. LIGHT. at right angle's to the length of the prism. only. transmitted by incident light. because red and yellow enter at the same time on the same side. Just the opposite of the left planes stations of Red and Yellow. At each place where the red end of either spectrum crosses the blue end of the other you will see a magenta patch. EXTERNAL LIGHT SPECTRUM The external projected spectrum uses the compressed two lit edges with the white in the middle to make the projected spectrum. The hypotenuse is down and you're going to exercise your left eye through prisms left side. not vertical. yellow and magenta change stations from the bottom horizontal edge to the top horizontal edge of a dark square. vertical. is separate from the opaque curtain mirror reflection and is ever present over the transparency phase. produced in your mind when the eye receives blue and red light in the same area. Further dispersion can drop out the yellow and Ultramarine Blue of an internal spectrum by reducing the width of the edge to a line. this is color polarization. you're worried about your sanity when you hear your girlfriend coming from 7 1/2 degrees left. there is no magenta at the outsides. In that degree. With the hypotenuse on the bottom and the prism horizontal. POLARIZED EDGES. The prism is a trinity and this is the third effect. There is no distortion by compression in the transparent view from this top dead center position. Ultramarine Blue is touching the right side's dark edge and Cyan fades to White. the horizontal and the vertical. This color division is "color polarizing" at 90 degrees to the length of the prism. the brighter light. Red touching dark and yellow merging white. At a time when sunlight shines directly into a window.INTERNAL. will light up a dark line object that's not thick enough to show a dark in its center.) Now place a second prism so that its projected rainbow crosses the first one. Diffraction's intensity merges the two edges so they touch. to 90 degrees with a fully polarized spectrum. ghost effect. left transparent plane. they never overlap to see the color magenta. Spinning the prism 90 degrees reverses the spectrum's color order. The ghost. The second "brighter light" image. These four colors are opposite. you won't find a wavelength for magenta. is the projected full spectrum. The infringing mirrored line of demarcation forces the compression until there's nothing left but the spectrum colors. where the radius lines are neutral and not polarized. With the polarized rotation. From the top vertical position. look through the inclined right plane. (But you knew that. Indoor rainbows! There is no green in the center of the transmitted pattern from a strong light prism spectrum. The right side plane reverses the color stations. white light takes its place. That's way off to your left side in the first seven and a half degrees of image. position. Yellow will also form. they are opposites. This is an opposite polarized rainbow. reversed. or no added reflected light is over the top. Check it out. This condenses the 15 degrees actual. magenta and green. the second rainbow is separated by 15 degrees actual. the defracting long spectrum waves of the warm magenta and red bands. Red is on the outside of the main rainbow and on the inside of the second outside rainbow. It refracts light to you from the start of the other 180 degrees of polarized light. Yellow light is in the middle. A halo around the moon on clouds has red and magenta on the outside. best seen without light :) Use the main rainbow's perpendicular drop line as the protracted zero angle. and rare. it's darkest between them. When you see two rainbows. Others say a sundog is a sun ray made by clouds below the horizon line. We're seeing diffraction in real time. The rays are reflected and converged the second time off the concave rear and inverted again at the focus point. A normal rainbow has a lighter area of sky under it. The ray is then refracted and expanded by leaving the convex lens.LIGHT ENTERING A SPHERE The light you see from a particular droplet in a rainbow has been refracted and converged once on entering the outer convex spherical shape of the droplet. 45 degrees off center. Still others say sundogs are two areas of color next to the sun. It will be at the sides of the glass. put water in a curved bottom glass. the yellow is minor. both are without color. and heading down into the dark void left by the earth's shadow. Black is a hypothetical dark. white will take its place. sundogs are rainbows off high atmospheric ice crystals. Light is passing overhead and bending around a solid object. green and cyan are the inside colors. start with the sun behind you and find the color.5 degrees. from your viewpoint. The third rainbow is inside the lower 180 degrees. The opposite of white is clear. the spectrum angle. It converges to a focus point at the center of curvature where the image inverts. slightly darker just above them. White light is reflected in the inside area of a complete circle rainbow and under a half circle rainbow. all along the radius refraction angle. There's a darker area to the inside of these sundogs and a lighter area beyond. with the sun at the center and red on the inside. dark. the sun's at your back. A rainbow has depth to it. A moon bow is magenta. Presto! A dispersion prism refracting mirror. you won't see the green. to 7. white. SUNDOGS AND HALOS Some say. white is the reflected color under the rainbow. Yellow and red. not black. blocking part of the sun's direct light in the upper atmosphere. . like rotating the prism. and warm magenta is barely visible on top of the red. If you make your own rainbow. The lighter area is to the inside. RAINBOWSRAINBOWSRAINBOWSRAINBOWSRAINBOWS RAINBOWS RAINBOW'S POSITION You are between the sun and the rainbow. and whitest below them. with a small spray of water. Some of the rays are viewed at 135 degrees. ad infinitum. over the red. the second rainbow is at a 45 degrees closer angle to you. That's why it's reversed in color. green. the earth. and its color progression is the same as the first. JUST A THOUGHT Compare the earth's atmosphere to a crystal. if you ever happen upon "The Specter of Haleakala" you see your shadow on a valley of clouds with a rainbow around yourself. The King's Rainbow. that's the path of the rainbow. no curve. the water's almost a vapor. this darker area is the axis neutral zone between the polarized halves of the atmosphere "crystal". The main rainbow's reflection angle to you is 45 degrees on the sun's center axis line. Use the main rainbow's perpendicular drop line as the protracted zero angle. 90 degrees from you to the sun. A rainbow moves with you. (new window) It's a scene I drew and painted on location at Maui's Iao Valley Stream. the second rainbow is at a 45 degree closer angle to you. as can be seen when your plane's shadow on the clouds has a rainbow around it. If your distance from the mirror stays constant and the reflection angle along the line of sight radius line stays constant. This is the drawing before I painted it as are all the color book drawings. Extend this line from your heads shadow through your head and directly back to the sun. use your right eye and call this the rainbow's "connecting center axis line". IT'S LIKE WE'RE IN THE CENTER OF A GAS-LIQUID-SOLID CRYSTAL. and compress polarized light. the arc of constant reflection. This is an unpolarized zone. the real color wheel and an aerial perspective color palette for computer artists. the circumference and width of the rainbow are relative to its distance away from you. think of the air as a real soft crystal in the Tourmaline group. Move the droplet a few degrees above or below the spectrum angle (the angle of incidence at the back of the droplet for that color) on the rainbows plane and receive each individual wavelengths color. one of thirty-two available. Your viewing angle compresses the distance to 7 1/2 degrees. The sun on the horizon line will put the rainbow directly overhead and off to the sides of you. or you drive in your car seeing the rainbow. Have you ever seen a bright rainbow with a clear sky behind it and the rain long gone? A colloidal rainbow. Included is the crystal color palette. The second rainbow is reversed because we're seeing the condensed spectrum of the other polarized half at its weaker end. The same ratio works for the real rainbow above the horizon line. it will constantly reflect the sun back to you. the main halo is 45 degrees below the horizon line and second halo is 15 degrees distance from the main halo. the sun can be at eye level on the horizon line. straight up. If the sun is overhead and you spray a homemade rainbow-halo around yourself. From your viewing position the distance is 7 1/2 degrees between rainbows. All the patterns are completely enclosed like a water color drawing. One particularly beautiful rainbow is called the "King's Rainbow" here on Maui. 30 degrees below the horizon line. This other spectrum angle of the droplet is also "color-polarized" by dispersion and compression. coming from high in the mountains. The rainbow itself is 90 degrees off the sun's center axis line. Find the radius path where the mirror can be moved toward you and away from you keeping the same 45 degree reflection angle to the sun. Each eye sees a different rainbow. polarized and reversed. Copy the image to any paint program. create electrical charges with heat. The rainbow's plane is perpendicular to this line. Because we're on an island. able to make rainbows with the greatest of ease. The second rainbow is reversed and less bright because we're seeing the rainbows polarized version at its weakest end. Amazing similarities don't you think? Chapter 15 COMPUTER COLORING PAGE This is the first computer color-in page. The water is rushing over the rocks.The shadow of your head is the center of the rainbow. I have used Paint Shop Pro and Photo Shop . Looking to the rainbow touching the earth it appears to go straight up. acrylics or oil paint. watercolor. (new window). The cover is a handmade dot serigraph limited edition. .Also available are twenty finished 11x14 drawings in a hard copy book that can be mounted and painted with pastels. Change the Page Background Color to a Pigment Color. a cool opaque mass-tone tint pigment. When it's completely dry. This causes the paper to oxidize with the oil and it become brittle. Skies. ACRYLICS. Wipe out the clouds and add the right colors. Chapter 16 Technique. (new window) See 304 brushes with their descriptions and usefulness. what brush will fill in the patterns the fastest. (new window) HERE'S SOME WAYS TO PAINT A SKY. This bleeding stain shows the extent oil will impregnate good rag paper. A very thin pre-oiling of the gesso surface will make paint flow smoother and wipe out cleaner. Pre-paint the light cloud color in acrylics and let it dry. use the darkest form of opaque yellow. Brushes. #"F1F0A7". Since it's Ultramarine Blue in overhead color and Cyan at the horizon line and Ultramarine is granular in W/C's and hard to blend in oil and acrylics. Mussini Raw Umber and mix it 1:1 with its opposite color.5. start at the top left and pull.Example: #1. two strokes from one load plus enough left in the puddle for one more stroke. B=36 To mix a dark neutral. #"150036". When I have the first 100% coverage I consider myself 1/2 way done. paint until the paper is dry. 1995 to 2000. load the brush accurately. A dry brush will pick up or exchange wet colors. Water Color Papers A+ Only. In this first 100% coverage the lighting of that one hour of the day is captured. outline the whites and high lights. Maybe you're going to change colors with a glaze. the dried colors won't move and can be painted over. Note the time the light is perfect. I use a Thalo Blue Cyan and Dioxine Purple to blend the whole blue sky then wipe out the clouds with a paper towel square and add the darker colors of the cloud by mixing a neutral combination like Burnt Umber with Ultramarine Blue. Ultramarine Blue Light. outline white areas before hand and don't get the lead wet because it will become black pigment. There is no need to tape down #300 paper. WATER COLOR PAPERS WATER COLOR.01. don't push the brush. Rembrandt Nickel Titan Yellow Light. capture the light.0. Draw with a pencil harder than a normal 2B. don't leave accidental white spots. The . Oil on Paper MY PAINTING TECHNIQUES Go to the first of five painting galleries with tips on techniques. See what is in front of you as brush-strokes. translucent. OIL. hold the corners down with closespins. OIL PAINTING ON PAPER These are to a five year test.1. re-spray it with water and start again. Wash the #300 paper with a 5" elephant ear sponge. are there sharp corners? long lines? big blends? heavy textures or many changes of color to contend with? Maybe there is a repeated pattern like water diamonds.10. 250 paintings. Don't paint with the wrong color. Each of the recommended brushes has a special pattern or a job it's best suited for. Front and back view. while there's still a slight sheen add colors. (new window) I start painting at the top left and work my way to my signature three times. eucalyptus leaves or grass to which you could match up to a stroke of a particular brush. R=241 G=240 B=167. more than anything else. it gets earlier by 5 minutes everyday.1. G=0. The strokes of a "fan brush" here. RCW#1. R=21. soften at least one edge of each stroke. Blockx French Ultramarine Blue. no extra linseed oil was added to the tube color. Opposite color = RCW#19. Paint all the way to the edges. Strathmore Gemini 300#. describes wax soap (cera colla) and glue with a final sandracca-castor oil (sandarac-castor oil) varnish. (new window) Chapter 17 Pictura Translucida. Fabriano Classico. Cera Colla. moderate rough texture. You must erase pencil lines before painting. He say's the local color is painted in with a fast drying water based paint like egg or casein.paper must be glued to a rigid support. Fabriano Esport. When they're dry. large deckle. Color Theory. *Theophilus Presbyter. WATERCOLOR PAPERS (A & A+ ONLY. this technique is called "pictura translucita". High Art. Pre-wash off the exterior size. pre-wash needed. Crushed Glass in Paint. Fun to paint on. mastic and oil won't effect or lift them. The "Mappae Clavicula". Arches. 300#. Acrylics are easier than oils or water colors. Highlights are not added last or worked up to slowly. 25% cotton. the monk of Paderborn. They all mix together well. One reason is because two coats of white can fix anything and the high lighting can be adjusted. talks of past paintings on a tin plate with mastic and the new experiments with oils. great texture. hard to brush erase. or it could turn from white to yellow in time. Rough and Cold Pressed. turpentine. Fine Artists. the paper won't stain on the first painting wash. Cold Pressed. 300# and 400#. excellent. A water based gesso should also be applied first in my opinion. The local object is then shaded and formed with mastic glaze leaving halos and anything bright clear to shine light. or arabic gum. Rough. hard. fig. (new window) 1200 A/D TECHNIQUE. erases anything. FOUR DECKLES) Waterford 300#.. or a cherry. To be sure. light tub size. (Westphalia). Rough and Cold Pressed. Strathmore Excalibur 80#. New Colors. Artists' Tools of Technique 1200 A/D TO 1575 A/D PAINTING TECHNIQUE 1200 A/D TECHNIQUE. A truly great paper. . Rough and Hot Pressed. they're more a part of the whole picture. 75% fiberglass. 100% RAG. Twinrocker 300#. no white spaces should be left on any unprimed paper. Painting Galleries with painting tips (new window) Night w/c painting (new window) A list of w/c paintings (new window) Pictures of w/c paper test results. Wax emulsion is ammonia and wax. Cimabue. Siena. The lime water medium used to mix pigment for buon fresco may be the Paint Wars media winner in the end. describes the 2nd Dark Age's Byzantine methods for white gypsum-glue grounds. painted statues. wax and lime painting. Bohemian and Tirolean Green Earth's are warmer glazing colors than the cooler Veronese Green Earth. which will also mix with red oxide into a neutral dark. on the other side of the Real Color Wheels center. Red oxide will get a lot more brown in color before it becomes cool. another medium was egg with fig juice and water. 1300. John the Good. sometimes the casein was the medium also. this was the most used and important color. With the addition of indispensable Naples Yellow natural. also the wax paint cera colla. 1284-1344. Giotto sometimes glazed in mastic over egg but he didn't mix them together. They also had boiled and sun dried linseed oil for glazing over the tempera. Greece.1200 A. vermilion. Cyan color as it becomes darker in crystals looks rather like ultramarine blue. 1330. By the 1500's oil on canvas was the way to go. 1300. (ferrous hydroxide and silicic acid). a person can paint an adequate range of flesh tones. thin hide glue will emulsify with egg. fresco was developed here. Sinopis and Cinabrese were the red earths. A detailed description of flesh painting using Translucent green and opaque red earths. vegetable rice paste. The drawing was applied in Green Veronese Earth (iron). Red oxide is a dark red. and glue. were two choices. fresco reigns around the Mediterranean. 1350. following the altarpiece wing panel. this system had a range of colors. burnt sienna. High Art is attained again after 1000 years of learning without wars. Trecento in Siena. Translucent Green Earth is a clay like ocher or umber with a lot of silica in composition. he had Byzantine teachers and worked in mosaic. Classic Rome in the Middle Ages. they were both used as wall murals. (new window) Technique was talked about. Glue. Sometimes the canvas was glued to the wall with casein. 1266-1337. added to that. leaving white to be modeled both warm and cool. These included the first pure landscapes. Prague Cathedral had over sixty altarpieces. "Hermeneia of Dionysius".D COLOR. and with or without ammonia in the wax. sandracca (sandarac) couldn't be. Green earth was the first down. Venetian turpentine balsam. its opposite color. and panel painting. a basic tempera. Which medium was best for the artist? Egg or casein mediums were used to paint over dried plaster in the "a secco" technique. with or without wax. a natural opaque iron red [YYMM]+[10% CCCC]. Sandarac (sandracca). Lime and casein were the other choice water based mediums available. they wouldn't mix or stick to each other. soap plus cherry sap gum is the Byzantine choice up to this time and Giotto's favorite. 1250. so say's Cennini. later. Painting on walls in oil paint in Germany is a very common practice. That's a major front in the Paint Wars. Vermilion or a high calcined burnt sienna was the next color added. caput mortuum. mixed 1:1:1. mastic and turpentine. a Valois King had 239 tapestries made for his castle. a less advantageous mix. Simone paints some buildings with a single vanishing point. because the horizon line was never divided into degrees of image. Tapestries.. HERE IN TIME. nut oil. the second vanishing point had never been adequately explained. It was this combination of the two iron pigments and the very opaque Naples yellow antimony lead pigment that did the work. gypsum or clay and lead white was the ground. Byzantine style egg medium distemper painting with gold backgrounds. The first easel painting were done in the Paris School. More mastic or oil than egg would make it turpentine based. Simone Martini. or gum. The support panel was coated with glue than canvas. Three graded tones to dark rounded and modeled everything. Giotto. A darker green was made with burnt green earth. a new cycle of artists was beginning. and lots of illuminations. was a final glaze. . Duccio 1260-1318. called soap. Ochers. a red can be cooled off by the addition of 10% cyan. 1345-1400. also Lamp Black and Yellow Ocher mixed. Bohemia is the center for International Gothic and "courtly commissioned paintings". "a bueno" is fresco on wet lime. TECHNIQUE Cennini says. at least it never changed so it's up there with acrylics in permanence. Duecento in Florence. it mixed with all the flesh tones and under tones throughout the painting or fresco. If oil was used. and white lead were other colors noted. fresco. stained-glass. stained glass was a new media. The Painter's Handbook from Mount Athos.. in his "Trattato della Pittura" book. 1240-1302. 1300. 1441-1506. 1430-1516. 1500. light was from the sky. 1471-1528. He tried everything in paint. 1500. 1475. 1450. His one biggest mistake we all remember. The Atlas describes Germany as in a cold moist belt and Milan in a warm and rainy belt. He studied under Verrocchio. "Marciana Library" manuscript discribes newly learned art techniques. Mantegna's father-in-law. 1452-1519. I could almost hear birds in the background. TECHNIQUE. The first artist to reach the "high art" of painting for over a thousand years. Fra Angelico 1387-1445. became very hard. Giorgione. and glazed over an egg-oil-water tempera under paintings. Leonardo as born in village of Anchiano near town of Vinci near Florence to Caterina and Ser Piero as an illegitimate son. others would not be far behind but he would never see them. Albrecht Durer. 1429-1507. 1500. German Renaissance. Andrea Del Sarto. the Milan wall painting in the German oil technique. the first "comic book" painter. 1486-1531. Quattrocento in Florence. Claus Sluter. Four colors. maybe he was the best of the old school. 1477-1576. alla prima. 1401-1428. He died 67 years later in Cloux (France). Masaccio had a new conception of reality. like the Mona Lisa. Flippino Lippi. 1400-1470. 1500. Icons persisted for the next eight centuries in Russia. 1416-1492. I think the wall was wet when he painted it. Da Vinci's unnatural light pointed out the obvious. instead his shadows were of the same deeper color. *Filarete. balsam or oil. High Art in marble "Well of Moses". fresco. very opaque. Netherlands. and suggested "rock oil" which was local crude oil. 1500. his work was just too charming. 1457-1504. Giorgione and Titian were fellow pupils of his in 1508. 1390-1441. it was happening! 1410. TECHNIQUE. The Germans were adding some in the 1480's but they were minor. Bottichelli. most paintings were done in the "clear light" without shadows. painted in fresco. his eye could see the second point of perspective. it doesn't fit. Caravaggio. Hubert Van Eyck. LIGHT. Quattrocento in Umbrea. son of Fra Filippo Lippi and a better painter by one generation. He influenced Jacopo Bellini. 1573-1610. Florence. 1400. a transparent yellow resin gum is being used in oil and water color. 1500. Quattrocento in Viennese. Quattrocento in Siena. Gamboge. and was very fast drying. 1400. Correggio. Corrections were made in white. Green. The First Shining Star. he died when he was twenty seven. Under painting white made from half oil white and half tempera white. 1375-1405. his bright yellow halos were painted with the new tin-lead yellow. A similar technique as described by Theophilus two hundred years earlier. It's said that Titian visited him to see the brushes that painted such fine . 1500. switched to oil and became one of the greats. the last of a long line of Greeks. perfect figures with lots of action. 1360-1427. Da Vinci. shaded with black. but he was gaining on the realistic approach. You can always tell a portrait painted inside with an outside background. The same as Hering in 1880. Theophanes. 1489-1534. plus white and black. Gentile Bellini. Gentile De Fabriano. 1500. the classical era of Venetian painting began with Giorgione. International Gothic. Signorelli. Started in fresco in Florence. 1400. 1478-1510. Hieronymus Bosch. oil. Don't confuse him with the better artist a hundred years later. art has reached the peak. Andrei Rublev ?1360-1430? is the most famous of the Moscow artists. he followed Mantegna's style of tonal atmosphere. 1400. High Renaissance Italy. The High Renaissance in Italy. worked in Moscow while it was becoming the most important art center for the icon. THEORY. TECHNIQUE. Sassetta. Giovanni went from egg to oil medium in his lifetime. 1392-1450. Red. never getting very realistic. Giovanni Bellini. He used the most expensive colors in the old style. Parma. 1450. Blue. of the German School. French sculptor. sometimes. Florence. 1400. glazes colored the picture. logical source started happening about 1525. 1500. the last best. 1500. Umbrian. It could be laid into wet or dry varnish mastic. mixed up boiled linseed or nut oil and mastic medium. Yellow. Up to this period. His main medium was egg tempera. 1444-1516. Giovanni Bellini. COLOR. 1400-1469. done in white on a colored "imprimatura" ground. Piero Della Francesca. but he never dreamed there could be a third and forth point. his world belongs to Satan. studied and taught Geometry and perspective. it rarely produced shadows. life wasn't staged in his fresco.1400. 1500. Tomaso Masaccio. liked nut oil. Light from a definite. Quattrocento in Florence. 1444-1510. It seems he had no teachers but his work has a Da Vinci feeling. He avoided gray or brown in colors. 1500. The brightest shooting star that ever was. purple and violet. already the most famous artist alive. "He painted directly alla prima with full color on a red bolus ground. He said they were made from hairs off the back of his hand and painted in egg tempera. Netherlands. Phthalocyanine Blue. 1477-1576. Lotto (who also kept a pigment list in 1522). Antimony was calcined to make yellow and orange hues in frit. THEORY. green and violet are good driers. Indigo. or Bremen Blue or a native Cobalt Blue. 1534. raw and burnt brown. High Renaissance Italy. PB15. Adding bulk to the oil glaze means the original amount of oil used was less. Louisa Matthew. TECHNIQUE. He was a sculptor until 1503 when he first picked up a brush. an art historian at Union College in Schenectady. and took no students. 1475-1564. Whatever it was he had the primary colors right. and Barbara Berrie. vermillion (opaque red). Manganese Native made opaque white and opaque black. TECHNIQUE. 1749-1832. red lakes (transparent magenta). Blue. magenta. Painted in resin-oil paint. LIGHT. electron scanned more then 100 items from that list. You will see deeper into the thickness of the oil media. Glass Frits covered the opaque color spectrum. Barbara found glass particles mixed with their oil media's fine transparent glazes. then used an egg and nut oil tempera for details and under painting. Crystal (cristallo) was the finest colorless glass made from quartzite silica which was obtained from along the Tinico River in Northern Italy. Yellow. opaque copper cyan (Egyptian) with the full range of greens as iron was added to cobalt blue. opaque lead-tin yellow. High Renaissance. fought with Raphael. It wasn't Ultramarine Blue. 2005 (well it was new when I inserted it) Science News. opaque cobalt blue smalt. He didn't like Da Vinci.C. Bruegel the Elder. Manganese was an important pigment as it should be today. He made his own gilded frames and always did prefer sculpting. added glass to make paints fuller and use less yellowing oil. Titian paints "Bacchus and Ariadne" at dusk.hair. Speaks on Tintoretto. sometimes only the highlights survived". Italian High Renaissance. *Goethe. 4 to 8 microns wide. The High Rennaissance had a full set of transparent colors and we never knew how they got it until now. Venice. These are the best transparent primary colors in history. by Alexandra Goho Louisa Matthew found a 1534 inventory of artists' materials from a sales color house in Venice. It was a very fast technique called "fa presto!". 1550. Blue Vitriol or Pompiian Blue Lake. Michelangelo. the medium itself will than redirect light back to you. TECHNIQUE. That sheds light on how the Venetians of the Italian Renaissance got such depth and translucency into their paintings. that was Rose Madder Lake at the time. and Magenta. Venice was the glass making capitol of the world. Durer drew in black egg tempera and just glazed over a clean ground with mastic and color. Perugino and Raphael. Tintoretto. This is Lauisa Matthew's great contribution to lost knowledge. but I do know that the lesser oil amount will yellow least. antimony (opaque yellow lead). They painted with transparent pigments. D. a Ferris-cyan. orpiment (transparent yellow). Tintoretto. He was in a class by himself. The cyan could have been Azurite. "Italian Journeys". probably red also. 1550. 1518-1594. I have never tested glass as a drier. PY153 Nickel Dioxine Yellow Complex and Isoindolinone Yellow R are the Indian Yellows. hastens the drying time of oil as well as adding transparency and solidity to magenta transparent dye. Than re-analyzed previous paint samples of Titian. March 12. He was really good and really fast. his first painting "The Holy Family" when he was 28 years old divided into three colors. then more glazes. 1550.. Although he never professed it. This can cut your oil down 50% in volume and add light and depth to the paint while reducing future yellowing. *Armenini. Azurite (transparent cyan in this case). LIGHT.3 transparent (Cyan) Quinacridone Magenta Y form PR122 1550. Tempera white doesn't sponificate as oil lead white does and nut oil doesn't yellow as badly as linseed. red. I don't think the lakes could take the heat of molten glass so ground glass was added to the medium instead of making a frit out of magenta. By adding finely crushed clear glass to linseed. An artist finally showing the outside sun with shadows playing on the figures. NOTICE: Ground glass. 1525-1569. NEW INFORMATION. stand oil and balsams. Resin oil over tempera. NY. a conservation scientist at the National Gallery of Art in Washington. Titian. Italy . Cyan. Colored glass. THE ARTISTS' TOOLS OF TECHNIQUE Gauze. Used as an artist might use a photograph today. as egg tempera. "View of Toledo". a string grid on a movable frame held in one spot to relate size proportions. Reducing glass. Gainsborough was associated with this device also. that where I clip the arm on and where that square building's vanishing point goes to. Mirror. LIGHT. size relationships measured from an arm's length. Real color wheel. 1575. Titian's student painted with the same techniques. sees the whole picture without standing back. El Greco paints a city in a storm. He studied under Titian. Chapter 18 ELECTROMAGNETIC SPECTRUM COLOR CHART (EM) . Claude Glass was a compact fold up mirror that was slightly convex with a black backing. and that Titian started working tight. The drawing was done with white chalk. He let his fingers do the blending. Acrylics. cyan will show the strength of warm colors. El Greco. Claude Lorraine. while suppressing the overwhelming highlights. A bar attaches to the back of the painting. The overall effect for the artist's purpose was to allow the subtlety of the middle values to emerge. shows fore shortening and accurate layouts. said egg and oil started in Germany. to show opposition's when mixing neutral dark colors in pigment. and casein have no dragging properties. the "blackboard effect". Some of Bouguereau's drawings were rendered with the aid of an optical device known as the chambre claire. by means of prisms. A Cretan living in Toledo. Titian and the Venetian School. Plummet. level and behind the picture's horizon line. Acrylics. Black mirror. Measuring stick. a weighted string to check against vertical. Pantograph. and shadows received enough white to except and show color with glazes. placed to see the model and picture simultaneously. to check faults in tonality. zinc and titanium oxide pigments it takes two coats of white to cover a dark color. 1998 Perspective Bar Tool This piece of equipment is used to plot two vanishing points 90 degrees apart and can extend to ten foot for larger paintings. painted on a bolus ground of dark gray. He did not invent it though. to see in reverse. Retical. The Claude Glass. directly onto a drawing board. wax-water emulsion. stretched on a frame and drawn on. so middle areas were scumbled on into half-tones. This instrument. the chambre claire permitted the artist to readily and quickly reproduce certain details of nature which could be used later in the studio as details in a painting. yellow will expose contrasts. allowed the tracing of a subject's outlines. Sometimes times both vanishing points are off the page in a 60 degree picture I just match up the buildings most extreme top angle with the arm and clip it on the horizon bar by matching the angles of the arm bar to the image. El Greco. the perfect consistency of paint for stroking is thinner with acrylics than in oils. that makes it not so "impasto" but a labor of love. brown or dark red. as observed by the artist. 1541-1614. He laid a blue-green final glaze over the dried painting for the night effect.*Vasari. That position works now for any building in my picture with those compass angles. Look at the building and point to the extended vanishing point to the left or right of my picture. No extra color was used in the white under painting. It has hard arms on pivots that clip onto the bar and lock down on the vanishing point. layout and modeling was done in the mixed-white impasto under paintings. enlarges images mechanically. are thinner in basic use-ability. instead of using black pigment. usually. The darks were still preserved with detail. was named to honor the landscape artist. he loosened up in old age because of his eyesight. smoother than smooth you might say. Spain. Today with the finer ground lead. Electromagnetic Spectrum Chart 600 ppi by Real Color Wheel . 1. For the less saturated colors like yellow and orange move the slide to the full hue. (that's really big) and read the color just above or below the color's dot with your color picker. If you want more information about the electromagnetic spectrum it's here on my rainbow page. (new window) .000 nm to 1 meter. Here is how to check it for color accuracy. The download 600 ppi tif has an sRGB IEC61966-2.000. This small 72 dpi web image has a Twentieth Anniversary Macintosh profile. If you would like the link to this large 600 dpi tif EM image in a Zip file ask for one by Email.000. Open the downloaded 600 ppi EM spectrum chart and enlarge it 200%.1 profile. Read this color in an RGB color wheel like Adobe's or the Real Color Wheel.Electromagnetic Spectrum Color Chart (EM) Real Color Wheel Electromagnetic (EM) Spectrum Color Chart is very accurate and measured in Nanometers.Email Here is a sample of what the downloaded image will look like. These caves were located from Central Africa to the coasts Spain. Africa was circumnavigated by the Phoenicians under the Pharaoh Necho. but only the sculpture survive. Greece is tackling the problems of 3/D and 2 point perspective. very crudely. 500 B. 900 B. like in China about this time with the ancient Hisa people.C.. with some Egyptian influence mixed in. The first airbrush. wax painting is huge.. and they liked wax. 600 B. wax and mastic or lime fresco. The sphinx had lost her powers and she threw herself to her death. Columns were made in this manner and the style was copied in stone. Tanzania. 800. This First Dark Age period lasts until 650 B. The Egyptian artists were gaining self control and losing the religious and state controlled bindings.. HERE IN TIME.000 B. HERE IN TIME. 500 B. and yellow to red earths of iron. yellow. Art and sculpture were highly prized by these people. smelting was a highly developed art.. everybody did. 1000 B. is High Art. It was the major medium from the Far East Coast to Mesopotamia. B. Palaeolithic Culture. also obsidian.. 1100 B. Temples were built of granite. The wars are costly and Egypt is sliding. ammonia is big in the Paint Wars. China is 80% of Egypt's size.C. the Egyptian's. all war scenes. nothing but some pottery survived. where a hollow reed was used to blow the pigment on the walls. To attain the status of High Art it takes 200 years of peace. mastic.. Homer units Greece together with his writings. Their work is strongly influenced by the influx of Greeks. but sliding. Greece. Potash glass frit was made with copper.C.. Europe's art is at ground zero. Pergamum sculpts the "Dying Gaul" and "Dead Persian" in perfect realism. casein or mastic.C. for now the lacquer media was winning a Medium Battle in the Paint Wars. lacquer. Crushed limestone white was baked into quicklime plaster of Paris. In an English mine a chipped obsidian figurine was found of a pregnant woman in the back of a limestone cave. Ordinary people lived in clay and mud houses. winning. Egypt and England. The Great Pyramids of Gizeh and the Sphinx were made of limestone.700. the adobe homes were whitewashed with lime paint and mineral pigments like blue and green copper sediment. She asked Oedipus "What creature is it that walks on four feet in the morning.C. Northwestern Dorian invaders have taken over Greece.C. Greek art has abstract qualities as in WWI and WWII art. From this limestone dust I think cement was made but there is no proof.C. much like Picaso's work after our world wars...C. Myron working in bronze and is the best that ever lived. so far.. "as a child he crawls on four. The Mycenaean civilization is over. the sphinx is a winged monster with a woman's head that sat outside the gates of Thebes and challenged anyone who passed by to solve her riddle or die. they were friends. Walls and paintings are done in either wax and ammonia... RIDDLE?? The Androsphinx is a sphinx with the head of a man. 2700 B. 500 B. Euro-African finger painting on mud and rock cave walls. Just like Rembrandt's colors.C. Oedipus became the King of Thebes. poured into papyrus forms.C. 1500 B..C.Chapter 19 CHRONOLOGICAL HISTORY OF PAINTING 30. This level of skill won't be reached again until the 4th century in Greece.. but Greece was crushed and looking outward to other shores.C. being used in Greece and Etrusca. Wheat shafts and hemp were added to the mix with sand for strength in building.000 B. Statues were pored in gold and bronze. France and England.C. 4000 B. their sculpture is already back to being realistic. The most famous are in the Lascaux area of France and Altamira Spain. art degenerates to petrogliphs. 225 B. adding alum would make cement.C. who were getting good and the artists who were teaching them. Egyptian's are painting on bas-relief murals of plaster in gum water color or maybe lime water. and three in the evening? "Man" Oedipus answered. The statues of Khafra and The Scribe are so natural and life-like there almost alive. Pigment mediums were water based tree gums. but great. Egypt is huge. Important people were buried in mastabas.. the oldest civilization on earth.. egg. they were becoming more realistic. wheat paste glue and lime. sandracca (sandarac). Egypt's first capitol was in Memphis. Animal fat mixed with native pigments. 5000 B.C. Etruscans paint the living and dead together. and hooked on the alcohol based paint.C. Egypt is at a high art peak and is going to start spreading like the Delta. 3000 B. cut with metal saws of bronze. . a black native volcanic glass found in chalk.000 B.C. a color in direct competition with India's indigo. everything was painted.C to 1200 A/D ARTISTS AND PIGMENT HISTORY 30. two feet at noon. is still small. to 10. Good workers are leaving town. The Greek and Etruscan civilizations are forming. Greece defeats the Gauls. Flint was mined and chipped for weapons in Central Africa. teaching I suppose. Egyptian artists were painting in Greece. The early alphabet was story telling pictures. brown and red clay with bone and charcoal soot black. This was a solid cyan pigment that could be mixed with wax. a grown man walks on two and an old man leans on a staff". they could sculpt with it too. 700. A/D. mastic. The Palatine Chapel workshop in Germany on the Rhine and others in Vienna. and JeanBaptiste Regnault in 1799. It's happening on Byzantine soil not Italian. and they don't know how. Brussels. Thriving schools divided up France at Luxeuil and Corbie. and cera colla or cara colla. they were all happy to do the work. and emulsions. The Iconoclastic Controversy war. and lime water were the paint thinners. The Vesuvius eruption saves a few Italian paintings and murals. illumination painting on parchment with an egg white medium. A/D. Byzantine art is carrying on the abilities of the Greek's. They also had egg and casein. Hellenistic Epiphanes. vermilion. "the god manifest" identifies Jehovah with Zeus and himself with both. the Aphrodite of Melos and the Victory of Samothrace are carved in marble.C. it could still be called 'High Art'.C. 500. turpentine. Art is in it's infancy. gilding.. a wax soap called Cera Colla (new window). a transparent painting done on polished tin in glazes of mastic. Pigments were either crushed and opaque from local material or soluble and transparent from imported stock. These were used for. gold.842.. Perhaps the last great piece of sculpture was of Augustus. Hans Baldung in 1525. Cleopatra kills herself with an asp to be with her father. These guys were really good.C. 100 B. 600. 300. all art that was hanging in their temples and palaces was destroyed. 200. it's a shame we lost all their work to a religious internal problem. priests are painting pictures in the bibles their making. Christianity was the same thing in Rome and Greece. A/D. ammonia. A/D. begins leading art out of the Dark Ages by painting his alter. The French abbeys combine art and writing. a wax and ammonia based paint that dried insoluble like today's acrylics. 100 B. which were both water based paints. 165 B. thirteen generations of no practice ended the art of painting. Paris. Wax and pigments were melted for painting buildings. alcohol. Pompeii. now a war story was being told and the artists were still very good. 1182-1226. 650. The Trajan Column shows a slight change in the reason to sculpture. war is ending High Art. both the opaque and transparent palettes were complete. that were never done again. There are no Greek or Byzantine paintings from these Dark Ages but we know the mediums they worked in. castor oil and alcohol made a hard finished paint. Botticelli would paint them again in 1478. 476. Done by religious orders.. A/D. cera colla. Only monks and priests paint now. but it was less than the production work of a hundred years past. St. A/D. at 6'8" in white marble. 1150. pictura translucita. 547. A/D. A/D. especially the Benedictines. Rome won and destroyed pagan art which was superior. Sandracca (sandarac). still based on the Old Testament started appearing in Siena. among them is one of the first classical "Three Graces". HERE IN TIME. where all paintings were destroyed. HERE IN TIME. 400. is the peak in High Art and the end of High Art. the sun-god Re. and they fought about it. HERE IN TIME. very Early Middle Ages. Roman's and themselves. blacks of iron and manganese. genre figures of daily life are carved in marble. The "Lucca Manuscript". 1200. 200.200 B. blue's with cobalt and lapis. Vienna. describing alum and egg white paint for miniature painting and oil in paint. Although Greek art in general was still a high caliber. The war is over and people are in peace. MEDIUM. it deserves the title of 'High Art'. The First School of Pergamum. It wasn't safe for the artist to paint anymore. 117. most art was destroyed by Rome as being pagan. A/D. Two art forms were done in this Second Dark Age. mosaics are as difficult as sculpturing and mosaics in churches was their thing along with painting. Greek artists went to Rome where the action is and helped Rome along. "The Boy With a Goose" in marble is the greatest sculpture ever carved in my opinion. In Egypt. whites of tin. 200. Greek and Byzantine mosaics changing from Late Antiquity to Early Middle Ages. the bullet was spent. The Vatican. Byzantine. One was the "pictura translucita". again. Michelangelo and Bernini in the 14th and 15th centuries would again reach this peak of perfection. Tintoretto in 1578. A/D. Mosaics are incorporated in buildings. 10 B. Francis of Assisi. only different. Raphael in 1500. Rome. Water. describes the last High Art period making transparent stain or dye colors from plants with alum precipitates.C. turpentine and wax together painted pictures on wood or ceramic. . Italian-Egyptian fresco bueno on soft plaster. gums. A/D... Boethus. Ammonia and wax made a water based paint that dried insoluble. oil was going to be the preferred medium. A/D 79. Ground Zero. The Second School of Pergamum. From the same period comes the "Heraclius".C. deep greens. The next time artists were going to be this good. without oil.80. originally named Tommaso Cassa Masaccio.oil. egg tempra to oil. Mathias Giunewald. born near Florence. Venetian School. Duccio di Buoninsegna. Fresco Northern Renaissance. Hans Memling. Giovanni Bellini. Giotto di Bondone. this is the first noted use of linseed oil. it's a receipt for house paint. The Three Graces 1503. The Intihuatana stone is a precise indicator of the two equinoxes and other significant celestial periods. Leonardo da Vinci. mosaic. The Russian's would paint icons on wood for the next five centuries. Giorgione of Castelfranco. Young Madonna 1490. Michelangelo di Lodovico Buonarroti Simoni. I conceder Raphael the finest artist of the Renaissance. Raphael . Michelangelo. Maesta for Siena's Cathedral (1308-11). Cennino Cennini. Masaccio. Jan van Eyck. Giotto. 1284-1344. oil. Siena. Inca people. Ghent altarpiece (1432). Florence. 1452-1519. Rucellai Madonna (1285) for Santa Maria Novella. Simone Martini. http://www. egg. who could work in glazed tile not just on parchment or wood. Florence.36. today it's $26. fresco. Florence. fresco. 1370-1440. (new window) The price was $12. Venice 1483. Russian icons on wood were painted in egg-distempera. Cennini. Santa Croce. painter. Jan van Eyck. Collaborated with his brother Hubert. Tuscany. Brunelleschi 1450. Dirk Bouts. Mona Lisa La Giaconda. Byzantine style. Piero della Francesca. The first artist to reach the "High Art" of Painting for over a thousand years 1390-1441. fresco . Padua 1304-13. Byzantine style egg medium distemper painting with gold backgrounds. late Gothic Florentine painter. poet. Florence. Rome. 1503-1505. Giovanni Bellini. 1436. Oddi altarpiece. Florence. Campanile. Flemish. Trecento in Siena. .Rafaello Sanzio. fresco 1430-1516. Madonna and Saints in Bologna. Ognissanti Madonna. egg tempra handbook 1437 1400-1455. 1200 A/D. Albrecht Dürer considered him the best of the time. Taught Giorgione and Titian. Hieronymus Bosch. the first great painter of the Italian Renaissance. fresco 1401-1428. sculptor. Donatello. Cimabue. most of his great works burned 1577. lived and died in Venice. Raphael. Rembrandt 1240-1303. were among some of the most celibrated of the Southern Renaissance artists. La Belle jardine 1507. Titian. Marriage of the Virgin 1504. Max Doerner. taught Giotto and Duccio. Florence-Uffizi.1200. Leonardo da Vinci. Mond Crucifixion (1502). Botticelli. Astronomical observatory. Artist.ducciodibuoninsegna. the mortarless joints will not permit the insertion of even a thin knife blade. Tempera. Mosaic of the Navicella 1300. and engineer of the High Renaissance 14771510. Pieter Brueghel the Elder. Machu Picchu. wedding portrait of Giovanni Arnolfini and his wife (1434) 1416-1492. Their artists were taught by the Byzantine. tempra. 1200 A/D To 1575 A/D Painting Technique Southern Renaissance. architect. oil. (Bencivieni di Pepo). TECHNIQUE. fresco. 1280-1344+. 'Materials of the Artist'. Fra Angelico. Tempera. Hans Holbein. 1475-1564. this book should be on you're shelf. single vanishing point. Albrecht Durer. Oils. 1933. Frescoes in the Arena Chapel. Dome of Florence Cathedral. Hugo van der Goes. Chapter 19a CHRONOLOGICAL HISTORY OF PAINTING 1200 A/D TO 1550 A/D ARTISTS AND PIGMENT HISTORY See Chap17. Building blocks weigh 50 tons or more.org/ Stained glass was a new media. England is protecting wood with oil paint. 1255-1318. Baroncelli Altarpiece. Italy. Knights Dream 1504. Giotto's Tower of the Cathedral 1344. The Stanza della Segnatura series of frescos 15091511 include The Triumph of Religion and The School of Athens. Urbino. Doerner found it. Andean mountain top (9060 feet elevation). 18/1870. 1452. Michelangelo 1500. 7/1680. (new window) Here is the best archive of classical paintings outside of a museum I have found. Donatello 1486. Birth of Venus. Mary Magdalen. Corot. TECHNIQUE. 14/1827. Rubens considered him to be his best student. NEW COLORS. 12/1800. The "bad boy" of artists. ?? 1630. Florence. and Blue on the other.1477 or 1488-1576. he conquered natural light. Pieta. 1730. Sandro Botticelli.Tiziano Vecellio. 1611 . They called it the "soup" because of its easy mixing and painting qualities. Venetian balsam was used as a retouching medium and applied warm and thin. The Art Jubilee. LIGHT. 16/1060. The National Gallery of Art Washington. Adriaen Brouwer. 20/1897 Mark Harden's Artchive On Line. Albrecht Durer. what a party! 1600. Gates of Paradise. In his color circle. Rome. Red has been placed on the one side since the classical antiquity. Self Portrait 1500. painting outdoors where the natural light and color lives. This was a color that took yellow to brown. His best work was done in England. yellow and blue where colors are defined within a linear division. 1605-1638. Chapter 20 1575-1685 The Antimony Naples Yellow Color System 1870 ARTISTS. oil on wood 1500. 1471-1528. Caravaggio's light was called "luminism". went . LIGHT. 2/1630. He painted bar scenes like his friend Frans Hals. 17/1867. 13/1810. He was only thirty-eight when he died of malaria. TECHNIQUE. 8/1710. 1599-1641. The Roman's used this color for awhile. 1796-1875. Veronese covered his whole canvas with a green middle tone. 20/1890. His ground was gray. live fast and die young. NEW LIGHT. an internal picture painted with real external entering light. Italy.Belgium . Orange between Yellow and Red. has shown Rembrandt not to have used Asphaltum. Over this he painted in oils. THEORY INDEX OF DATES 1575-1897 1/1575. LIGHT. TECHNIQUE. Antwerp. an obvious external light. 1600. 1573-1610. Van Dyck. 1489. another hundred years later. 1575. 1577-1640. changed from egg to oil in his lifetime. he under painted the highlights with white. He painted landscapes by the dim light of the moon. Flemish. 1630. COLOR. He and Masaccio are two of the most important painters that ever lived. 10/1780. 11/1795. 5/1659. 15/1841. With so much oil in it. artists from every nation came to visit. Bitumen. Titian . 9/1750. or Asphaltum was introduced in 1630 and it was to become a very well liked color. Chardin. 1699-1779.The oldest known color system is credited to astronomer. they both died young. what an inspiration. 19/1881. Arrival of the virgins in Cologne. Ghiberti 1455. It is possibly the oldest system to use the trio of red. 3 million visitors. Hans Memling. 3/1630. Botticelli (1444-1510). the painting was finished alla prima. 6/1665. Some stayed for thirty years. 1526-1588. one mastered form the other mastered light.Finland . Flemish. It was thicker back then. One hundred years later one man put it all together. beginning with a brown painting which included the shadows. 1630. Veronese. De Mayerne said. pale Yellow between White and Yellow. 4/1650. 1613 . Caravaggio. Yellow then comes between White and Red. a great painter. it was re-discovered by the Dutch. priest and Neoplatonist Aron Sigfrid Forsius (15691637). new colors were made daily except for white. it was a very poor drier and should only be used as a final glaze or it would crack. Rubens. Marco Boschini said.Franciscus Aguilonius (1567-1617) was a Jesuit priest in Brussels when his color diagram appeared in 1613 in a work on optics. would conquer natural color. THEORY. Light would come in from a window. between the colors Black and White. Van Dyck used a very thin painting medium of linseed oil and mastic. 1630. by age 19 he was a master. He studied with Titian when he was twenty three. In 1830. then laid the picture out in blue egg tempera before adding white tempera highlights. which was ground in nut oil and preserved under water. Paint the highlights white. Sandrart said that Rembrandt said. 1646. Born in Milan. Verdigris and black made the shadows. His art contains elements of both Caravaggism and chiaroscuro. Frans Hals. These are the same proportions I use. linseed oil. which he didn't like. reflections in the shadows were painted with a highly calcined Burnt Sienna glaze which has a vermilion hue. "It is all-important to hold only to nature and no other rules". Spain. the panels were then primed with oil paint. LIGHT. Poussin. . Oil of spike has solvent action on lower layers. TECHNIQUE. 1596-1656. Rubens had just died. Palomino said. Rembrandt had a flair for form definition. 1599-1660. De Mayerne. Rembrandt's light seems to come from an unseen spotlight of sorts. His light came from an exposed or hidden candle or single source of light. Glue painting was practiced in Seville as a preparatory training for oil painting. some of his "official" group portraits measured 25' x 25'. 1659. Velasquez. Hals had fun painting. mastics and sun thickened oil. The picture was laid out in white and brown egg tempera and painted alla prima in oil. a Spanish possession. mixed with Smalt he made his greens. lay each tone in its place one after the other before lightly mixing them with the brush. place next to them yellow. he mixed Venetian turpentine. Dutch. actually any and all were used according to availability. They also said he didn't use resins or balsams. He directed external lights into interiors. Develop the contours slowly. grounds were made of gypsum and glue. and enough siccative to dry in a day. Doerner said. This is a very fast technique. Clean brushes are important. sunthickened walnut oil and mastic as a medium. others think his contemporary Frans Hals was. TECHNIQUE. Some say he was the most painterly of painters.to mass everyday and at fifty-three married a girl sixteen. While the Flemish Rubens in 1640 used balsams. 1606-1669. French. he lowered it to show more sky. or a half-chalk ground and glue. He did with light outside as Rembrandt did inside. 1594-1665. and use a darker red to carry them over to the shadows. that's the way you learn. it was another lead color. Alternate warm and cool glazes with transparent colors only. non were really permanent. De Wild said. 1580-1666. can you imagine being in a bar drinking with your friends and painting them having a good time. LIGHT. Carman. a transparent magenta lake replaced Dragon's Blood and Madder Lake. DC said Rembrandt didn't use Naples Yellow. 1593-1652. Naples yellow with its high density covering power was an important color with Rembrandt as with Rubins. Velasquez used a dark ground and gray under painting. this is a new idea of his. 1652. 1612. this is chiaroscuro. or shellac. He begin by painting the shadows lightly without a hint of added white. painted on a light umber brown ground and under modeled with white. sharpening it or losing it to the background. that's the boundary of chiaroscuro. and pipe clay. LIGHT. a pinpoint of radiating light. He used a white gypsum and glue ground and a light gray egg tempera imprimatura. 1656. Natural sunlight is not chiaroscuro. Spain. Rembrandt. he worked in Naples with a Spanish spirit in the Valencian school. Massicot. TECHNIQUE. Spain. an area radiating light to other areas. Lights have body. gum. his medium was not the mastic resin. 1630. both he and Gerard Dou painted this light called chiaroscuro. but with Linseed Oil. and that's what art is all about. Lead-tin Yellow. using instead. 1591-1652. The next light was hidden but not as obviously. his paintings date from 1629 to 1642. Jan Van Goyen. than red. where it wouldn't effect the lead colors. His shadow tones were glazes of Cassel Brown and Gold Ocher. TECHNIQUE. classical remnant. new changes on the horizon line. perhaps stand oil and raw oil. Rebera. 1655. he was right. so classical scenes were still popular. Verdigris was a blue-green copper based color that had to be isolated with either egg. he went from egg to oil. Netherlands. Rubens physician. The National Gallery of Art Washington. 3:2:1. The northern Dutch school of art had left the southern Venetian school behind. Rembrandt. 1656. Venetian turpentine and thick oils of the south. literally. then painted alla prima with heavy liquid resin glazes. Rubins preferred oil of turpentine to oil of spike. without forcing the development of the picture. He painted on a gray ground like Rubins and used the same medium. TECHNIQUE. Don't paint over places that have sunk in before bringing them out. Talk about huge. Sculpturia et quae Subalternarum Artium" and said this about Rubins. Georges Dumesnil De La Tour. Dutch. Perhaps he painted at night with a kerosene lamp. France. I like that. Stand oil was king at the time of Rembrandt's death in 1669. Zurbaran. 1650. Hidden internal directed light. wrote "Pictoria. 1650. Rembrandt was a changing figure just as Giovanni Bellini was. but stand oil and raw oil. Use a cool brush load of gray to go over and soften them into the desired tone. as they only found linseed oil on his canvases. Jan Vermeer. it has direction and shadows. Antimony yellow enjoyed it's greatest popularity from 1750 to 1850 while the greatest artists were alive. Coming in from the window. 1666. The next generation after Rembrandt went for more natural colors and natural light. 1665. it was there. Spain. Rembrandt pre-mixed a warm and cool white which he laid on in layers. until the next wave of great artists in the 1500's. 1665-1675. In 1750 Lead-tin yellow was out. to the much loved. Tin Yellow was first used in 50 AD in European painting. Ruisdael. warm light yellow. TECHNIQUE. Lead-tin yellow had replaced antimony yellow by 1300. This is because a natural mineral of antimony does not have the free radical that a calcined antimony would have. now called Naples Yellow grew until 1890 when it started to be replaced and mixed with cheaper yellows. didn't really need a model. etc. Murillo.Pages 220 to 225 in "Artists' Pigments" show very well how.. not like the frivolous. He pre-made an unbelievable amount of flesh colors and like many of his day. Rembrandt's final glaze was with asphaltum. Dutch. in 1968 first called two types of related lead stannate (mineral yellow) yellows lead-tin yellow 1 and lead-tin yellow 2. So what if Cadmium Yellow is brighter. Calcium antimonate is white. one over the other. Again. This should explain the coming and going of antimony's popularity. similar in greatness to Caravaggio. So. He did the best Dutch job on clouds. Doerner says. Lorrain. He devised the first color wheel. 1665. Light wasn't a mystery. 1600-1670. Great artists loved it but it was expensive. Christian Wars. The orange/side color was achieved by using lower temperature for a longer time. That which was called Naples yellow in 1550. THEORY. overpaid. He still went from yellow to red to brown to black for everything else though. Today it seems that only one or two colors of the six color set are available. Lead and tin also made this color cheaply and it replaced antimony yellow from 50 to 350 A/D. Antimony Naples Yellow officially lost in the Paint Wars about 1900. so it too darkened to brown. That's a cheap opaque light yellow that can be used as a base replacing the expensive antimony set of colors. The soft yellow stone cast off by Vesuvius was the original crushed Naples Yellow. LIGHT. 1665. The true antimony colors are more opaque and faster drying than the CHURCH-OSTWALD "premixed from other elements" hues called Naples Yellow Hue. THE ANTIMONY NAPLES YELLOW COLOR SYSTEM 1870 Calcined antimony made in any of these colors. 1613-1675. DC said Rembrandt didn't use Asphaltum even though it was a popular color at the time. I blame the killing wars for ending the preference for the Naples Yellow lead colors. Antimony (Naples) Yellow was available from a light cool lemon yellow to a pinkish orange yellow. Art was going to pieces up there in France. In this case Giallolino was the name for yellow and Antimony Yellow up to 1600. Lead-tin Yellow was always the cheaper way to go. England. Newton. With that idea and only thirty five lifetime paintings. is now called lead-tin yellow since Kuhn 1968. you still can find a great need for this very opaque series of colors. Kuhn. a yellow-brown transparent oil tar. Netherlands. during the Moors Invasion. he was a serious painter. Only a calcined oxide compound of mineral yellow and tin yellow will work. Antimony Yellow. pinkish-orangish-brownish flesh tone yellow tint. in effect they called the same basic opaque light yellow color Naples Yellow and Lead-tin Yellow. (usually six different hues) from cool light yellow. he was recognized. 1632-1675. In 1490 Leonardo separated the two calling them Giallo and Gialorino but then only in one reference. names considered synonymous with Naples yellow included the composition of lead-tin yellow and would have been called the same color. 1642-1727. The wars took our best young artists again. The light cool yellow was the most expensive to make by requiring the highest heat. Gerard Dou. Dutch. that was the Dutch way. dividing the prism and bringing it back . Next was a light sulfur yellow color. A problem arises when the brown is darkened with black instead of its opposite color Ultramarine Blue. Lead stannate yellow was mixed with calcium antimonate white to make a clean opaque light yellow at a lower firing temperature and less expense than antimony light. His theory "Optics" had the right idea. With the coming of the wars antimony original was losing appreciation. Tin and lead are the cleanest lightest yellow oxides but they can't be joined as pigments in oil because a free-radical would turn the tin oxide black. Smalt and Umber were mixed together to a neutral dark that matched the underside of clouds. color banging Mannerist. popular. lead antimonate can be light yellow. He understood the color theory that yellow darkened to brown and red was half yellow. 1573-1610. Mineral Antimony Yellow Leadtin oxide is PbSnO 3 . Again. sometimes none. Antimony yellow replaced lead-tin yellow in 1750 in popularity. 1660. They were given the names lead tin oxide and cubic lead tin oxide. the National Gallery of Art Washington. Naturalism. It was hard to make the same color twice. and less dangerous and less smelly (sulfur) than arsenic yellow. French. Both with egg yolk medium. Flemish. Dutch. COLOR. It was made with Iron and the gas cyanogen. which is perhaps even better then Venetian balsam turpentine. Le Brun's reign was ended by Mignard.. 1610-1690. it could be made in this country (USA). Mercuric Iodide Vermilion which is impermanent. then . Caput Mortuum and egg yolk laid in his shadows. the other painting huge. Germany discovered it in 1704. "Monochrome feasts" is what the Dutch called these low keyed paintings. Followed the style of Brouwer. Mercuric Sulfide Vermilion which will blacken some colors. There were enough wealthy clients who appreciated an artist that appreciated their tastes. The support was oak board covered with a fine thin canvas. French Mannerist. it is made from the white pine. Don't get them confused with each other. nice green's though. the darkest shadows were added glazes. 1724. more people had money and less taste was required. today. 1672. Heated Prussian Blue made a permanent Prussian Brown. "Give them an idealized beautiful picture and they will buy it. Willem Claesz. going after a market. 1775-1851. England said it was theirs. the last layers are the thinnest of course. 1629-1683. except for the cool dark Chinese Vermilion. 1680. at least not as major colors. dual-tone color. a hundred years later was a great female painter. Dutch Haarlem school.together again. who liked his likable light and bright colors. middle and shadow. Pieter De Hooch. However he chose the wrong primary colors. one painting very small. These were great times with great artists. he lightened some areas with yellow ocher. the flower painter used Strasbourg turpentine from the white pine. over this. magenta and cyan were missing. England. Murello. was a painter of fashion and show. 1705. Bister was a transparent yellow to brown. The "Paint War" fuse was lit. all you needed to do was practice. 1680. and Reynolds. a dual-tone transparent iron color that was getting close to cyan in its transparent undertone. In "The Train of Queen Maria Theresa at Her Entry into Paris". Watteau. COLOR. He's up in Murillo's class as a painter and with more money and a more varied palette. the best of the bunch. Le Brun was the designer of Versailles. Charles Le Brun. 1672." This school of images extends into Turner. 1727-1788. the moment wouldn't last that long anyway. Prussian Blue. Canadian Balsam is perhaps the best today. The color is almost the same. a painter of woman of status. sitting on piles of beautiful pillows blowing soap bubbles. high. Gainsborough. "The Duchess of Maine as a Child". 1594-1680. On top of the white gesso he darkened with caput mortuum. better than Le Brun. 1673. and Eosine Vermilion with the fugitive coal-tar dye eosine. That means his glazes colored his completed grazelle. David Teniers the Younger. Cadmium Red's will do the job better. 1685. a very good combination. French straight arrow. 1750. 1710. 1619-1690. 1618-1682. Colored glazes of resin-oil divided the flowers into three tones. Spain. (new window) Pierre Mignard. at least cheaper. TECHNIQUE. Since they are all opaque. perhaps the greatest woman painter ever. Others are Antimony Vermilion. It was made from charred beechwood and was mainly a water-color pigment. (Shegers misspelled) Daniel Seghers is correct. but isn't. Chapter 20a New Pigments. started the Antwerp Academy. eight thin layers of gesso. and was a friend of Rubins. Imagine the perfect little girl portrait. To this he added sun-thickened nut oil. New Color Theories ENGLISH VERMILION 1700 TO 1859 ITALIAN MAGENTA English Vermilion Dark. 1723-1792. I believe this was a basis for WW1. 1670. it's like they didn't have to pose. It's deep mass color has a black-green quality that makes a dirty purple. Murello painted a simple moment in his real subjects life. men would be idealized. (new window) 1612-1695. syn. Eight thin layers of rabbit skin glue. soon sex would enter the equation. This school would lead to Lebrun. good teachers passed down knowledge of techniques and it didn't take long to make good artists. French. The pre-drawing was pounced on and announced with thin India ink. 1755-1842. chalk and lead white would dry as fast as water. 1600-1682. Magenta and cyan don't show up in a crystal spectrum. He didn't hesitate to work into his darker glazes with tempera white and antimony lead Naples yellow. He and Velasquez both mastered one point perspective. Modeling was done with lead white egg tempera. Claude Lorrain. COLOR. and we can hire our friends to paint in some people. he painted the Chancellor Seguier on a horse under an umbrella with six male attendants taking care. The size of the public was increasing. France and Germany were stealing from each other. 1684-1721. Elizabeth Lebrun. 1781. Vermeer painted in a similar technique. green and blue. credit Movwell of Great Britain for it. a mistake that was going to continue for awhile. Indian Yellow. . Watteau's style was carried on. 1796. Reflections were painted in egg tempera white and oil glazed. Turner's Yellow. COLOR. Now he was finished with his base painting. Gainsborough. and it had the colors right. His medium was Venetian balsam and sun-thickened linseed oil. Tiepolo. 1732-1806. and ready for oil. Colored glazes on each flower and further heightening with white egg tempera in the wet oil glaze for details. 1760. Cobalt Blue Imitation.light ocher for the middle tones. 1727-1788. 1769. neutral lead salts colored by chromous acid. England made this in oil and kept its ingredients a secret for eighty years. 1758. 1685-1766. It has the consistently of oil paint with a water base. 1782. It was in brown to yellow and orange to yellow. Color theory by math. COLOR. but he picked the wrong triad colors. Reynolds praised a wax soap emulsion (cera Colla) combined with Venice turpentine as the best of painting media. COLOR. Reynolds. Canoletto. His perspective is still slightly off. THEORY. Venetian buildings. it turns lead and cadmium. replaced natural cobalt calcined oxide by 1802. engraving and genre paintings. backgrounds were strengthened. it will never be the right color again. thinned with turpentine. English. red. Fragonard. 1703-1770. Van Gogh would use it in his "Sunflowers" painting one hundred years later. Boucher. English. Realist. I say. made his fortune painting ladies of the court as Diana and such. 1755. His "Blue Boy" was painted with the new Prussian blue. COLOR. Mosas Harris. 1795. great artist. Emerald green. 1780. He and Gainsborough made an eighteen color wheel with no Cyan or Magenta in sight. Red. try it. 1723-1792. Still using black to darken his brown shadows. those using acrylic primed supports that don't yellow. 1790. Naples yellow was used with white in the highest highlights. Chardin. a copper arsenate that can't be matched by any other element. Egg tempera white painted the highlights. WESTERN EUROPE 1800. Natural cobalt must be used for murals. two dual-toned colors. COLOR. Neo-classic Venetian. 1800. 1725-1805. Well paid color exhibitionist. COLOR. An excellent straight forward painter. England's best. Hogarth. COLOR. 1760. Chrome Yellow and Orange. Doerner said. England. again three distinct tones molded the form. before a portrait setting would under paint the head area in white. well paid. an opaque lead oxychloride. The shadows were deep resin-oil accents. Zinc Oxide White. English portraits. after a city in Bangal. so a thin vale of color applied early could be used as a final stroke. cooling his shadows down with the new Prussian blue and brown. poor drawing as giants go. black and is the most poisonous color. 1797. Cobalt aluminate blue spinel. zinc is a very slow drier. The mixed technique. 2:1. Reynolds. 1697-1768. Cool green earth oil glazing neutralized the heat when it was necessary. TECHNIQUE. 1666-1770. Blue opposite Orange. No problem for us today. He used the new Prussian blue in "Boy Drawing" in 1737. A fashionable painter. you'll like it. warning. 1758. Greuze. THEORY 1756. It is a very brittle pigment and needs a strong support beneath it. the best and very permanent transparent yellow was brought to England from India. Chapter 21 New Pigments. Nattier. where it had been used as a pigment for as long as India had cows. 1699-1779. it dries insoluble and permanent. He also placed Ult. 1788. The raw product is called Monghyr. 1788. became very popular. New Color Theories INDIAN YELLOW 1800 TO 1859 COLOR MAGENTA. it can be calcined to yellow only temporarily. blue and yellow. Tobios Mayer. A new color wheel. the first made for light instead of pigments. English. magnesium euxanthate natural organic. 1697-1768. England. 1778. His color wheel has White at the top and Black on bottom. France loved him. Treating Madder Lake in a sulfur acid bath made it "New and Improved" Alizarin in 1826. Seurat. the "high-artist" of the time. Red. This Indian Yellow isn't really a dark enough brown to do the whole job of making a neutral dark. excellent drawing.Transparent dual-toned Indian Yellow. battle paintings. Here are some URL's to her. Syn. Constable. She showed the new colors the best in my opinion.) Today. 1748-1825.asp?ti=001FD000 LeBrun still speaks to us through her paintings and her writings. Paris. Thanks for the research Iris from Rochester. Serov. (updated. Repin. 1741-1825. 12-8-98 we have a great collection of synthetic transparent Indian yellows with the nickel element.. Gauguin. Goethe made a double intersecting triangle color wheel. 1818. Moved to England to study and stayed. Cezanne. 1776-1837. with her colors and gestures. and not really transparent although they call it so. Elizabeth Vigee-LeBrun. COLOR. Whistler. 1827. Permanent Alizarin was discovered in natural root Madder Lake. 1. http://encarta. Vasilievich. I measured it myself. taught at the Royal Academy. high art sculpture. French Rococo. Van Gogh was influenced and Matisse used his oppositions.The artist's had it made. 1767-1824. German Romanticism. Sisley. 1828. Copley. and Blue opaque plus the pigment Black for shades. Renoir. and 3. Turner's friend. 1746-1828. Goya used warm light bolus grounds. W/C and oils. The Russians had access to Indian Yellow long after the rest of Europe. 1814. who supported herself as an artist beginning at the age of 15. American portraits. made from clay. Pissarro. Pukirev. 1832. 1809. Here are some excerpts from her writings about painting portraits. Goya. 1826. his dreamlike paintings were of nightmares. It is obvious from her remarks that she carefully studied the paintings of Van Dyck. Vigee-LeBrun. American portraits. 2. 1738-1815. the colors wrap around the middle of the sphere. a transparent triad palette in tubes for the first time. Spain. The Yellow-Brown Lake Extra makes the best dark. Cadmium Yellow Sulfide and Cadmium Sulfoselenide Orange. THEORY. French. England. No one has ever brought this colors back or made a comparable replacement. 1950. He also chose the wrong primary colors. It still is the best in 2012.Transparent dual-toned Madder Lake. These artist's painting from 1800 to 1909 made use of this Indian Yellow pigment until it was abruptly removed from access by the maker Winsor Newton. Van Gogh. it's opposite color. Rousseau. Shishkin. Dagas. Henry Fuseli. Perov. The three mixed into a neutral dark that could be pushed warm or cool. he and Copley were the greats of this era in America. color they had made to match the original back in 1900. it was huge in the Valesquez style. Thirteen opaque colors are needed to replace this one transparent color. the selenium element resembles sulfur. Matisse. Rome. a bad habit. Gros. France. 1755-1828. Anne-Louis Girodet-Trioson. I saw his picture "Y Luceintes". Monet. French NeoClassicism. COLOR. About 1995 O. 1810. England. mixed with Ult.Blue Deep. Eakins. taught Giricult. Ostroukhov. 1804. low-keyed color. Derain. 1744-1840. . an iron based transparent color close to Cyan. Bellows. French portraitist. Student of David. He glazed his finished monotone painting with color. Old Holland Transparent Indian Lake. Delacroix. Manet. Zurich. David. THEORY. studied in England and returned home to paint Washington. by Old Holland was the best I had found. Rubens and Greuze. coal and heat. Savrasov. Brief biography of the artist Elizabeth Vigee-LeBrun.com/find/Concise. sulfur. TECHNIQUE. Gasper Friedric. both great female artists. soda. A great "starving artist". and lead the way for Elizabeth Vige'eLebrun. Vlaminck. it's very expensive. made from cobalt. the iris eye of the prisoner was as big as a quarter.Prussian blue. Extra. the purpurin was subtracted with sulfuric acid. 1815. COLOR. 1825. and Polenove. Synthetic Gamboge. Orange and Brown. heavy on landscapes. 1830. She improved art over 17th century France. Blood red was opposite Emerald Green instead of Cyan. COLOR. Sargent. white under painting and varnish mastic glazes as well as solid colors.msn. Raphael. made from synthetic iron oxide and a dioxine nickel complex. Carot. re-introduced an Indian Yellow syn. Courbet. Yellow. 1738-1814. 1775-1842.H. Friedrich. 1818. You need Burnt Umber. Great moments of light and color. from Permanent Green Light to Cadmium Red Dark. Paris. it will make a dark triad but a dirty Orange. The cadmium salts were discovered in 1817. Cadmium Zinc Yellow Sulfide. David. which was close to Magenta. Ingres. Otto Runge. Yellow. A six color wheel without Magenta or Cyan. 1775-1842. Colodion. (new window) Blocks makes the best neutral Translucent Yellow oil color. France. Synthetic Ultramarine Blue. Stuart. 1815. 1805. Millet. history paintings and portraits. 1771-1835. batguano. cobalt salt and potassium nitrite. Manganese Blue. It was transparent. 1856.A. During this time. Ingres. On a scholarship from the Academy. It was also called Solferino. Magenta. COLOR. 1775-1851. Chasseriau. too bad.edu/history/prints/women/vigee-lebrun. http://www.1886 STANDARD OF PIGMENTS .uwrf. His complements in "Simultaneous Contrast of Color" made mud. produced in 1835.com/vigee. Perkins Mauve. Brullov. wrong complements. Transparent/translucent. Perkins discovered aniline colors. Repin joined the free-thinking "Association of Peredvizhniki Artists". COLOR. opaque anhydrous. like Tolstoy. a yellow gum resin is popular again in water-color and as a synthetic oil color in 1950. or Chrome Green. where he was strongly influenced by the work of K. 1819-1856. There he became closely founding member and a constant participant in their exhibitions. Chapter 22 PAINTERS RUSSIAN . but we never got to see their work in the U. Red. very good. wrong after images. It got its name from the location of a battle in Italy even though Magenta is not blood red. farming and practicing Tolstoy's call for simple living. From 1876. Everyone wearing some red. I never new they were called "the Wanderers".html 1835. Turner. Viridian made the copper colors and intermediate glazing unnecessary. light without much form. or mineral colors. 1831-1894. Student of Ingres at age twelve. he never completed his solid model. COLOR. a Green-side Cyan. (He became a member of the Academy in 1863. He studied at the Petersburg Academy of Arts from 1850 to 1857.GERMAN 1850 . Ge lived in Italy for twelve years (1857-1869).P. to create his own "gospels" with paints. 1780-1867. Delacroix. Cobalt Yellow or Aureolin Yellow. European artists were influenced by them. http://www. 1857. Viridian heated removes the transparent water content.html Three portraits. This is a nonstaining yellow. Chevreul ( Chevrule ) made a twelve color wheel. 1798-1863. a founding member of the Circle of Itinerants. Brullov.P. loved by water colorists at that time. Yellow. Ge. Barium Manganate on a barium sulfate base. later called Alizarin Madder Lake or Alizarin Crimson. but fugitive. "Gray is the enemy of the artist". He developed a looser style that showed the brush strokes. He preferred painting woman and glazed his monochrome under painting like David. Gamboge. Discovered in 1780. He became a member of the Academy in 1863. It was 1841 when the tubes of paint became available for artists to use. Ge attempted to paint scenes from the gospels and tried. Tolstoy caused him to follow the religious. French. Discovered in 1830. that was good. 1839. Cobalt Green. Ge lived on a homestead in the Ukraine. or Oxide of Chromium Brilliant. making it easier for them to work outside! 1846. France. Highest Art since 300 A/D. Russian. they must be lakes or precipitated on clay or barite. THEORY. an artist of great and original talent. where he was strongly influenced by the work of K. studied at the Petersburg Academy of Arts from 1850 to 1857. England. Opaque. where his works represented a new style of Russian history painting and portraiture.HOUSEHOLD CYLOPEDIA HERE IN TIME IN TIME. N. Ultramarine Blue is not opposite Orange and Red is not the complement of Green. COLOR. many images of paintings. You had to be there. and Blue again. He visited Morocco for painting influence. COLOR. Because coal-tar colors have no body. Delacroix Journal. (added in 2012. 1853. the year the named color Magenta was born. 1859. 1841. including self portrait. or about the . COLOR. French. Yellow is not opposite purple. When shown in exhibitions.They really liked Indian Yellow from the paintings I saw.Here is a very comprehensive site most often cited for Lebrun. Consecutive works of Russian painters like Repin (new window) and Nikolai Nikolaevich. black hue in mass. dual-toned. Romantic and lyrical. Ge lived in Italy for twelve years (1857-1869). generally called "the Wanderers" or "The (Circle of) Itinerants" in English. COLOR. these paintings both provoked heated debates and arguments. Gamboge is the color of ear wax. In 1878. and won Ge a measure of authority and recognition. Discovered in 1807. produced in 1838. hydrous. Nikolai Nikolaevich Ge. Transparent Viridian. 1850. Ge's friendship with L. 1838. Green Oxide of Chromium. they were ahead in the world of painting. cool Yellow top-tone (adding white to the pigment is top-tone). 1844 -1930 Ilya Repin. philosophical teachings of this great writer. 1857. Many.) On a scholarship from the Academy. COLOR. produced in 1850. from coal tar.S. 80 in x 141 in. A detail of this painting that I have shows a picture of me. During his career. an early submission to the Paris Salon. from Venice to the Tyrol.) One of Repin's most complex paintings. I guess that information is common now. a city in western Austria. as well as countless sketches and charcoal drawings. John Singer Sargent (January 12. particularly in his ability to draw with a brush. From the beginning his work was characterized by remarkable technical facility. . He was a worldwide traveler. (picture link in new window) Abram Efimovich Arkhipov (Russian).Association of Peredvizhniki Artists.000 watercolors. WelI think it looks like me when I was around 50. I believe he met with Repin (the premiere realist of Russia) there. but it resulted in scandal instead. considered the "leading portrait painter of his generation" for his evocations of Edwardian era luxury. who was a member of the art collective The Wanderers as well as the Union of Russian Artists. 1930. the internet has grown so fast. in the green hat. which in later years inspired admiration as well as criticism for a supposed superficiality. September 25. His commissioned works were consistent with the Grand manner of portraiture. 1856-1925. his Portrait of Madame X was intended to consolidate his position as a society painter. In later life Sargent expressed ambivalence about the restrictions of formal portrait work. he created roughly 900 oil paintings and more than 2. and devoted much of his energy to mural painting and working en plein air. 1862. while his informal studies and landscape paintings displayed a familiarity with Impressionism. August 27. April 14. I also think he was great painter. though not without controversy and some critical reservation. was a Russian realist artist. 1856. An American expatriate who was trained in Paris prior to moving to London. 1925) was an American artist. Sargent enjoyed international acclaim as a portrait painter. but not his largest. The "Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire" was started in 1878 and finished in 1891. John Singer Sargent went to Innsbrock. capital of Tyrol. Yellow. Makovskii. The Japanese color wheel was recognized. Montana. or the classical. combining nature with figures. 1865. Phosphoric Acid. calcined cobalt oxide and phosphorus oxide. necessary to make colors between Magenta and Cyan including Ult. five colors. Excellent. With the start of World War I. Upon his return to Petersburg. French. Realist. realist. Before he received these professional honors. He liked Indian Yellow as a glaze. Cobaltous Oxide Arsenate. V. Blue from Black. Formed the Barbizon School. Russian genre painter. I'm in the woods". no Magenta or Cyan. "Circle of Itinerants". Levitan. 1869. Courbet would be the last good Realist. France. German. Carot and Courbet. COLOR. Italy. no other element can make this color. Corot was his friend. 1867 productive. Daumier. Perov. and he joined the . 1869. "Itinerants". spending half a year in the Zurich workshop of R. considered one the best ever. Ivan Ivanovich Shishkin. French.Petersburg in 1870 under the leadership of Ivan Kramskoy. and Architecture (1852-1855). genre scenes. 1869. 1819-1877. 1823-1898. "I don't give a damn about Poussin. V. Russian. except in Russia and America. Blue and Azure (cobalt blue). a great discovery. I. I like Corot and what he said. Heavy Indian Yellow. ?1869?. broad outlines. realist. French. Cobalt sometimes contains arsenic and darkens. Shishkin lived and worked abroad in Switzerland and Germany (1862-1865). The internal prism's second spectrum is similar. A founding member of the Circle of Itinerant. 1865. he attained the rank of member of the Academy. Manganese Violet. I. Switzerland. 1860 productive. permanent cool Magenta that could make the ultramarine blue hue by mixing with cyan. 1808-1879. French. 1868. Russian. Manganese Chloride. Roller and residing in Dusseldorf for one year. Cobalt Violet. painting nature and working people with Rousseau. Because of all the coming wars starting in 1870. COLOR. and portraits. It's sort of like living here on Maui. 1796-1875. Sculpture. 1860. Populism and national character. France. a realist. Millet. Ivan Ivanovich Shishkin attended the Petersburg Academy of Arts from 1856 to 1860. Kramskoi. 1860 productive.Corfu. co-founder of the "Circle of Itinerants". Maine.Blue and Black. a cool Magenta color. 1867. Corot. Russian portrait and genre painter. Russian. landscapes. White. Shishkin became one of the founding members of the Circle of the Itinerants. Red. 1862. Yellow came from White. Its members were known as Peredvizhniki. all art started to crumble. and Florida. The association was dissolved in 1923. top painter in France. Cobaltous Crystalline Phosphate. THEORY. After he studied at the Moscow School of Painting. Master of monochrome. Moscow. V. in 1865. except Manganese. Five years later. and then in 1873 that of professor He also headed in 18941895 and in 1897 the landscape painting class at the Higher Art School affiliated with the Academy of Arts. landscapes. German. no one was ever better. He began as a lithographer and carried the technique into painting. a founding member of the "Circle of Itinerants". and Ammonium Carbonate. Courbet. Ult. Painting in "plein air" was in its infancy with Desportes. CIRCLE OF THE ITINERANTS founded in St. Moscow. They subscribed to the ideas of Critical Realism. 1814-1875. "Wanderers".Pukirev. master of intensity reversal of objects and background. the Middle East. completing his studies with the highest honors and a gold medal. 1860 productive. Circle of Itinerants. realist. Russian. he used Indian Yellow as a glaze. Moscow. 1870. Green and Blue was his triad. Kuinczhi. He taught at the Moscow School of Painting. Hudson River Valley School. I. Shishkin's creative method was based on exhaustive. http://www. In addition to his many trips to countries in Western Europe. Granny's Orchard.com/P/polenov/polenov. realist. You had to be good to be a member. Mamontov's Abramtsevo Art Circle. Vasilii Dmitrievich Polenovtook lessons in painting from E. 1880. Cobaltous Stannate. used Indian Yellow. This color is a tint of cyan. High Art begins it's decline in France but not in Russia. A. As a student at the Petersburg Academy of Arts from 1863 to 1871. Moscow. I. Ewald Hering came up with three opposing sets of colors. Polenov traveled to the Near East and Greece in his search for subjects and themes for his genre scenes and historical and biblical paintings. American Naturalist. Manet. landscapes. Of particular significance is Polenov's contribution to Russian landscape painting. realist. A highly esteemed master of Russian realist landscape painting.Society of Russian Watercolorists. This is new page link to this painting. Black and White. opaque. ?1870?. The Tretyakov Gallery. later he moved to the Borok estate in the Tula Province. N. world traveler. Shishkin is known not only as a painter but also as an outstanding draftsman and printmaker. Impressionist. Vasiliy Polenov. with other colors. Distinguished for his forest landscapes. French. landscapes. ?1880?. 1870. COLOR Cerulean Blue. THEORY. Russian.webzone. 1876. E. the All Russian Exhibition in Moscow in 1882. A member of the Circle of the Itinerants and a constant participant in their art exhibitions. Polenov was also associated with S.html http://frontpage. the Nizhnii Novgorod in 1896. Ogden Rood made a double cone color model with White on top and Black at the bottom. excellent perspective. Polenov lived in Moscow in 1877. and Black and White. Vasilievich. loved Indian Yellow.abcgallery. Russia. Blue. There still was no Magenta or Cyan. THEORY. analytical studies and on a kind of "portraiture" of nature that exposed its most typical features. Sculpture. (new window) 1878. and the World Fairs held in Paris (1867 and 1878) and Vienna (1873). 1880. When war's begin. Chistiakov and I. Circle of Itinerants. visited India.htm 1879. V. Vasiliy Polenov. Russian. Red. This site has the most paintings. landscapes.net/maxf/Russian/Polenov. Russian. 1875. realist. 1844-1927. cobalt oxide and tin oxide. Baksheev. Ostrovkhov. A little . 1877. Oil on canvas. not much on modeling the form. Asher Brown Durand. Yellow and Ult. permanent. HERE IN TIME. 1832-1883. 1870. Red and Green. productive. 1870. as all time has shown. Circle of Itinerants. Franco-Prussian War. 1873. art starts going downhill. 1796-1886. and Architecture (1882-1895) and organized the first Moscow Folk Theater in 1910. but this was still major. In 1876 he became a member of the Academy. Master portrait painter. Kramskoi before he lived and worked in Paris (1872-1876) on a scholarship from the Academy. but he proportioned the figure well. realist. which was enriched by his experimentations with plain air techniques. Among the exhibitions in which his works were included were those at the Academy of Arts. ?1870?. He didn't use glazes. 4. massive line. Bouguereau was not given the respect he deserved. leading the way of art in general. made him insane. Gauguin. green and quinacridone magenta. French Impressionist. lithograph posters of Montmartre life. 9. 12. (In your browser. stroke and texture. 1890. 15. 5. Winsor Newton stopped making Indian Yellow. Cadmium Red wasn't discovered until 1909. Judging has been in the hands of outspoken critics for too long. "Deutche Gesellschatf zur Forderung rationeller Malverfahren". Cadmium Yellow Light. Twenty-one years later they made it illegal. the new scientific way. French. pointalism. that really lit his candle. The unskilled must not lead the . He influenced Sargent. that and the heavy metals in it. He did it again in the hospital after they let him start painting again. Van Gogh. art was being dismantled by savages that were growing in number. Vine Black. the weakest of the bunch in lineal perspective. inside and outside. 1830-1903.1930. (new window) 1825-1905. Edit > Find. His greatest works start from 1865 when he was 40 up until 1900 when he was 75. reactions were against them and all they had accomplished. 8. Ivory Black. impressionist. today's post war self proclaimed art critics just don't know what's good. drawing and color were sharing the theater. 1796-1875. The upper class of France was taking a beating. Repin lived and worked in Paris. 7. the word Church in this page) The colors returned in 2000 along with pathalocyanine cyan. Ilya Repin. Cobalt Blue. Keim. A separate window. landscapes. To fix his pastels he sprayed them with thin alcohol based casein. Indian Yellow. 14. 1890. 13. The German Society for the Promotion of Rational Methods in Painting. Tahiti. Medium and Orange. Hudson River School. Moscow. He was a Primitive painter. NOTICE THAT INDIAN YELLOW DUAL-TONE WAS CONSIDERED NECESSARY AS WELL AS THE UNMATCHABLE NAPLES YELLOW OF ANTIMONY LEAD. Paris. Studied in Paris for four years. Bouguereau. Green Earth. studied under Carot. Pissarro. 1893. disciple of Corot before becoming an Impressionist. Zinc White. Till this day people will tell you Red is the opposite of green. artists paints. landscapes. Opaque and Transparent Viridian. 1893. Alizarin Crimson Madder Lake (a Magenta colored fugitive pigment) 11. How they made house paints. low keyed color. France. They never understood the 90 degree principal (new window) or the upper and lower vanishing points. he was the best realist in the world at this time. Graphite. speeded up for outside work. Seurat. genre painter. They set up control for the pigments in colors found best by the artists. German. it wasn't. Paris-Prussian Blue. The first to seriously paint on location. War was in the air and inferiority was getting the upper hand. Berthe Morisot. 1881. My hero. although they do vibrate there is no harmony. Naples Yellow Light and Dark. 1891. Bouguereau basically followed the principles of academic theory as codified by the seventeenth-century aesthetician Roger de Piles. Impressionism is Realism. Umbers. Red Ocher. Papa Corot was the leading painter of the Barbizon school. 3.different from the rest. becoming a member of the Academy. His techniques. French. he liked wine and I think he drank some turpentine. 18. 1859-1891. 1886 COLOR THE FIRST AND LAST PUBLIC STANDARD OF PIGMENT COLORS FOR ARTISTS A. Native and Synthetic. Jean-Baptiste-Camille Corot. American. Sisley. varnishes and inks in 1881) 1885. 2. "PAINTS AND COLORS from the "Household Cylopedia. although it wasn't the strong suit of any of them. 1825-1894. 1848-1903. his medium was turpentine. Yellow to Brown. 16. 1853-1890. He worked with the fastest media. 1839-1899. realist. Oxide of Chromium. France. 1841-1895. Natural and Synthetic. pastels. FOLLOWING ENGLAND'S POLICY. Natural and Burnt Ochers and Sienna. W. On a scholarship from the Academy. 1881. He spent one year living in Moscow but moved to St Petersburg in 1882. to guarantee the color's characteristics and ingredients. There is a modest but perceptible drop in quality from that time forward until he passed away at 80 in 1905. Toulouse-Lautrec. Iron Oxide colors. 1895. Chapter 23 FRENCH IMPRESSIONISTS PAPA CAROT French. White Lead. 1886. 1864-1901. George Inness. Don't expect me to say this is good like the rest of the non-artist critics. 19. Ilya Repin is the most prominent painter in the XVIII century Russian realism. 17. Netherlands. in the Manet color range. BOTH OF THESE PIGMENTS WERE ELIMINATED BY CHURCH-OSTWALD FROM THEIR COLOR CHART. 10. 6. The Artist studied at the Petersburg Academy of Arts from 1864 to 1871. These are the colors deemed necessary by the artists in 1886. 1881" (new window) (305 Kb. Ultramarine Blue. He had a gift of a strong talent. 1889. 1880. Vermilion. 1844 . 1881. 1. 1834-1917. we had Cezanne. Next he darkened the colors with Black. 1841-1919. portraits.edu/Foreign_Lang/Russian/serov. he could draw well.A. 1870-1953. He could paint what he saw without using photo-mechanical aids. Cadmium Red. 2003. That includes today. Italian. he was good. He made a five color wheel with no triad. Cezanne. 1839-1906.alexanderpalace. Impressionist. "taste" is a relative term. 8 or 10 color wheel there is no triad possible. but not as loud by definition. realist. they like giving their opinion. and purple. He began in illustration covering the Civil War for Harper's Weekly. An animal painter. 1872.com/1/serov. and tinted them with White. Crude outlined drawings painted in flat colors. 1836-1910. THEORY. Naturally the wars caused a slide in art. Modigliani. a crossover between Realism and Impressionism. It's 1998. nature. An eight or five or ten color wheel will not work. American Ashcan School. K. 1905. Valentin Serov.1911. Symbolism and Nabis. Luks. German. loudly. 1903. 1909. and finally the sea. Paris. 1880-1916. 1908. French Impressionist. 1900. MAPICO TO 1935 1900. oil. horses and woman. This is still taught today. Paris.S. COLOR. "The Eight". 1884-1920. A realist like Courbet. Red. French. mixed them with Gray. yellow. 1906. In a 5. "All an artist needs is a roof. Redon. basically Fauve. American. the "Cold War" is over. England. Ivon. The only reason Realism was getting a bad name was political. 1910.rollins. pastel. not as good as Dagas in drawing but very good in color and light.htm http://www. 1900. solid Impressionism. Franz Marc. 1906. Chapter 24 1900. Dagas. 1909. Arkhipov. and numbered them all. and Sloan. his teacher.artsstudio. from a classical opinion. died in WWI. 1903. The principle colors he did have were. "refined taste" is more precise. Impressionist. Leningrad. Moscow realist. 1900. beware of those that say otherwise. let's get good again. 1840-1916. Selenium is an element resembling sulfur. Permanent Mars Colors. He painted outdoor scenes. Changes at this time were more important than correctness. the great artist after Ripin. 1903. The influx of Japanese prints influenced some of his work.skilled. No Magenta or cyan unless you conceder purple as the magenta and put cyan between green and blue. the best watercolorist ever. Albert Munsell. His later works portrayed contemporary life. Germany. Art Nouveau.org/palace/serov.aol. Glackens. 1900.. 1847-1917. It has to be a 3. American. landscapes. The least talented of the group.abcgallery. Here are some links to Serov. solid forms. as the works of Marin. 1844-1910. COLOR. Whistler. Russian. the USA and Russia has the best living artists because their countries have been in peace. . Henri. Davies. in his studio. God will provide the rest". Orange. 1906. Similar brush strokes to Sargent. Symbolism School. they have loud voices and can't paint realistically either. America had some great artists up to about 1930. a crust of bread and an easel. is made of three parts cadmium sulfide and two parts cadmium selenide. Bellows early works can be included.html 1910. HERE IN TIME. 1865 . Grabar. Renior. 2013 the USA is passing them. Brown. 12. French Primitive.htm http://www. Mapico (brand) Colors. He was one of the "Der Blaue Reiter" group. Moscow. COLOR. Eakins. Ryder. as the "Old Battersea Bridge". Synthetic Iron Oxides. shorthand painting.html http://www. 1907. 1905. U. American. Homer. 1844-1916. colors do not darken with black like the RGB color wheel and the Munsell color wheel. he did more with pure color than the rest. red. they had realism. Yellow.com/S/serov/serov. 1834-1903. not realistic. as rigid correctness gave way to experimentation and new values. show. loved the human figure. This is still taught today. In the element color wheel. green.html http://members. New York. 1907. Rousseau. blue. http://www.com/pmbutrfly/serov. 24 or 36 color wheel to have a triad and correct opposite secondaries. Impressionist. 6. Van Gogh. Weber. Italy Metaphysical. decorative. French. or raw pigment content. The High Art periond that lasted for 500 years is ended again by war. French Cubism. UNIQUE. Picasso. She was an Impressionistic Delacroix. superb composition. Utrillo. Durain. 1890. and Russia against Germany and Austria-Hungary. So much for the worst year in color history. not particularly good. Sea Green and Ult. Chirico. Kicking the pins out from under the Realist and disgracing the name. 1905. Heckel. "Realism" was still a battered term. America. French Impressionist Show. French. ANY PAINTING THAT HAD NO CONNECTION TO THE PAST AND DIDN'T REQUIRE DISCIPLINE WAS THE WAY TO GO. 1910. Pointillism. . Munch. THEORY. Manet. 1865. not to make a political statement. Valaminck. London. Balla. Clearly. 1840-1926. Britain. Bellows. Matisse. French. 1915. Monet. 1900. 1916. He was painting for the pleasure of painting. Pissarro. The last color wheel (square) of college record was by Church-Ostwald. American Abstract. When I went to collage in 1959. England. Dove. 1916. Believe me when I say. was replaced by a mixture of Zinc and Ocher. German Nabas. Blue at the corners. German Expressionism or Die Brucke. A realist that painted what he saw in Montmartre. American. 1907. I hope. Renoir. Duchamp. Jongkind. or political pressure. all pigments were replaced by there top-tone matching colors. 1910. Mass communication via the "Internet" may be able to teach the advanced basics of art. America. vibrant colors. Only the final dried color. 1882-1925. Seurat. but unique for this time period. Pigments were moving from the Iron Age to the Oil Age. Munich Abstract and Neo-Impressionism. copying from photographs may fool some buyer's but it won't make great artists. Today. Sargent. etc. France Symbolism. Ostwald had no regard for opacity. A breath of fresh air in European painting at this time. Cassatt. 1890. Being good and accomplished by age twenty or twenty-five was no big deal just a hundred years ago. Signac. Braque.. Realist. Morisot. COLOR. He studied in Paris in the 1870's when France was in top classical shape. 1906. The First World War. 1913. to a lot less. Cezanne. French Realism moved to Switzerland to survive. 1914. Greece and Rome after their wars. This is what todays pigment manufactures make colors with. The Bridge Group. I am seeing changes. Red. fast efficient brush strokes. things were changing.1911. Leger. under a puritan guise. France Neo-Impressionism. Learn from the light of nature as it changes and moves. 1917. OBTUSE OR JUST CONFUSING WAS THE THING. 1911. Rouault. he really could see color. Dufy. Sisley. It made way for the new coal-tar colors. France. 1883-1955. 1914-1918. Nolde. the second coal tar dye was a failure. Cross. Impressionist. Woman painting woman and kids. France. HERE IN TIME. Chagall. Degas. An early leader of the Impressionist movement. Dutch. art is again at Ground Zero. Analytical Cubism. Primitivism. the artists interests are not at heart before 2000 A/D. she was great. IT SEEMS AROUND THIS PERIOD OF TIME CONFUSION REIGNED. Mary Cassatt. French Fauvism or Wild Beasts. but not before the big ban. Practice and appreciation can shorten the normal postwar advancing time from two hundred years. These artistic labels meant they were different. Marin. Belgian. it turned brown. 2003. 1908. BEING DIFFERENT. 1886. banned the best transparent dual-tone Indian Yellow. French Impressionism. 1911. we are in a period that will be called the Third Dark Age of Art". 1845-1927. Kirchner. Early "Bridge" painters. Hartley. It has Yellow. Rubins favorite. 1910. 1915. Naples Yellow. Azo Yellow. America and Russia have the best realists at this time. Italy Futurism. Monet. as with Egypt. 1904. the time of day mattered to his painting. Norwegian. Courbet. 1885. 1912. Cezanne. He was a recovering alcoholic. artist's favorite for two thousand years. 1875. Gauguin. 1856-1925. Dadaism. Klee. American. slow drying in oil. Art is still at Ground Zero since the First World War. Russian Suprematism. Leonid. 1919. 1919. Stock-market Crash. no forms. German Expressionist. Abstract. FIFTY YEARS OF PAINTING HAD GONE FROM REALISM TO NAIVE. Dix. Kandinsky. English Royal Academy. the basis for Abstract art. Cubism. Synthetic Cubism. Titanium White Dioxide. Malevich. K. Opaque. BECAUSE OF THE WAR'S. 1866-1943. HERE IN TIME. 1912. French Neo-Romantics. O'Keeffe. Cubo-Futurism. German Expressionist. German Blaue Reiter or Blue Rider Group. Fauvism. The United Nations defeated Italy in 1943 and Germany and Japan in 1945. produced in the USA in the thirties. De Champ. Delaunay. First a W/C pigment. Pacabia. Soutine. Paris Naive Painting. changes went into second gear and stripped it. Malevich 1914. 1939. non-poisonous. founder of Suprematism. American Regionalists. 1945. 1934. 1928. 1930. 1930. ART WAS NOWHERE. In 1939 Germany attacked Poland and France and Great Britain declared war. Spain. Ernst. 1929. Hartley and Weber. Benton. psychiatric dreams. Synchromism. Zurich. Sickerd. Russian. French Surrealism. 1887-1927. Today's art is "A flag on the Floor with a Crucifix in the Toilet". 1913. Munich. Klee. French Dada or Hobby-horse. Demuth. German Colorist. 1929. 1924. 1863-1944. Belgium Expressionism. 1917. 1996. Paris. water and oil based. Hopper. 1933. Italy joined in 1940. Switzerland. A nightmare approach to Expressionism. Miller. 1920. Orphism. 1933. Russell. Dali. Grant Wood. American Immaculates. wrote the "History of Absolute Painting". 1918 WWI. 1934. WWII. 1912. 1932.1912. Gris. 1894-1943. American Gothic. Zinc White Oxide. Kandinsky. 1860-1942. Munch. Expressionist Biomorphic. German Neue Sacnlichkeit or New Objectivity. while Italy and Germany were also threatening peace. 1945. 1933. 1934. . MEDIUM. 1917. 1916. Burchfield. Sheeler. influenced by Matisse. Synthetic Resins. 1878-1935. Moscow Suprematism. 1880-1938. Discovered in Germany in 1901. ferrous illmenite by sulfate process or chlorinated rutile ore. The Depression in the USA gives Expressionism a foothold. the United States and the Soviet Union in 1941. Pollack. Kirchner. America. 1879-1940. COLOR. Paris Surrealism. 1914. 1912. Mondrain. In 1931 an undeclared war began between Japan and China started. 1918. Impressionist. Picasso. Gris. Marsh. Grosz. 1924. Art was at ground zero. Mac. England. Holland Neo-Plasticism or De Stijl. 1930. GROUND ZERO. Impressionist. COLOR. Breton. Donald-Wright. 1932. Chicago. 1930. Marc. France. Mark Rothko and . Cubist. 1938. 1893. English. Phthalo Green. 1904. said this. 1882 to 1967. Chagall. 1871. 1877-1953. COLOR. Expressionist. painting movement. 1872-1944. Blue. PHTHALO GREEN THE FUTURE OF FINE ART. chlorinated and brominated Copper Phthalocyane. the advent of which shifted the center of twentieth-century art from Paris to New York. 1935. Mexico. Dadaism. French. Picasso Plain. 1943. 1950. was a signed urinal. French. 1946. Metaphysical. Surrealism. Impressionist. de Kooning. 1925. 1881-1955. France. Derain. England. Fauve. "The Fountaine". France. Fauve.. de Kooning. 1936 to 1995 2013. American. 1881. Italy. Symbolist. Impressionist. French. The cool magenta is closer to perfect. dual-toned Brown/Yellow and Orange/Yellow. Yellow. Cyan Blue. American Realist. THIS WAS A MOST IMPORTANT COLOR DISCOVERY. Cubist. White and Gray. People want Art. religious themes. Black. Futurism. 1880-1954. Duchamp. the one nature itself splits in two. born in 1904 in Rotterdam. Expressionism. "Enough of Art. French. French. Missing of course are the Transparent Indian Yellow colors." (Parmelin. 1887. Cubist with curves. Red. Spain. Mondrain. Nash. the wars are over and art will move on. Dufy. a dream painter with a story. By the late 1940s. the Netherlands. with a metallic atom removed from copper. 30) Balla. Impressionist.1934. returning to realism with loud color. Hopper. This . The third triad color is a really tough one. Vlaminck. Nolde. THE INERT PRIMARY BLUE. But the less Art there is in painting the more painting there is. French. 1949. 1917 New York Independents' Exhibit. Fauve. 1964. People no longer want to do painting: they make art. murals. from Blue Green to Yellow Green transparent. Braque. p. 1950. the abnormalities of realism. 1883-1948. 1871-1958. England. 1882. 1888. Warm and Cool Magenta. Picasso. straight compartments for color. PR122. alpha crystal or metal free Phthalocyanine. 1889-1946. France. France. leading to Surrealism. Rouault. Fauve. Water color. Orozco. began to be recognized as a major painter in a movement christened Abstract Expressionism. 1944. along with Arshile Gorky and Jackson Pollock. Austrian. Copper Phthalocyanine. CYAN TRANSPARENT. 1870-1953. Kokoschka. 1879-1959. 1867-1956. Chapter 24a 1936 COLOR. Miro. solid color. 1948. after these people do. Italy. 1943. black outline. 1945. 1948. And they are given it. 1867-1947. Italy. It's Art that kills us. German Expressionism.. .Russia. a Fauve that returned to Realism because he could. Bonnard. 1887. French Abstract. Paris. Leger. Dali. 1873-1958. 1936. water-color. Marin. Smith. PAINTING ON LOCATION IS MAKING A COME BACK! 1936 COLOR. 1937. New York. These artists were alive in 1960. Abstract. De Chirico. NO WHERE IS THIS PROVEN THEORY TO BE FOUND. In the light color wheel there is no distinction and the color goes to black by decreasing the intensity of light. 1996 Liquitex was the first to make a perfect transparent magenta. I was using it in 1975-6. the scaling darks of yellow and cyan. Yellow and Ultramarine Blue mix to white. both darkening to a neutral center color by mixing the complementary pigments. Transparent Palette (new window) ORDER TRANSPARENT PALETTE RCW Water Color Transparent Primary Palette with Tartrazine yellow Clear. Color-in Book of Maui. Quinacridone. since White and Black are at the poles. dispel the unity of opposition. IN CURRENT LIBRARY RESEARCH. Blue's centering dark color going black. (Raw Green Umber) on the cool side. A plus and minus number system relates the square with these colors as the primaries. Twenty three colors in the thirty six color wheel have yellow in them.5" RCW. Not all colors go to brown. this keeps it cool by adding magenta instead of the greenish-gray-black of RGB. cyan darkens to Ult. PR:122 was a great discovery. Warm brown and cool brown are distinguished for the pigment artist. Course DVD. Yellow and Blue. Another change is necessary to bring the color Cyan into line for the artist. The Golden Indian Yellow would make reds. In pigments. The problems have always been with pigment color transparencies. How yellow gets dark is important to the artist. IT IS TAKEN FOR GRANTED THAT THE TWO COLORWHEELS HAVE THE SAME PURE COLORS. this system is for the photo and printing industries. Yellow darkens with Red's dark instead of Black or dark Green. like the sky and the Iceland Spar crystal instead of being on the green side. was the new answer for 1950 masses. 2003. The color wheel has been misunderstood by every generation since. THE LIGHT AND PIGMENT COLOR WHEELS ARE THE SAME. the Brown Indian Yellow would make the darker colors. (new window) HERE IN TIME. Brown and Ultramarine Blue mix to a neutral dark. PR:122. We are again entering a High Art period. 2008. His new reprint in 2002 has brown color in the center which all colors go to. Yellow darkens warm. Magenta is broken down even farther. 2003 Another great Hooray. This has the opposition colors. (Raw/Burnt Umber). RCW Yellow to Brown (new window) compensates the color change for the pure rim color Yellow scaling down to Brown. to either red's dark or yellow's dark. this takes Yellow to the Green side instead of the artists warm side. (new window) . they called it Acra Violet. out of order no less. 8" RCW. Opera Magenta. Colored crystals in minerals and elements prove this theory that the triadic pigment and light spectrum are the same. Today. BUT THE LIGHT COLORWHEEL IS NOT FOR ARTISTS. as I am bringing this site up to date more pigment manufactures are using PR:122 as magenta. 1996 THEORY. a combination possible in pigment and light. Magenta and Green are at the sides. in and out of college. the last great time was from 1860 to 1890 Chapter 25 ORDER PAGE ORDER HERE . not the artists who need to work with true opposition's. Daniel Smith printed a nice color square using the "LAB" color chart. it was called Quinacridone. 1995. cool colors go to blue. 11" RCW. THE COLORS DARKEN BY SUBTRACTING LIGHT. this is incorrect. from the old source Newton. These seven colors. TODAY. In light. This should prove that the two color wheels are the same. Don Jusko. And from Yellow-green to Brown. ROYGBIV. on the top and bottom. hooray for artists! June. This matches the RCW color wheel.THEORY. THEORY. and the fact that Magenta could not be distinguished in the projected prism light spectrum or the EM wave length. That Yellow goes to Brown. 2013. the RGB subtracts light. yellow-green at its darkest. Orange objects darken by adding cad red or burnt sienna or burnt umber at any ratio. #36 and #1 yellow are side by side at 10 degrees each. RCW matches crystals and elements getting dark. Likewise and opposite.5. It takes a lot of memorizing to know every color's opposite and there are so many incorrect color wheels out there. Yellow. Cyan & cobalt & ult. similar to the way yellow. orange and red darken to the same color brown for all intensive purposes. you see the brightest color on it and mix in the opposite color to shadow it. just add opposite colors to get darker. Chapter 26 CHART. When you're on location painting or photographing how do you use it? A. orange and red go to the same brown in the opposite set of 7 colors. While painting you see an object. blue darken to the same dark blue.Q. Orange darkens to the brown of red just like yellow and red. only its full color and tint colors are the same. With cyan you have a color matching choice to go from cyan to cobalt to ultramarine before adding any of the complement burnt umber. (new window) The RCW and RGB use the same 36 rim colours but each color gets dark differently. see the gamma differences between an RGB profile and a CMYK profile. Having the correct oppositions is handy. For the Printer and Plotter artists. I noticed this on a cardinal in the sunlight. COLORS MADE WITH HTML CODE Test Your Monitor 00 19 18 17 16 15 14 13 12 11 10 09 08 07 06 05 04 03 02 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 .10.. Why is a color wheel handy? Q. Cadmium red light changes to cadmium red medium with the addition of transparent magenta (PR:122) Raw umber is the darkest pigment for the color that is 36RCW#36. Opaque red objects become lighter adding opaque orange pigment. Red to Magenta and Green to Cyan are opposite. 01 02 03 04 05 06 07 08 09 10 The transparent primary color Yellow in pigments can shade to either a green Cool Dark, like in the RGB/YMC light system or to a red Warm Dark, like my color wheel has it for pigments. The transparent color pigment Yellow must be on the warm side for the artist to mix it with any other warm color. By adding a cool yellow/green pigment to a warm yellow color you would lessen the intensity of the yellow and make it dirty. Yellow to Black in the RGB is very similar to Green's dark in both the RGB and CMYK colorwheels. The Real Colour Wheel, RCW, is different. Yellow goes to Red's warm dark brown like in nature, not green's cool dark. As in the Titanium crystal Rutile (new window) Chapter 27 36 REAL COLOR WHEEL PIGMENTS RCW#1.0.1 to RCW#1.0.9 (=) RCW#1 is the first color arc, RCW#1.01 to RCW#1.010 are tints of the first color, RCW#1.1 to RCW#1.10 are the dark scale of the first color. The RCW Pigment Color Number for Cadmium Yellow Lemon Opaque is: RCW36#1.0.1, that is the coolest full chroma yellow in the yellow arc. RCW36#1.0.9, is the warmest yellow in the yellow arc, a tint of Indian yellow transparent. RCW36#1.0, is the Pure Yellow arc with 10 graduated values getting darker below it. There are 36 color arcs in all. RCW#13.6 is a 50% top-tone color for transparent pigments like Magenta. RCW36#1.0 Yellow happens to have five different pigment color values located in it. 01 is a tint, 0 is the full mass-tone color, rings 3, 6 and 10 all have pigments in them. Brown is the darkest intensity of yellow-greens, yellows and reds. Mix this low intensity brown with its opposite color Ultramarine blue to Cyan for a neutral dark. RCW36#1.01 to RCW36#36.01 are the outer rings, lighter pigment or tinted hues of this color section. RCW36#1.0 to RCW36#36.0 are 100% full chroma mass-tone opaque pigments (or) 50% top-tone colors of transparent pigments. #1.01 Tint of the 1st color arc, yellow #1.0 Full chroma, the 1st color is yellow. #1.0.1 (Warmest of 9) #1.0.9, left to right divisions from warm to cool #1.1 First dark of 10 divisions to dark of this first color #1 #1.2 #1.3 #1.4 #1.5 Mass-Color of some transparent pigments. #1.6 Mass-Color of some transparent pigments. #1.7 #1.8 #1.9 #1.10 10% intensity of this color (darkest). RCW#1.01.1 Light Chrome Yellow Light, Lead Chromate, PY-34 RCW#1.01.2, Nickel Titanate Yellow PY53 RCW#1.01.3, Hansa Yellow, Monoazo Yellow, PY-74, Translucent RCW#1.0.1, Light, Yellow Light Hansa, Arylamide, PY3, Translucent RCW#1.0.1, Cadmium Zinc Sulfide, PY35, Opaque RCW#1.0.2, Cadmium Lemon, PY35, Opaque RCW#1.0.3, Bismuth Yellow PY184 RCW#1.0.5, Aureolin, Potassium Cobaltinitrite, PY40, Translucent RCW#1.2, New Gamboge, Indian Yellow, Anthrapyrimidine PY108, Translucent. RCW#1.4, Wm Gold ocher - Azo Yellow, Monoazo Yellow, PY-151, Translucent RCW#1.6, Indian Yellow-Brown Lake Extra, Dioxine Nickel Complex, Synthetic Iron Oxide, PY153 or PY150, PY42, transparent. RCW#1.6.1, Indian Yellow Gr/s, Nickel Chelated Azo PG10F, transparent. RCW#1.6.5, Indian Yellow-Orange Lake Extra, Dioxine Nickel Complex, Isoindoline, PY153 or PY150, PR260, Transparent RCW#1.10.1, Raw Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, PY42, Translucent RCW#1.10.9, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#2.01, Naples Yellow, Titanium Dioxide, Rutile-Nickel-Tin-Titanium, Chromium-Antimony-Titanium Yellow PW6, PY53, PBr24, Opaque RCW#2.0, Chrome Yellow Orange Lead Chromate, PY34, Opaque RCW#2.4, Yellow Ochre, Natural Hydrated Iron Oxide, PY43 RCW#2.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#3.01, Naples Yellow Deep, Lead Antimonate, PY41, Opaque RCW#3.0, Cadmium Yellow Deep, Opaque RCW#3.3, Raw Sienna, Natural Iron Oxide, PBr7, Opaque RCW#3.4, Italian Deep yellow Ocher R/s, Opaque RCW#3.6, Quinacridone Deep Gold PO48, Transparent RCW#3.7, Brown Oxide PR101, Transparent RCW#3.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#4.0.4, Benzimidazolone Orange, Benzimidazolone, PO62, Transparent RCW#4.0.5, Cadmium Orange, Cadmium Sulfo-Selenide, PO20, Opaque RCW#4.6, Burnt Sienna PBr7, Translucent RCW#4.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#5.7, Italian burnt Sienna PBr7, Translucent RCW#5.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#6, Chinese Vermilion, Mercury Sulfide, Translucent RCW#6 Vermilion Extra, Isoindolindon, PR260, Translucent RCW#6.10, Burnt Umber Brown, Natural Earth, Hydrated Iron Oxide, PBr7, Translucent RCW#7.0.5 Thioindagoid Red PR88, Opaque RCW#7.0.5 Cadmium Red Light Red PR108 RCW#7.6, Light Red Oxide & Venetian Red Warm, Synthetic Iron Oxide, PR101, Opaque RCW#8.0, Irgazine Red PR254, Opaque RCW#10.01, Light Portrait Pink, Naphthol Red AS-D, Titanium White, Diarylide Yellow, PR122, PW6, PY83, Opaque RCW#10.0, Naphthol Crimson, Naphthol AS, PR170, Translucent RCW#12.01, Light Magenta, Naphthol AS, Quinacridone Violet, Titanium Dioxide, Zinc Oxide, PR188, PR122, PW6, Opaque RCW#12.0, Permanent Rose, Quinacridone, PV19, Transparent RCW#13.0, Quinacridone Magenta, PR122, Transparent Magenta RCW#14.0, Cobalt Violet, PV49, Opaque Cool Magenta RCW#14.0, Cobalt Violet, Cobalt Phosphate, PV14, Transparent Cool Magenta RCW#15.0, Manganese Violet PV23 R/s, Top-tone, Transparent RCW#15.6, Manganese Violet PV23 R/s, Mass-tone, Transparent RCW#16.0, Dioxazine Purple, Carbazole Dioxazine, PV23, Top-tone, Transparent RCW#16.6, Dioxazine Purple, Carbazole Dioxazine, PV23, Mass-tone, Transparent RCW#18.0, Ultramarine Violet, Alumosilicate of Sodium, PV15, Top-tone, Transparent RCW#18.6, Ultramarine Violet, Alumosilicate of Sodium, PV15, Mass-tone, Transparent RCW#19.01.1, King's Blue Deep, Tint, Zinc Oxide, Titanium Dioxide Rutile, Synthetic Ultramarine PB29, PW4, PW6, PB29, Opaque RCW#19.01.5, Light Blue Violet, Ultramarine Blue, Titanium Dioxide, PB29, PW6, Opaque RCW#19.0.5, French Ultramarine Blue PB29, Translucent RCW#19.2.5, Ultramarine Blue Light PB29, Translucent RCW#19.3.5, Ultramarine Blue Deep PB29, Complex Silicate of Sodium and Aluminum with Sulfur, Translucent RCW#22.0, Cobalt Blue PB28, Oxides of Cobalt and Aluminum, Opaque RCW#25.0, Pathalocyanine - Phthalo - Thalo - Cyan Blue PB15 transparent. Cerulean Blue Opaque PB36 = Oxides of Cobalt and Chromium Opaque = a Cyan tint. RCW#25.0, Manganese Blue by O.H. Cyan transparent PB33, new 2008. RCW#25.6, Thalo Blue - Phthalo Blue - Cyan PB15.3 Pathalocyanine, Mass-tone RCW#27.01, Phthalo Turquoise PB15.3 + PG36, Pathalocyanine, Top-tone RCW#27.6, Phthalo Turquoise PB15.3 + PG36, Pathalocyanine, Mass-tone RCW#28.3, Bright Aqua Green, Phthalocyanine Green, Phthalocyanine Blue, Titanium Dioxide, PG7, PB15, PW6, Opaque RCW#29.3, Opaque Green Light, Phthalocyanine Green, Monoazo Yellow, Cobalt-Titanium-Nickel-Zinc-Aluminum-Oxide, RCW#31.0.1, Phthalo Green, Y/S, Brominated Chlorinated Phthalocyanine, PG36, Translucent RCW#31.0.5, Tint, Emerald Green, Brominated Copper Phthalocyanine, Titanium Dioxide, PG36, PW6, Opaque RCW#31.0.9, Phthalo Green Y/g, Phthalocyanine Green Y/s, PG7, Transparent RCW#33.3, Permanent Green Light, PG-7, PY-3, Phthalo Green + Monoazo Yellow, Opaque RCW#33.6, Hooker's Green Permanent PG36 + PY3 + PO49, Transparent RCW#34.6, Chrome Oxide Green, PG-17, Chrome Oxide, Opaque RCW#35.0, Yellow Green Organic, Opaque RCW#35.0.6, Sap Green PY73, PG7, PR101, Arylamide Yellow GX, Phthalocyanine Green, Red Oxide, Opaque RCW#36.01, Priderit Yellow PY157, Yellow-green, Opaque RCW#36.0, Thalo Yellow Green PG7 + PY3 + PW4, Chlorinated Copper Phthalocyanine, Arylide Yellow 10G, Zinc Oxide, Opaque RCW#36.3, Green Gold, Nickel Chelated Azo, PG10, Translucent RCW#36.6, Indian Yellow-Green Extra, Dioxine Nickel Complex, Methin Copper Complex, PY153, PY129, Transparent RCW#36.6, Green Gold, PY129, Azomethine Copper Complex, Transparent RCW#36.6, Irgazine green PY129, Translucent RCW#36.10, Green Umber, Translucent *Smile* HAPPY PAINTING Go to Maui On Location Galleries with 200+ paintings with painting tips (new window) Email me from this All About Color Ebook page. This little palette will take you to each color in a new window. Print this color wheel, the colors are CMYK Free tiff printable Real Color Wheel CMYK Zip, RGB & CMYK pen palettes. Free tif RCW printable zip. 32 inch CYMK printable Real Color Wheel is available on DVD. Print out my card, it has a 2" RCW on it to carry with you on location. New window. Chapter 28 HEXADECIMAL TINT & SHADE CODES RGB in Gamut is CMYK w/ Hexadecimal TINT & SHADE Code Numbers Tint Colors w/o Numbers (new window) Hexadecimal Tint Codes for Web and Print #01 #02 #03 #04 #05 #06 #07 #08 #09 #10 #11 #12 #13 #14 #15 #16 #17 #18 010 FEF FCF FDE FFE FEE FEE FDD FDD FCD FCD FBD FBD FBD EDD E6D E5D DDD D9D 010 BDE 4D5 DCF CD4 6DO 1CF ECF 8CC 5CC 5D6 5D5 8DD 9E6 9E9 8EA BEC 7EB 7EC 09 FFF FBF FBE FFE FED FDD FCC FBC FBC FAC FAC FAC F8C F8C E1C DAC D0C CAC 09 BD2 0C4 9C2 1BB ABB 6BF FBD 7B6 5B9 4BF 6C9 9D3 CDF BDD EE5 CE5 7E3 7E4 08 FEF F9E FBD FFD FDC FBB F9B F8A F8A F8B F8B F8B F6B DFB D1B CCB BDB B6B 08 7B5 89E D9C 6A2 BA0 F9E 6A5 C99 CA0 0AC 3B9 6C4 6D0 5D3 3D5 7D9 0D7 1D8 07 FEF F9E F9D FEC FCB F9A F69 F69 F69 F59 F59 F59 F29 D39 C39 B99 A99 9F9 07 59F 385 585 A89 D89 880 578 682 589 393 7A1 9B0 CC0 9C2 7C5 8C7 8C9 9CB 06 FFF F6D F8D FDC FBB F79 F58 F58 F48 F37 F38 F38 F18 CC8 B98 AB8 9D8 928 06 48C E6C 072 277 175 86D 466 671 479 B7F 292 3A1 BB6 3B6 5BB 4BC 7BF CC4 05 FFF F6D F7C FDB F9A F68 F37 F37 F37 F37 F37 F27 F07 C9F B57 A57 957 878 05 37A C58 B62 C6A 765 D5D 658 764 86F 87C 98B 99B 9AD BB1 CB6 AB6 FBB 0BD 04 FCF F7D F8C FCB F89 F58 F26 F26 F16 F26 F06 F16 ED6 C66 AF7 9C6 8B7 7B7 04 170 A4C 44B 55C F59 553 B4D A4C C66 D72 D83 990 9A4 FAA 1AE EAF 2B2 2B4 03 FBF F9D F8C FBA F79 F37 F15 F16 F05 F06 EF6 F05 EC5 C36 A96 936 826 706 03 063 A4A 34B E50 64E C49 F43 043 F5D 16B 17A D8A C9E 3A4 4A6 2A6 6AB 4AB 02 FAE FAD F9B FAA F78 F27 F05 F05 EE5 EF5 F05 EF4 EB5 C15 A35 8B5 785 665 02 F52 836 F3E 742 E41 33F 239 239 254 316 472 F83 099 59D 79F 5A0 8A3 8A3 01 F9E FBD F8B F9A F58 EF6 EF4 EF4 EA4 ED4 EE4 ED4 EA4 BE4 9C4 824 704 5B4 01 E3F 628 B31 034 534 834 430 130 24B 55A 56A 07D 094 596 999 899 A9B A9C 00 F7E FCD F9B F89 F47 EF6 EE3 EE3 EC3 EC3 ED3 EE2 EA2 BC3 983 7B3 673 523 00 C2E 418 724 A28 D2B 02C 329 429 545 653 463 F77 F90 691 A92 C93 D94 F95 0 FFF F7C FBB FB9 F47 EF5 FF0 EB2 EB1 EC1 ED1 ED0 EA0 B91 922 742 5E2 483 F00 E15 416 404 521 524 000 030 B3C F4C 95C F71 98B E8C 98D E8F F90 190 0 Complementary Tinted Opposite Colors are Directly Above and Below #19 #20 #21 #22 #23 #24 #25 #26 #27 #28 #29 #30 #31 #32 #33 #34 #35 #36 010 D7E D5D D4E D2E D4E D6E D4E D6E D6E D5E D7E D9E D8E D8E DBE E0E EEF F3F 010 1F1 FF1 0F3 2F4 7F7 AF6 FFC FF4 EEE DE8 DE5 EE2 DDD DDD DD3 ECF 5D9 6D4 09 C8D C2D C1D BCD C3D C4E C0E C4E C5E C4E C7E C6E CCE C8E CEE D4E E6E F0F 09 6EC 0EB 3ED 6F0 FF4 2F3 8FB 8F0 7E9 6DF 6DB 6D5 7D3 6D1 7C4 8BD FC6 3CF 08 ADC A4B A4C A2C A2C A5D 9DD 9DD A6D A3D A5D ACD B4D B6D B9D C5E DBE E9E 08 3E2 CE2 2E6 8EA FEF 6EE CF7 AE8 CDF 9D0 9C8 AC3 DC2 DB6 CA9 0A5 9A8 DA5 07 94B A7A 85B 7BB 82C 85C 6EC 75C 7CC 80C 81C 8BC 97D 9FD A7D B2D D1E E1E 07 3D9 9D8 0DE 5E2 2EB AE9 FF6 EE1 ED2 DC0 CB5 EAE 1AC 3A1 497 78A 392 885 06 80A 739 6CA 5EA 61B 65C 57C 58C 5CC 62C 64C 69C 76C 7BC 90C ABD C8D DCE 06 4D6 DD3 3D8 ADE 7E7 0E6 AF4 8DD 6CA 5B5 3A8 39C 696 899 B7E 47F E7B 465 05 699 5A8 4D9 42A 37A 3DB 02C 30C 3CC 46B 4BB 4FB 51B 70C 88C A0C C2D D6E 05 1C7 FCB 6D1 1DA EE4 7E2 3F3 1D9 0C5 FAD E9F D91 C82 27B 874 F6E A66 040 04 5F8 528 478 3E9 31A 38B 18B 2EB 37B 42B 3DB 48B 50B 66B 80C 9BC BED D3D 04 9C2 2C0 7C5 1CB 2DC 0DF DEF CD4 ABD 9A4 58E 888 A7E E70 56B D65 860 F3E 03 557 477 3F7 388 279 35A 15B 27B 33B 3BB 3EB 3FB 44B 5BB 79C 96C B2D D1D 03 8B8 4B5 AB9 1C0 5D3 BDC 9EB 8D0 7B6 69E 58F 27F 473 A68 363 B5E 34E E3B 02 4C6 3C6 386 337 189 2AA 1CB 22B 2EB 32B 31B 36B 3BB 50B 6FB 90C B2D CED 02 8AE 7AC DAF 3B5 7C8 1D7 5E9 5CC 4B1 296 186 076 06B 65F F59 956 34E D37 01 435 325 2E6 2B6 087 219 1EB 15B 24A 24A 27A 26A 2EA 40B 65B 8BC ADD CAD 01 7A4 BA4 0A6 4A9 BBF 8D3 0E6 1C7 FA9 D8F D7D B6C B5F 346 D52 74D 146 B35 00 3D4 254 275 275 067 199 23A 0DA 15A 19A 12A 19A 1FA 2CA 5CB 86C A9C C7D 00 89D D9A 49E AA2 5BB 4D1 DE4 EC4 BA3 B8A B76 864 958 F50 A4C 548 F3F A32 0 2E3 214 055 005 007 009 00A 00A 00A 14A 00A 00A 00A 08A 55B 81C A4C C5D 58F 297 09F FAB 2B9 3D7 BEB BCA 79C B89 76D 55D 551 D4C 948 342 E39 92F 0 W FFF E1D D2D C1B B0A A09 999 908 7E7 6F6 666 605 524 474 3B3 333 2B2 000 FFF FDF 0CF FBE DAD D9D 999 C8D B7B B6B 666 D5C F4F 444 939 333 A2A 000 B Tint Colors w/o Numbers (new window) . Shade colors w/o Numbers (new window) Hexadecimal Shade Codes for Web and Print #01 #02 #03 #04 #05 #06 #07 #08 #09 #10 #11 #12 #13 #14 #15 #16 #17 #18 00 FFF F6D F7C FDB F9A F68 F37 37A C58 B62 C6A 765 D5D 658 0 FFF FFD FBB FB9 F47 F00 400 416 404 521 EF5 FF0 EB2 EB1 EC1 ED1 ED0 EA0 B91 922 742 5E2 524 000 030 B3C F4C 95C F71 98B E8C 98D E8F F90 483 190 0 1 E8C EDB E8A E18 DD6 DB5 D02 DB2 DC1 DE1 DE1 D81 CE1 B21 922 712 5D2 E20 B1D 822 C27 B26 026 626 22E E3B C4A B58 96A 77B F86 98D B89 F90 483 291 1 2 CEA D8A CD9 D18 C76 C24 BE2 C62 CB2 CD2 C32 C11 B91 B11 8F2 629 428 02A 129 128 927 927 72E 23B 146 053 E60 F71 F86 789 483 291 2 3 B68 BA8 BB7 B16 B15 A44 AB2 AE2 B52 AF2 A82 A72 9D2 92A 32C E2B 929 627 025 926 92C 638 643 34B 255 063 972 372 7C2 662 4b2 3D2 3 774 A78 86D D7B 4 8F5 8F5 D25 D25 955 827 5 774 313 774 762 753 732 7E2 313 F1C 71E E1F 826 F37 F37 F27 F07 D17 B57 A87 957 878 00 87C 98B 99B 9AD BB0 CB6 DB8 FBB 0BD 872 056 852 266 702 468 7D2 33F 782 140 721 F4A 742 158 632 522 25A 65F 6 683 683 6D3 6E3 6B3 6F2 6B2 6C2 6F2 6E2 712 91D 91D F20 B1F 11F D20 524 424 52E 333 33B 682 038 631 641 5C1 D40 E4B F4D 7 552 614 552 614 542 615 8 401 A18 411 918 3D1 3D1 3D1 3D1 3D1 431 491 4A1 4D1 4D1 4E1 818 818 818 818 818 A1D B23 A27 B2D B2D 833 9 361 61A 371 619 351 519 10 2E0 2E0 2E0 2E0 2E0 2E0 2E0 371 3A1 3E1 3B1 3B1 3C1 391 351 2F1 D11 D11 D11 D11 D11 D11 D11 61B 61F 522 424 326 328 52A 62E 732 341 619 893 972 972 972 992 B28 B2A B2A B2A B27 712 5B2 B89 E8B 8E2 34A 542 615 984 925 F37 86F 922 545 774 313 955 827 F37 764 5A2 5C2 5C2 71C 21D 21D 341 519 341 519 351 518 802 927 572 023 852 732 842 538 5B2 4B2 3B2 4 66A 86C A6F 482 152 452 561 342 764 5 3D2 2E2 6 255 458 5B2 5A1 5C1 5A1 5E1 541 4A1 401 351 282 7 029 E2D D32 E31 B3D C3F E43 E46 F4A 14D 3B1 3C1 3F1 61B 51D 521 3F1 626 401 526 471 835 3E1 3E1 52D 52D 401 381 2E1 241 8 939 B3D C41 E44 381 631 321 936 2A1 1F1 9 838 A3D 281 937 1F1 10 93A Complementary ~ Opposite Colors are Directly Above and Below #19 #20 #21 #22 #23 #24 #25 #26 #27 #28 #29 #30 #31 #32 #33 #34 #35 #36 00 598 548 4D9 42A 37A 3DB 02C 30C 3CC 46B 4BB 4FB 51B 70C 88C A0C C2D D6E 00 7C5 CCA 6D1 1DA EE4 7E2 3F3 1D9 0C5 FAD E9F D91 C82 27A 874 F6E A66 040 0 2E3 58F 214 297 1 2E2 F7A 234 064 005 006 008 00A 00A 00A 009 193 F9C CA4 EB2 8C9 E4E 3C1 1A1 F89 2 2E2 273 064 F79 C8B F9C 3 055 005 007 009 00A 00A 00A 00A 00A 00A 00A 08A 54B 81C A4C C5D 0 09F FAB 2B9 3D7 BEB BC1 79C 883 76D 55D 551 D4C 948 342 E39 92F 005 006 007 009 009 599 EB2 CBC 9D7 7B6 009 00A 009 29A 55A 7BB 9EC B5C 1 F6A 05A E4F A4A E47 742 03B 035 009 498 009 581 009 365 009 557 009 009 50A 73A 93A A5A 2 34C E4F 045 541 D3C B37 375 191 273 1D4 074 005 006 008 008 008 A81 486 F8B E99 FAF 9C4 5A8 58C 008 477 008 55D 008 750 008 648 4 325 085 283 474 213 164 005 006 007 007 E79 67C 28A 09E 5AF 49A 007 582 007 56E 007 555 007 94A 007 2C7 447 5F7 747 837 4 741 C3F B3E D3C E38 E36 5 2E4 E79 263 069 223 1B3 104 76C D6E 97C 006 48d 006 576 006 563 006 64C 006 941 006 2A6 3D6 73C B3A 939 536 736 646 635 736 934 5 6 2D4 222 202 D75 B5D F60 1B3 183 064 0A4 005 460 F6E E86 d88 77C 005 664 005 655 005 642 005 838 005 834 475 532 555 231 635 531 6 7 2C4 1E2 1D2 1A2 193 193 1B4 971 652 853 B53 25C C6A 279 054 563 024 453 094 750 004 839 014 044 1F4 2F4 3D4 473 554 7 B31 A2E A2E 62D 42C E29 32C 8 294 065 1C1 1A2 F47 248 143 450 123 544 0A3 083 033 0C3 83B C31 E28 D28 9 233 457 191 171 191 1A1 C40 C41 D41 F43 10 1C2 181 191 181 171 1A1 181 181 152 446 C40 A3D A3D A3D B3F B3D D3B 537 W FFF E1D D2D C1B B0A A09 FFF FDF 0CF FBE DAD D9D 172 348 005 591 006 099 182 1A2 1C3 84D F56 25E 192 348 192 448 172 132 102 843 B3B F34 0D3 0C3 0C3 32B 423 522 2C8 4A8 699 839 E44 E41 13D 53A 245 935 375 734 263 826 263 826 363 626 163 221 163 221 2D2 352 A1F 51F 949 436 3 3D2 4A3 8 F22 527 3F2 620 9 102 0D2 0B3 0E3 152 202 292 2F1 351 10 A30 E27 01F 121 F20 B1E 61E D1A 81B 999 908 7E7 6F6 999 C8D B7B B6B 666 605 524 666 D5C F4F 474 444 Shades w/o Number Codes (new window) Tints w/o Number Codes (new window) 3B3 939 333 2B2 333 A2A 000 B 000 . yellow. cyan. magenta. darkorange. $35. Free Shipping (new window) Painting on Location Join color forum show your location paintings.THESE COLOR NAMES CAN BE WRITTEN IN. purple. The names are in RCW color order. brown. blueviolet. Reviews and Press Releases 2013 | latest page worked on page This page has been updated: Order this complete color course on CD. gold. gray. chocolate. darkgray. REMOVE THE "#" BEHIND THE CODE font color="#. olive. lightblue. silver. 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You don't need the " " either. violet. darkturquoise.. yellowgreen. green. brick. chartreuse. white. ask questions. greenyellow. lightseagreen. turquoise. orange. lime. skyblue. darkred.. Free 5" RCW Order only the 5"X5" Laminated Real Color Wheel $10. coral. Email Don Jusko ARTICLES. deeppink. blue. red. deepskyblue. royalblue.00. indigo. black. springgreen. tomato. midnightblue=bkg. give answers. darkgreen. saddlebrown. REVIEWS AND PRESS RELEASES (new window) .00.