So, wie ich male ! / How I paint Vol.II

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conny

Well-Known Member
Joined
Jun 4, 2005
Messages
174
Location
Germany
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Contents:

Copyright

Dank und Vorwort / Preface and Acknowledgements

Die Farbenlehre / Colour Theory

Licht und Schatten / Light & Shade

Pinsel, Farben, Zubehör / Accessories

Farbmischungen / Colour Mixing instruction

What colours should I use…?
That is the question most commonly put to me by figure painters. Through the many painting courses I’ve conducted, I’ve become very familiar with the main problems figure painters have. In this book, I’d like to offer some solutions and provide some answers. I’d like to show you some easy ways to achieve superior results with your figure painting. This book shows beginners as well as the more experienced painters the relationships between the colours.
We’ll begin with Colour Theory because this is the foundation upon which everything else is based. Following this are chapters on Light & Shade, Brushes & Tools. Easy to understand colour charts with around 500 colour mixtures on CD Vol. I, will make your future painting easier.
 

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Hello Georges,
the CD`s Vol. I and Vol. II are the basis CD`s. Now follow CD`s with SBS, painting Horses, Fleshtones, Hair, Eyes etc. Today I do not know how many CD´s will be ready on the end. A friend translate the text from german to english language, my english is to bad
 
Hello Janne,

here is a part of CD Vol. II
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In practical application this looks as follows:
Mix a dark green from Prussian Blue and Cadmium Lemon. Now add Alizarin Crimson to the mixture until the green tinge disappears from it.
Now check the mixture by adding Titanium White. The result should be an almost neutral grey.
Indian Red shaded with Shadow Colour S, here some Alizarin Crimson was added to the shadow colour.
Cadmium Red Deep shaded with Shadow Colour S, here some Alizarin Crimson was added to the shadow colour.
If the mixture is too blue, add some more Alizarin Crimson and Cadmium Lemon to it.
If the mixture is too red, add Prussian Blue and Cadmium Lemon.
If the mixture is too green, add more Alizarin Crimson.

Cadmium Orange shaded with Shadow Colour S, here some Alizarin Crimson was added to the shadow colour.
Royal Blue shaded with Shadow Colour S, here some Prussian Blue was added to the shadow colour.
Cadmium Yellow shaded with Shadow Colour S, here some Prussian Blue was added to the shadow colour.
Emerald Green shaded with Shadow Colour S, here some Prussian Blue was added to the shadow colour.
Indian Red shaded with Shadow Colour S, here some Alizarin Crimson was added to the shadow colour.
Cadmium Red Deep shaded with Shadow Colour S, here some Alizarin Crimson was added to the shadow colour.
The Shadow Colour S is applied thin and semi-opaque onto the undercoated figure and lightened with the intended colour.
Now you will ask yourself: “Why don’t we then use Ivory Black or Lamp Black right away?” I’d Like to answer this question as follows: Because of their composition, Ivory Black and Lamp Black are too colourless and contain neither blue, red nor yellow. Ivory Black and Lamp Black aren’t really suitable for colours, they just make them grey.
The mixture out of Prussian Blue, Alizarin Crimson and Cadmium Yellow on the other hand contains all colours we need for a shadow. This mixture suits every colour and together with the colour to be shaded it creates a certain harmony.

THe Contents of CD Vol. I, please look here:

http://www.fredericus-rex.de/buch/Farben Schnellsuche - Color Quick Finder.htm

Cheers
Conny
 

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Hello Georges,
the CD`s Vol. I and Vol. II are the basis CD`s. Now follow CD`s with SBS, painting Horses, Fleshtones, Hair, Eyes etc. Today I do not know how many CD´s will be ready on the end. A friend translate the text from german to english language, my english is to bad
Hi Conny,
Thanks for renseignements. I will see later, I am overwhelmed at the moment and I do not have time to take care of this:(. They are still in stock?
georges.
 
conny said:
Now you will ask yourself: “Why don’t we then use Ivory Black or Lamp Black right away?” I’d Like to answer this question as follows: Because of their composition, Ivory Black and Lamp Black are too colourless and contain neither blue, red nor yellow. Ivory Black and Lamp Black aren’t really suitable for colours, they just make them grey.
Sorry Conrad but I have to make some comments. Black paints reflect very little but do reflect some light and it 'contains' blue, red and yellow - all hues in fact - evenly (that's why they appear black in masstone, not very dark but with just a hint of visible hue - like Phthalo Blue or Dioxazine Purple straight from the tube).

So back to the question, why didn't you use black? Well that is a good question since with the Cadmium Orange you had to add additional red to the shadow colour, which is exactly the same thing one does if you used black to shade most orange paints*.

You also added more red to the Cad Red Deep and the Indian red. You had to blue up the Royal Blue shadows & the Emerald Green shadows. So really the three-colour dark you mixed doesn't suit "every colour and together with the colour to be shaded it creates a certain harmony."

Einion

*For anyone that's interested: this is because blacks, dark greys and mixed neutrals almost always shift yellow and orange paints toward green. In order to keep the mixture the same hue - which is what most of us strive to do, whether we're conscious of it or not - you have to counteract that by pulling the mixture back toward orange (opposite clockwise direction on the colour wheel) by adding red.
 
Hello Einion,
of course I use black but a colored black, you get everytime a black if you mixing Blue, Red and Yellow. But I use never Lamp Black or Ivory Black for shading a colour, and that is not exactly the same if you use the colored black or Lamp Black / Ivory Black.
Study the painting palette of the old master`s, you will find never Black / Ivory Black.

Albrecht Dürer allegedly once remarked to another artist whose painting he was viewing: “ Why do you paint with black - don’t you have any other colours?”

And the following statement is accredited to Rembrandt: “One recognises a good painter by his sparing use of white and black in his colours.”

A spanish Prof. of Art (Sorry I forget the Name ) say:

The art of painting is to do without white and black.

If you use the colored black you get more live in your shodows.
 
conny said:
But I use never Lamp Black or Ivory Black for shading a colour, and that is not exactly the same if you use the colored black or Lamp Black / Ivory Black.
What I meant was the compensation you do when blending that mixed dark with Cadmium Orange is precisely what you have to do when you use an actual black pigment.

Something related came up in a thread on another forum just a couple of months ago and as I said there: in practical terms there is virtually no difference to how a mixed dark/mixed black and a black pigment mix with other colours.

If you want to discuss the pros and cons of shading systems further I'm sure you don't want to do it here, we can start a new thread in the Painting forum and talk about it there :)

conny said:
Study the painting palette of the old master`s, you will find never Black / Ivory Black.
Black was an important pigment historically, prior to the modern understanding of mixing complements mixed greys were vital to older layered painting techniques (grisaille/dead layer; see the cover of Joseph Sheppard's book here).
A pretty standard 'Old Master' palette was built on:
Lead White
Ivory Black or Bone Black, possibly Vine Black
Yellow Ochre
red earth - sienna and/or ochre
one or two umbers

To those could be added:
Naples Yellow
Lead-Tin Yellow
Gamboge
Massicot
Orpiment
Minium/Red Lead
Realgar
Cinnabar/Vermilion
Madder Lake
Virdigris
Malachite
Azurite
Smalt
and if he had a wealthy patron, Ultramarine

Vermeer's palette. Rembrandt palette; more in this article by Virgil Elliott. History of Bone Black use. History of Charcoal Black use. Traditional palettes.

conny said:
And the following statement is accredited to Rembrandt: “One recognises a good painter by his sparing use of white and black in his colours.”
Rembrandt is famous for his great use (great as in good and great as in a lot) of lead white for his impasto highlights on skin, so take that comment with a pinch of salt ;)

Einion
 
As an Amazon Associate we earn from qualifying purchases.
This is a very interesting discussion. Thanks for the links Einion! IMHO, you can get there either way.

Conny - another CD to add to my list! I wish you had a means of payment other than PayPal, as I have terminated my account with them due to some issues surrounding how they have handled my account. Do you take a credit card?
 
Just goes to prove there is more than one way to skin a cat. No one can argue that you both get marvelous results!
Conny: congratulations on finally being able to get the CD done. Will Jack Muldoon at little Tin Soldier be selling the disc?
 

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