•  

  • Natural Pigments

    Color for the Artist 

    by
    George O'Hanlon
    Published on September 20, 2011 02:00 PM
    1. Categories:
    2. Color Perception

    Our paintings reflect our love of color, and they contain an infinite variety of hues and shades, but this variety also condemns us to be forever vigilant to its appearance in different conditions.

    Color is an experience enjoyed by almost all the human race from a very early age. As we grow we learn to recognize and often name specific colors such as sky blue and grass green and yet we can never be sure that all persons derive precisely the same sensation from a given stimulus. ...
    Read More Read More

    Black Ink Recipes 

    by
    George O'Hanlon
    Published on September 12, 2011 09:28 AM
    1. Categories:
    2. Formulas

    Here are recipes that we have tried and used:

    Iron-Gall Ink
    Gallnuts, 5 grams
    Ferrous Sulfate, 1 gram
    Gum Arabic, 1 gram
    Water, 200 grams

    Grind the gallnuts to a fine powder ...
    Read More Read More

    Roger de Piles on Oil Painting—Flesh Tones 

    by
    George O'Hanlon
    Published on September 8, 2011 03:04 PM
    1. Categories:
    2. Oil,
    3. Color Palettes,
    4. Historical Pigments

    Roger de Piles (October 7, 1635–April 5, 1709) was an art critic, theorist and collector whose important contribution to aesthetic theory rests on his Dialogue sur le coloris ("Dialogue on colours"), in which he initiated his famous defense of Rubens in an argument started in 1671 by Philippe de Champaigne on the relative merits of drawing and color in the work of Titian. In 1668, he published an annotated tranlsation of Charles-Alphonse Dufresnoy's De Arte Graphica that ...
    Read More Read More

    Old Masters Palette: The Palette of Goya 

    by
    George O'Hanlon
    Published on September 7, 2011 08:24 PM  Number of Views: 1945 
    1. Categories:
    2. Color Palettes
    Article Preview

    Besides an artist's personal notes or treatises on painting of the period, the systematic arrangement of separate colors and mixtures on the palette, which the painter prepared before he began his work, can be used to study the artist's painting procedures. Such palettes can be found in portraits or self-portraits ...
    Read More Read More

    Old Masters Palette: The Palette of Michael Sweerts 

    by
    George O'Hanlon
    Published on September 6, 2011 11:58 PM
    1. Categories:
    2. Oil,
    3. Color Palettes
    Article Preview

    It is no coincidence that the palette in the self-portrait by Michael Sweerts is practically identical to the palette described in detail by Roger de Piles in his 1684 book, Les Premiers Elémens de Peinture Pratique ...
    Read More Read More

    Historical or Traditional Colors 

    1. Categories:
    2. Oil,
    3. Historical Pigments

    There are many misconceptions about historic pigments and their relative toxicity, compatibility, lightfastness and consistency in oil paint. At Natural Pigments, we try to clarify the issues and educate artists as to the facts about historical pigments through the extensive product information found on the Natural Pigments web site.
    ...
    Read More Read More

    How Human Vision and Perception Affect Our View of Colors 

    1. Categories:
    2. Tutorials,
    3. Color Perception

    Color is an experience enjoyed by almost all the human race from a very early age. As we grow we learn to recognize and often name specific colors such as sky blue and grass green and yet we can never be sure that all persons derive precisely the same sensation from a given stimulus. Our paintings reflect our love of color, and they contain an infinite variety of hues and shades. While we enjoy the variety, it also condemns us to be forever vigilant to its appearance in ...
    Read More Read More

    Old Masters Palette: Tiziano Vecellio (Titian) (c. 1485-1576) 

    by
    Published on April 4, 2010 05:39 AM  Number of Views: 2784 
    1. Categories:
    2. Oil,
    3. Color Palettes,
    4. Historical Pigments
    Article Preview

    During the Renaissance numerous paintings were composed in few colors. Arthur Pope wrote of "a brown pigment, like burnt sienna, a yellow ocher and a blue. ...A Venetian red, instead of burnt sienna, might be used to extend the palette down to red-orange; or Indian red, or even vermilion, might be used for occasional small accents, such as in the figures, without altering the general scheme." (Pope, 1929) In many cases no blue was used and even green might be omitted.
    ...
    Read More Read More
    Page 3 of 4 FirstFirst 1234 LastLast