Preamble
This is the fourty-fourth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Yellow Pigments - Part I [1]
Chrome yellows and oranges are perfectly replaced by the cadmiums for all artists' purposes. Formerly there was some doubt as to the light-proof qualities of some cadmium shades, especially the palest yellows, but all modern cadmium-barium yellows are of equal permanence under severe accelerated test conditions and are entirely suitable for permanent artistic painting. They have less tinctorial power that all the other pure sulphide yellows possess, but they are acceptably strong and compare favourably with the average artists' color in this respect. Most specimens are finely divided and soft, and work well in oil.
JMB Cadmium Pigments.
The term cadmium lithopone does not mean that the color has any of the undesirable features of lithopone white, but merely refers to its method of manufacture in order to distinguish it from pure sulphide pigments.
Professional manufacture of crystalline powder white 28%/30% lithopone pigment for paint.
Cobalt yellow (aureolin), sometimes toned with another color, will replace the obsolete transparent yellows - gamboge, Indian yellow etc.
Color Spotlight: Aureolin.
It is not used in opaque or body-color painting, because its mass tone is a dull and undistinguished mustard hue that can be easily duplicated with less expensive pigments, but it is invaluable for transparent glazes and for precise matching of delicate or very pale colors and off-whites. Cobalt yellow is an extremely rapid drier in oil, hence one should guard against waste by not putting too much on the palette.
Hansa yellow, a modern synthetic organic pigment, creates brilliant effects alone or in mixtures, quite different from the more golden tones that cobalt yellow produces.
Hansa Yellow.
Mars yellow can serve as a starting point to duplicate most of the ochres and raw siennas if desired, but it should be considered as an addition to this family of colors rather than a substitute for any of them.
The use of the European term, transparent gold ochre, by some makers of oil colors to describe an ochre which contains a large percentage of transparent material is unfortunate, as the term, golden ochre, has long been employed in the English and American color trade to describe an inferior product containing chrome yellow.
Analogous Color Palette - Part I.
Analogous Color Palette - Part II.
The best transparent ochre is refined from a rather scarce native ore which contains a smaller percentage of iron than the average; other grades (which are perhaps just as desirable) may be made by mixing alumina hydrate with a deep toned native ochre. The color is a useful one and it is doubtful whether its great transparency and high inert pigment content will promote change in tone by revealing the yellowing of oil, as its hue is very close to that of a rather deep-colored oil. Because of the industrial unimportance and limited production of this native transparent ochre, the material sold as a dry color is likely to be the chrome mixture and therefore should be purchased from only the most reliable sources.
Gold native ochre oil.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the fourty-fourth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Yellow Pigments - Part I [1]
Chrome yellows and oranges are perfectly replaced by the cadmiums for all artists' purposes. Formerly there was some doubt as to the light-proof qualities of some cadmium shades, especially the palest yellows, but all modern cadmium-barium yellows are of equal permanence under severe accelerated test conditions and are entirely suitable for permanent artistic painting. They have less tinctorial power that all the other pure sulphide yellows possess, but they are acceptably strong and compare favourably with the average artists' color in this respect. Most specimens are finely divided and soft, and work well in oil.
The term cadmium lithopone does not mean that the color has any of the undesirable features of lithopone white, but merely refers to its method of manufacture in order to distinguish it from pure sulphide pigments.
Cobalt yellow (aureolin), sometimes toned with another color, will replace the obsolete transparent yellows - gamboge, Indian yellow etc.
It is not used in opaque or body-color painting, because its mass tone is a dull and undistinguished mustard hue that can be easily duplicated with less expensive pigments, but it is invaluable for transparent glazes and for precise matching of delicate or very pale colors and off-whites. Cobalt yellow is an extremely rapid drier in oil, hence one should guard against waste by not putting too much on the palette.
Hansa yellow, a modern synthetic organic pigment, creates brilliant effects alone or in mixtures, quite different from the more golden tones that cobalt yellow produces.
Mars yellow can serve as a starting point to duplicate most of the ochres and raw siennas if desired, but it should be considered as an addition to this family of colors rather than a substitute for any of them.
The use of the European term, transparent gold ochre, by some makers of oil colors to describe an ochre which contains a large percentage of transparent material is unfortunate, as the term, golden ochre, has long been employed in the English and American color trade to describe an inferior product containing chrome yellow.
The best transparent ochre is refined from a rather scarce native ore which contains a smaller percentage of iron than the average; other grades (which are perhaps just as desirable) may be made by mixing alumina hydrate with a deep toned native ochre. The color is a useful one and it is doubtful whether its great transparency and high inert pigment content will promote change in tone by revealing the yellowing of oil, as its hue is very close to that of a rather deep-colored oil. Because of the industrial unimportance and limited production of this native transparent ochre, the material sold as a dry color is likely to be the chrome mixture and therefore should be purchased from only the most reliable sources.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
