Preamble:
For your convenience I have listed below all the posts in this series:
Street Graphics of Tokyo - Part I
Street Graphics of Tokyo - Part II
Street Graphics of Tokyo - Part II [1]
There are a number of observations that Europeans have made when visiting Tokyo that encaptulates the feeling of the city. Donald Richie, in 'Tokyo - A Review of the City' (1999), observed that: 'Tokyo's streets do not speak in measured accents of Europe's capitals.' How true!
Who would have thought that the following poster represents the speed and care embodied in the cat logos of their country's courier services. The more you look at the poster the more sense that it makes. The transport company (the mother cat) views its cargo as precious as if it was one of her children. Who wouldn't trust this company with your household goods!
Poster for a Japanese transport company.
Another observation made in 1897 by American Reverend R.B. Perry was that, 'The Japanese are really without any sense of sin, and have no word in their language to express the idea exactly.'
I wonder if his views would have changed on sighting the poster below. I guess not!
Poster for a street comic store.
Most of the other posters below are more self-evident, even though some stretch the imagination to its limits.
Poster for a foot massage.
Poster for clean water.
Restaurant posters, highlighting plastic menu display under each.
Poster for Cake Store (Asakusa Market).
Cake packaging (Asakusa Market).
Posters (Asakusa Market).
Reference:
[1] B. Dawson, Street Graphics Tokyo, Thames & Hudson Ltd, London.
Preamble
This is the fourty-first 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
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!
Green Pigments - Part II [1]
Viridian, which is equally durable for all artistic and industrial pigments purposes, except in high temperature work, is a valuable artists' color. The inferior grades sometimes contain impurities in the form of complex mixtures of chromates and borates; while these are water-soluble, they are quite difficult for manufacturers to wash out. Their presence is highly undesirable, and therefore only viridian of the highest color quality should be used.
Viridian of the highest color quality (with its Hex code).
The best American dry color is usually cleaner and cooler in shade compared to the European product, which by comparison, tends toward yellowish or muddy tones; it should therefore be preferred by fresco painters. When viewed under a microscope, viridian resembles small broken fragments of emeralds.
Viridian viewed under a microscope.
Its color effect when used in transparent films is a brilliant transparent green, but when it is used in full strength in thick pasty layers it will exhibit a duller, more blackish body color or mass tone, because of the build up of a thick layer of pigment particles which impede and absorb transmitted light rays, thus producing an opaque coating.
Viridian used in transparent films.
Viridian used in full strength thick pasty layers.
Phthalocyanine green is a more intense clear tinting color than viridian, and will produce somewhat smaller shades in mixtures with other pigments. Some artists prefer it to viridian; others consider it too raw or garish, and so prefer the somewhat more subtle effect of the older color.
Phthalocyanine Green.
Many sea-green hues as well as clear, deep olive geeens, ranging from intense darks to pale tints, were produced by the older painters with mixture of Vandyke brown and Prussian blue, sometimes toned with a little yellow, by substituting the more reliable burnt sienna and phthalocyanine blue as a starting point, a whole series of unique hues was added to the palette of the artist whose previous experience had been limited to the mixtures available with ultramarine and cobalt. Phthalocyanine green will not give the same result.
Emerald Green is a highly poisonous substance, which will turn black when mixed with any of several other pigments, as well when in contact with metals, and when exposed to air, its use should be avoided. It produces the most vivid and brilliant greens that could not be matched by mixtures, which is the sole reason for this dangerous pigment's survival.
Emerald Green with Hex Code.
A close approximation to Emerald Green can now be made by mixing phthalocyanine green with modern synthetic yellow, such as Hansa yellow, green gold etc. Formerly, some painters who realize that its indiscriminate use led to darkening and other bad results, believe it was safe if used straight or mixed only with the most inert, non-reactive pigments and well locked in with oil and varnish, and they made the occasional use of it; for example, a brilliant starboard light can be depicted by the touch of emerald green with a highlight of titanium on it.
Stunning engagement ring highlights a crisp green emerald in a tension setting.
Emerald Green must never be used in pastel or water color. A 'poisonous green,' comes through association with Paris Green.
Paris Green (with Hex number).
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
Preamble [1]
'Melbourne Now' was an art exhibition mounted by the National Gallery of Victoria (Melbourne, Australia) in 2014. It took as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals, and community groups that lived and worked in the midsts of this multi-cultural city. The aim was to explore how Melbourne's visual artists and creative practitioners contributed to the dynamic cultural identity of this city. The result was an exhibition that celebrates what was unique about Melbourne's art, design, and architectural collectives.
The intention of the exhibition was to encourage and inspire everyone to discover some of the best of Melbourne's culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioner's, city walks and ephemeral installations and events made up the public program.
This and other posts in this series concentrate on the participating artists, rather than on other features of the exhibition event such as the family-friendly commissions developed especially for children and young audiences that was aimed to encourage participatory learning for children and their families in general.
For your convenience I have listed below other posts on thie blogspot that features Melbourne Now exhibitions:
Melbourne Now - Part I
Melbourne Now - Part II
Melbourne Now - Part III
Melbourne Now - Part IV
Melbourne Now - Part V
Melbourne Now - Part VI
Melbourne Now - Part VI [1]
Designer Thinking
'Designer Thinking' is a show within a show wihin the framework of 'Melbourne Now,' which highlights the importance of independent fashion design as a vehicle for original creative expression. All of the designers represented, worked out of small studios in the inner-city of Melbourne (Australia) and prioritised local manufacturing. Their ranges remain small and innovative, pushing the boundaries of design possibilities via collaborations with visual artists, new fabric technologies and methods of making.
Eight labels have been selected for 'Melbourne Now,' each represented by two outfits, in order to highlight the energy, diversity and talent of designers working at an independent level. Grouped en masse, the inventive installation featured works by 'Above' (Alexi Freeman), 'From Britten' (Kinoak Lui Hon, Pageant, Strateas Carlucci and Verner). Contrasting aesthetics, construction methodologies, easons and genders, 'Design Thinking' charts a plethora of conceptual and practical design approaches. Whether their emphasis is on print and texture, minimalist tailoring principles, utilitarian or wardrobe fundamentals, sculptural drape or fabric technology, each designer has developed a distinctive vocabulary that resonates singularly within Melbourne's rich fashion landscape.
Fashion House: Kinoak, Melbourne.
Designer: Annie Kohane.
Apparrel: Kiwaa dress (2013).
Sponsor: The project for 'Melbourne Now' is supported by MECCA Cosmetica.
Julia deVille
Julia deVille was born in New Zealand in 1982 and moved to Melbourne in 2001. While studying gold and silversmithing at RMIT, she completed a mentorship with expert taxidermist Rudy Mineur, and this preservation technique has become a major feature of her work. deVille believes that taxidermy is a celebration of life, a preservation of something beautiful and a powerful exemplar of the visual language of death.
Informed by a facination with death, memento mori and Victorian jewllery design, deVille's work relies on traditional techniques and involves a broad range of animals, precious and semiprecious metals and gems. The artist is a vegan and a passionate advocate for fair and just treatment of animals, and only uses animals that have died of natural causes in her work. By examining death in this distinctive way, deVille urges us to consider our own mortality and the beauty of death and rememberance. For 'Melbourne Now' she has created an installation titled 'Degustation (2013),' which invokes an ornate Victorian-style dining room, filled with her sculptural pieces and works from the NGV collection.
Title: Peter (2012).
Designer: Julia deVille.
The Donkey's Tail
The Donkey's Tail JNR.
Formed in 2007 by artist John Nixon, The Donkey's Tail is an experimental art-music ensemble featuring a diverse array of artists, musicians and amateur collaborators, who perform Nixon's unconvential musical compositions. The group has been prolific in the experimental music scene, releasing more than sixty-five recordings on CD and playing regularly in Melbourne (Australia) galleries and music venues. Known for their use of homemade instruments constructed from found objects, and for playing orthodox instruments in unorthodox ways, The Donkey's Tail's improvised performances make for engaging and unexpected events. Their recorded material traverses noise instrumentals to songs written by Nixon in folk, spoken word and operatic idioms.
For 'Melbourne Now' Nixon's group has conceived an installation encompassing homemade instruments, CDs, photos, paintings, graphic scores, sheet music cover designs, flyers and posters and abstract kinetic videos, all of which invite the audience to explore and discover the group's experimental approach to musical composition, graphic design, instrument-making and performance. The Donkey's Tail Jnr, that 'Melbourne Now' has commissioned for chldren, encourages particpants to experiment with sound and create, perform and record their own improvised scores using various musical and sound-making instruments and found objects.
Designers: Donkey Tail.
Technique (Date): Graphic score (21 May, 2013).
Designers: Donkey Tail.
Title: White Guitar (2010).
Note: The above was commission for 'Melbourne Now' by 'Melbourne Now Champions' - The Dewhurst family.
Drawing Now
'Drawing Now' presents drawings from a cross-section of Melbourne (Australia) artists. These drawings have been gathered from personal and professional networks and so should be seen from a subjective viewpoint.
The selection process was organic, but guided by certain principles. They were selected on artists whom drawing is an allied field for propositions within their work as a whole. Both abstract and realist art was chosen from a wide demographic of artists at different stages of their careers. The works came from artist's studios and are not the kind usually offered by them for exhibition, or prioritised in the gallery world. Rather than displaying the work in thematic groupings, they were presented alphabetically, according to their surnames, with a view of emphasizing the individuality of each artist's drawing and diversity of approaches overall. Spectators are therefore forced to find their own links between the works.
Participating Artists in "A Constructed World."
J. Andrews, J. Aslanidis, D. Bertoli, S. Bram, N. Christensen, R. Cosgrave, P. Cripps, D. de Clario, L. Eastman, A. Finlayson, E. Floyd, M. Fusinato, M. Gilligan, J. Gorman, N. Gray, M. Harper, R. Haskings, B. Hester, R. Ishak, J. Lynch, T. Mackenzie, A. McLuckie, A. McQualter, D. Martorell, A-M. May, V. Meertens, V. Miller, C. Morton, E. Newman, R. Nolan, R. Owen, D. Palliser, R. Piggot, K. Poliness, B. Spier, M. Takasaka, K. Temin, R. Vinnecombe, K. Wiebke, P. Yore, and J. Young.
Artist and Title (Date): Byran Spier, Untitled (2012).
George Egerton-Warburton
George Egerton-Warburton's works operate in the realm of chance and unpredictability. Working across video, sculpture, painting, events, performance and installation, Egerton-Warburton often sets up the conditions for an uncontrollable reaction to take place. He has exhibited widely in Australia and New Zealand in recent years, and was a studio resident at Gertrude Contemporary, Melbourne.
In Egerton-Warburton's single-take film, 'Why are you wearing athletic gear if you're not playing any sport today?' (Melbourne: Run Artist Run, 2013), viewers are escorted past landmarks of Melbourne's artist-run community. Glimpses of the protangist's shoes in the footage reflect contemporary trends in Melbourne's artistic community which conflate urban fashion, criminality, yoga culture and post-London riot footware to articulate radical chic. The film concludes with the camera being placed on a tripod in the space where it is later installed. Completing a cycle from three-dimensional space and back again, the resulting work is an examination of the awkward moral balance in nature and the expanded notion of video as well as structuralist filmmaking technique.
Artist and Title (Date): George Egerton-Warburton, Streaming Ties (2013).
Reference:
[1] T. Ellwood, Director, National Gallery of Victoria (Melbourne, Australia).
Preamble
For you convenience I have listed below other posts that features Gianni Versace.
Versace – Retrospective 1982-1997
Gianni Versace: The Dream
Gianni Versace - Menswear
Introduction [1]
In the twentieth century, fasion design focused on women. Many of the greatest designers of the century never produced menswear. Men and menswear are, he also invented, beginning his menswear collection only a year after the womenswear, her counterpart, one as appropriate as Ken is to Barbie. The proud strumpet, flaunting body and exercising a politically incorrect sensuous femininity, is complemented by the 'man without a tie,' the gym built poseur and sensualist, the lusty male.
As Versace's ideal for women is blatant sexuality, inviting spectatorship both of the body revealed in draped shirts that reveal the torso and of fetish types of virile clothing, such as leather, fringe, and studs. Significantly, Versace shirts are shaped and are never the boxy, full cuts that have so long obscured the male body. A Versace shirt is more like a blouse than the traditional man's shirt in materials, cut, and color. Attention is given to the upper torso by draping so that the pectorals and even the nipples come to constitute part of what the shirt reveals. Versace's menswear is genuinely revolutionary, insisting on men as sex objects. He became the standard-bearer of gay men's fashion, because he eschewed decorum and design for desire.
Versace's manifesto, 'Men Without Ties,' often read only as a scrapbook of images of beautiful men, goes further to provide a warrant for the sensuous man. To be without a necktie in the metaphor to being self-reliant after the industrial models for men's behaviors and for menswear. Versace attempted to reverse the principle of 'The Great Male Renunciation' by which nineteenth-century men forsook their long-prized embroideries, brilliant colors, dashes of lace, and luxury materials for the gray and dark blue and black frocked coats and suits that would be apt for the sooty cities and dour tasks of modern industrialization and management, leaving all that was beautiful and decorative to the sphere of women. Versace wanted men to be just as sexy as women; he demanded that they be physically open. In guaranteeing a positive aesthetic of masculinity, Versace offered a perfect balance to the women he envisioned.
Gianni Versace's Timelines (1946-1997)
1946 Born December 2nd in Reggio Calibria, Italy.
1971 Starts working as a fashion designer in Milan, after an apprenticeship in his mother's dressmaking business.
1975 Shows his first leather collection for fashion house Complice.
1978 Presents his first women's ready-to-wear collection at Palazzo della Permanente, Milan.
1982 Designs his first theatre costumes, in collaboration with the Teatro alla Scala, for the production of Richard Strauss' ballet, Josephlegende. Receives his first prestigious 'Occhio d'Oro' (Golden Eye) award for his famous autumn/winter collection of metal mesh dresses.
1985 Versace speaks at a conference at the Arte e Moda exhibition at the Victoria and Albert Museum, London.
1986 The Italian President Francesco Cossiga makes Versace a 'Commandatore' of the Italian Republic. The National Field Museum, Chicago, presents a major retrospective of Versace's work. The 'Gianni Versace: Obiettivo Moda' exhibition in Paris illustrates the collaboration between Versace and internationally renowned photographers such as Richard Avedon, Helmut Newton, Irving Penn, and Bruce Weber.
1987 Designs theatre costumes for the production of Salome by Richard Strauss, and Maurice Béjart's, Leda et la Cygne and for Souvenir de Leningrad. He receives the Maschera D'Argento (Golden Mask) for his contribution to the theatre.
1988 Elected the world's most creative and innovative designer for men by the 'Cutty Sark' jury.
1989 Opens the 'Atelier Versace', a studio for the creation of Versace haute couture designs. Introduces the new line 'Versus' in Milan aimed at a younger audience. Creates theatre costumes for Béjart's production of Elegie pour Ella at the Cirque Royale, Brussels.
1990 Designs costumes for the San Francisco Opera production of Richard Strauss' Capriccio.
1991 Exhibition 'Versace Teatro' at the Royal College of Art, London. Receives the 'Occhio d'Oro' award for the fourth time, as the most innovative designer of the year.
1992 The 'Versace: Signatures' retrospective opens at the Fashion Instiute of Technology (F.I.T.) New York. Stage costumes designed for the world tour of performer Elton John.
1993 Awarded the coveted American Fashion Oscar by the Council of Fashion Designers of America. Launches 'Home Signature' a new line of accessories for the home.
1994 The 'Versace: Signatures' retrospective opens at the Kunstgewerbemuseum, Berlin.
1995 Designs costumes for the world premier production by the American Ballet Theatre of 'How Near Heaven,' Washington, D.C.
1997 Versace is shot and killed outside his South Beach home in Miami, Florida on July 15th.
Gianni Versace - Menswear [1]
Description: Man's shirt. Spring-Summer Collection (1991).
Materials: Silk twill printed with polychrome. Warhol-inspired imagery.
Courtesy: Ginnai Versace Archives.
Description: Man's ensemble. Spring-Summer Collection (1992).
Materials: Black-and white printed silk and black-and-white printed denim.
Courtesy: Ginnai Versace Archives.
Description: Man's jeans and shirt ensemble, Spring-Summer Collection (1992).
Materials: Cotton and leather.
Courtesy: Ginnai Versace Archives.
Description: Man's leather jacket, Spring-Summer Collection (1993).
Materials: Black leather jacket with silver-tone metal beads.
Courtesy: Ginnai Versace Archives.
Description: Man's leather jacket, Spring-Summer Collection (1993).
Materials: Black leather jacket.
Courtesy: Ginnai Versace Archives.
Description: Black leather jacket, Spring-Summer Collection (1993)
Materials: Black leather with metal applied decoration, and black denim.
Courtesy: Ginnai Versace Archives.
Description: Man's studded ensemble, Spring-Summer Collection (1993).
Materials: Black leather with gold and silver tone metal studs.
Courtesy: Ginnai Versace Archives.
Description: Man's Nehru-style suit, Spring-Summer Collection (1997).
Materials: Gray pinstripe synthetic twill.
Courtesy: Ginnai Versace Archives.
Description: Man's jeans, Fall-Winter Collection (1990-1991).
Materials: Printed cotton-and-nylon blend twill.
Courtesy: Gift of Brooks Adam and Lisa Liebmann (1996).
Reference:
[1] R. Martin, Gianni Versace, The Metropolitan Museum of Art, New York (1997).
Preamble
This is the fourtieth 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
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!
Green Pigments - Part I
The character of a mixed green made with lemon or pale yellow is toally different from that of one made with a golden (medium or deep) yellow.
Different shades of green.
Greens are toned down or brought toward olive, if too brilliant, by the addition of a clear red or reddish pigment, burnt sienna for warmer shades, cadmium red or alizarin for cooler ones. The character of a mixed green made with lemon or pale yellow is totally different from that made with a golden (medium or deep) yellow.
Yellow and blue are two colors that make green when mixed together. Simple, but effective.
Different shades of blue and yellow mixed together can make different shades of green.
Above are mixing processes that make the green colour muted using a combo of blue, green and yellow mixed with red.
Chrome greens are usually taboo in artistic painting: their color stability is less than that of either of their single ingredients; usually Prussian blue fades first; the green becomes yellowish or brownish and then lighter as the chrome yellow changes.
Chrome Green.
Chrome greens may be matched or closely approximated by mixing phthalocyanine blue with the various permanent yellows. Sap greens resemble mixtures of phthalocyanine blue and either transpearent ochre or cobalt yellow dulled with a touch of burnt sienna.
Sap Green.
Hooker's green may be matched by a mixture of phthalocyanine green and cobalt yellow dulled with a touch of burnt sienna.
Hooker's Green Pencil.
Most greens made with Prussian blue cannot be duplicated without its use or that of phthalocyanine blue; if the latter is not available, a mixture of Prussian blue and permanent yellow is far preferable to one in which such definitely fugitive yellow pigments as gamboge, lakes from buckthorn berries, etc., are used.
Verdigris and similar copper greens are rather easily imitated by using viridian as a starting point. The great variety of shades in which these colors were made make it impractical to mention the additional pigments specifically.
Verdigris.
Chromium oxide green is one of the most inert and permanent pigments in use, but it finds a smaller application in artistic painting than do other greens on account of its low tinctorial power and its limited color effect.
Chromium Oxide Green.
It is still liked among artists for its pleasing hue. Cobalt greens, light and dark, are also opaque, permanent pigments with relatively low tinting power and with similarly pleasing color properties; they are definitely bluish greens by comparison with chromium oxide, which in comparison seems warm and yellowish.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
Poster for a Japanese transport company.
Poster for a street comic store.
Poster for a foot massage.
Poster for clean water.
Restaurant posters, highlighting plastic menu display under each.
Poster for Cake Store (Asakusa Market).
Cake packaging (Asakusa Market).
Posters (Asakusa Market).
