Preamble
This is the forty-fifth 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
Yellow 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!
Yellow Pigments - Part II [1]
Strontium Yellow is seldom included in elementary, or simplified palettes, but it should not be overlooked when very light, clear yellows, chartreuses, or light greens are needed, or when a variety of greens is sought after. It has not the density of Cadmium Yellow, and so is rated as semi-opaque.
Strontium Yellow.
Strontium Yellow is the preferred member of a family of three pigments of identical hue; the other two are Zinc Yellow, which is somewhat water-soluble and has a tendency to become greenish, and Barium Yellow, which is permanent but much less intense in color.
Zinc Yellow.
Barium Yellow.
Naples Yellow seems to have been the most disputed yellow pigment among nineteenth-century painters and commentators; some claim that it was indispensable and others that its color might easily be duplicated by mixtures of white with other yellows. The true product, Lead Antimonate, was for a period not standardized; it was even claimed that no such pigment has ever been in general use, and that any pigment combination of similar superficial hue or top tone could be sold under its label. This is because it never has had any industrial significance, and has never been made in other than small quntities as an artists' color and for ceramic use. The precautions for the use of lead-bearing pigments apply to it; it has the same defects as white lead.
Lead Antimonate.
True Naples Yellow in oil has the peculiar property of turning a muddy green when the paste is rubbed with a steel palette knife. This does not occur when a stainless steel blade is used. Older books recommend spatulas with horn or hard rubber blades.
Genuine Naples Yellow Light PY41 Pigment.
Genuine Naples Yellow is produced in limited amounts in about six shades, from greenish yellow to a comparatively pinkish orange yellow. These shades are not very different, and the usual material avaliable on the market as a dry color seldom offers a choice of more than two shades, generally called light and dark.
The six shades of Naples Yellow.
Note: The last color is not a shade because the end result of this trend must be a white.
Because of its permanence to light, and the general all-round excellence of its pigment properties, which closely resemble those of flake white, Naples Yellow is well liked by painters. There is scarcely any advantage in buying imitation Naples Yellow made with mixed pigments, because it will not duplicate the unique pigment properties of the original, and furthermore, such approximations can easily be made on the palette. Nevertheless, most Naples Yellow oil colors are now these mixtures; when based on Zinc Oxide they will not have the special brushing characteristics for which the true Naples Yellow has which was noted above, and which was a large factor in its survival. Made with flake white, such mixtures would undoubtedly be a closer approximation to the original.
Da Vinci Hansa Yellow Light Oil-Paint 37ml tube swatch.
Ochres occur in all parts of the world, but the finest ones, in fact the only ones suitable for artist's colors, are mined in France, where they are most carefully washed, refined, and placed on the market as recognized uniform grades designated by a series of letters established by long use. For example, one of the most desirable ochres is called J.F.L.S., which stands for jaune, fin, lavé, surfin. Mars Yellow is much more brilliant and powerful than the ochres and raw siennas; theoretically it should supplant them, especially because of its purity, but most artists continue to prefer the more delicate and subtle tones of Native Earths.
The Ochre mines are just a short walk from the centre of Roussillon village (France). It is easy to reach on foot and clearly signposted. You can also see the red cliff that is on one edge of the mines from the centre of the village, so they are very easy to find.
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 forty-fifth 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
Yellow 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!
Yellow Pigments - Part II [1]
Strontium Yellow is seldom included in elementary, or simplified palettes, but it should not be overlooked when very light, clear yellows, chartreuses, or light greens are needed, or when a variety of greens is sought after. It has not the density of Cadmium Yellow, and so is rated as semi-opaque.
Strontium Yellow is the preferred member of a family of three pigments of identical hue; the other two are Zinc Yellow, which is somewhat water-soluble and has a tendency to become greenish, and Barium Yellow, which is permanent but much less intense in color.
Naples Yellow seems to have been the most disputed yellow pigment among nineteenth-century painters and commentators; some claim that it was indispensable and others that its color might easily be duplicated by mixtures of white with other yellows. The true product, Lead Antimonate, was for a period not standardized; it was even claimed that no such pigment has ever been in general use, and that any pigment combination of similar superficial hue or top tone could be sold under its label. This is because it never has had any industrial significance, and has never been made in other than small quntities as an artists' color and for ceramic use. The precautions for the use of lead-bearing pigments apply to it; it has the same defects as white lead.
True Naples Yellow in oil has the peculiar property of turning a muddy green when the paste is rubbed with a steel palette knife. This does not occur when a stainless steel blade is used. Older books recommend spatulas with horn or hard rubber blades.
Genuine Naples Yellow is produced in limited amounts in about six shades, from greenish yellow to a comparatively pinkish orange yellow. These shades are not very different, and the usual material avaliable on the market as a dry color seldom offers a choice of more than two shades, generally called light and dark.
Note: The last color is not a shade because the end result of this trend must be a white.
Because of its permanence to light, and the general all-round excellence of its pigment properties, which closely resemble those of flake white, Naples Yellow is well liked by painters. There is scarcely any advantage in buying imitation Naples Yellow made with mixed pigments, because it will not duplicate the unique pigment properties of the original, and furthermore, such approximations can easily be made on the palette. Nevertheless, most Naples Yellow oil colors are now these mixtures; when based on Zinc Oxide they will not have the special brushing characteristics for which the true Naples Yellow has which was noted above, and which was a large factor in its survival. Made with flake white, such mixtures would undoubtedly be a closer approximation to the original.
Ochres occur in all parts of the world, but the finest ones, in fact the only ones suitable for artist's colors, are mined in France, where they are most carefully washed, refined, and placed on the market as recognized uniform grades designated by a series of letters established by long use. For example, one of the most desirable ochres is called J.F.L.S., which stands for jaune, fin, lavé, surfin. Mars Yellow is much more brilliant and powerful than the ochres and raw siennas; theoretically it should supplant them, especially because of its purity, but most artists continue to prefer the more delicate and subtle tones of Native Earths.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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