D o y o u k n o w i f y o u r c o l o u r i s o f f i n h u e , v a l u e , c h r o m a . . . o r a l l t h r e e ?
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Naming conventions for oil paint colors
3/03/10, Quote from Kirby:
What about the other primaries, blue and yellow?
Blue: Cobalt Blue (& white, to attain blue’s home level)?
Yellow: Cadmium Yellow Light?
3/03/10, Quote from Kirby:
What about primaries in different brands?
Orange: Cadmium Orange?
Those are the hues I believe attain those colors already
at their home level.
r
July 4, 2010 at 10:14 am #1141459
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What primaries you choose depends on whether you paint transparently or opaquely. My suggestions are for opaque and the definition I use for primary red is that it is as close to blue as it is to yellow. I’m not sure what colours Winsor and Newton carries, but I do have some of their cadmium red and I think it is on the orange side of what I would consider primary.
I don’t know if WN carry it, but I use Cadmium red deep.
I think it mixes equally well with orange and magenta.
In itself, it isn’t a really bright looking red, but I believe you can mix a cadmium red or cadmium red light by mixing it with with cadmium orange. Cadmium yellow light is probably closest to primary yellow and is good for mixing with both orange and green.
I use ultramarine blue for blue to magenta and phthalo blue for the green side, but I think ultramarine would be the closest to primary.
I’m not familiar with Cobalt blue, but Ralph Mayer says that it isn’t as deep or intense as ultramarine and it has a comparatively green undertone.
Here I prefer to go for the more intense colour.
Ron
www.RonaldFrancis.com
July 4, 2010 at 12:35 pm #1141460
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Monitors will vary and this is merely an example of one person’s notion of the primaries. I would suggest that a cad red light with a bit of a red orange might get you close to the Red. The Yellow is between cad yellow and cad yellow lemon. The blue is perhaps closer to colbalt than ultramarine though might be a marriage of the two (and white with a bit of ultra-m to shift the hue toward the violet/red.* * note: using W&N Naming conventions in above paragraph I don’t know of the mfg who makes exact primaries but the oil paint experts might weigh in here soon enough!
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July 4, 2010 at 1:23 pm #1141451
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[IMG]http://s3.amazonaws.com/wetcanvas-hdc/Community/images/04-Jul-2010/164138-color-wheel-primary-colors.jpg[/IMG] Monitors will vary and this is merely an example of one person’s notion of the primaries. I would suggest that a cad red light with a bit of a red orange might get you close to the Red. The Yellow is between cad yellow and cad yellow lemon. The blue is perhaps closer to colbalt than ultramarine though might be a marriage of the two (and white with a bit of ultra-m to shift the hue toward the violet/red.* * note: using W&N Naming conventions in above paragraph I don’t know of the mfg who makes exact primaries but the oil paint experts might weigh in here soon enough!
Your observations are dead-on about the red and yellow (depending, of course, on the pigment manufacturer).
As far as primary blue is concerned, the closest I’ve seen is, for opaque, a certain brand of Cerulean Blue Deep, and for transparent I found a Phthalo Blue that is neither red-shade or green shade.
July 4, 2010 at 7:16 pm #1141458
Anonymous
Oil paint questions. I have been searching for a primary red and heard Cadmium Red Light being mentioned as the closest. I’ve been working with Winsor & Newton and was wondering whats the closest to a red primary in there brand, artist quality of course? Since they didn’t have a cadmium red light I was perplexed, lol. Bonus questions: What about the other primaries, blue and yellow? What about primaries in different brands? ~Kirby:thumbsup:
Kirby I have also searched for the purest red I could find, untainted by leaning either violet or orange. I have done many side by side comparisons with every red I could get my hands on. Cad red lights are too orangey to be a middle red, thus you need a crimson for a split primary palette. To my eye (no one else just me) I was able to pick a clear winner hands down no contest. Cads are either orangey or close but not as pure to my eye. Pyrols are either violet or orange, etc, etc. No matter what red I drawdown and tint and set side by side, the red with no bias is PR112, napthol red. I haven’t done this yet with blue or yellow. But in Winsor Newton brand they don’t use PR112 so I would pick Winsor Red, a blend of two pyrols, one orangey, PR255 and one violet, PR254 and dang close to the middle when mixed together, Rembrandt does the same thing with Permanent Red but it is clearly orange biased.
July 5, 2010 at 3:40 am #1141454
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On my palette, red is Q. red or Q. rose, blue is Thalo blue, and yellow is C. yellow. orange= Cad. red-scarlet, violet=dioxazine, green=viridian. Yellow-orange=scarlet orange or cad. orange deep, red-orange=cad. red, red-violet=Q. magenta, blue-violet=ultramarine blue, blue-green=Thalo turquois, yellow-green= emerald green. These colors are adapted from Stephen Quillers color wheel in “Color Choices” and I have been working with them for a couple years now.
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July 6, 2010 at 10:49 am #1141461
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Wow lots to ponder here. I guess when it comes down to it a pure pigment is the one you want and the closest you can get to pure red would be my guess. From what I learned you don’t want to have to deal with other pigments in one color which might interact and cancel other colors out, etc. As far as using a limited palette, just remembering what Kevin Macpherson uses Cad red light, cad yellow and ultramarine blue if I remember correctly. He uses Gamblin. Unfortunately I can’t get my hands on those colors I can just get Winsor&Newton, Grumbacher, I think Rembrandt and Maimeri(student grade which from what I learned is the highest student grade and they use real cadmiums a bonus, I bought one of there cad red lights, which is pure, no other pigments in it, just a little oily from what I heard). ~Kirby:thumbsup:
July 8, 2010 at 3:27 am #1141449
Kirby, this is actually a very interesting question for a couple of reasons you might not realise. Firstly there is technically no primary red – all primary choices are an attempt to match a theoretical ideal and everything is a compromise in one respect or another (even CMY primaries). So let’s say you found a paint that was exactly the red you wanted, it might not be the best choice and the same goes for the yellow and blue. One reason is that there are multiple paints (for the yellow & red specifically) with the same masstone colour – you could collect two or three sets of paints having about the same colour appearance only they will mix quite differently, because different pigments can have different mixing characteristics despite looking superficially very similar. Some basic examples here[/URL] and here[/URL] and on the yellow, here[/URL] and here[/URL]. Einion
D o y o u k n o w i f y o u r c o l o u r i s o f f i n h u e , v a l u e , c h r o m a . . . o r a l l t h r e e ?
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July 8, 2010 at 10:33 am #1141452
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Kirby — Wow! A simple question with a lot of complications. As Einion said, there is no real primary red. Even the best set of three colors is a compromise, but a useful one. The printing industry solved this dilemma quite a white ago, and while it doesn’t translate perfectly to oil paints and layering and mixing, it is a help. For “perfect red” my favorite is Cad Red Medium — I like Maimeri Puro, Blue Ridge. WN Cad Red is a bit too orangey. I also like some Pyrol Reds in PR254, PR255 and mixed PR254/255. I stay away from Napthols, for although some are lightfast, most have problems.
Naming conventions for oil paint colors
You may view here more wide info about colors:
Paints Review and Colors Charts
Some Common Notes:
In our paints catalogs we use next signs for paint names and descriptions:
LightFast of a Paint:
+++ or *** : 100 years completely lightfast under museum conditions (we wish to check it 🙂
++ or ** : 25-100 years lightfast under museum conditions
+ or * : 10-25 years lightfast under museum conditions
o = 0-10 years lightfast under museum conditions
Transparency of a Paint:
| O – Opaque: black rectangle on tubes) |
| SO – Semi-Opaque: black-white rectangle |
| S or ST – Semi-Transparent: white rectangle with diagonal |
| T – Transparent: white rectangle. |
Pxx – International Codes of Pigments on professional artists paints:
PWnn – White (number nn)
PY – Yellow
PR – Red
PV – Violet
PB – Blue
PG – Green
PBr – Brown
PBk – Black
Van-Dyck Ferrario oil paintsFerrario, Italy Finest Artist’s Oil Colours named by famous Flemish painter Anthony van Dyck (1599-1642) – Baroque painting artist (see wikipedia here about van Dyck). These paints have very wide colors range – 91 shades include matallic colors. There are 3 types of oil paints: Opaque, Semi-transparent and Transparent. High quality with average or low price even for cobalt and cadmium colors. 20 ml tubes (0.67 fl.oz.) 91 colors Up |
Hoenig oil coloursHoenig, Israel FANTAZY: |
L&B Louvre oilLefranc & Bourgeois (L&B), France The LOUVRE oil colours are a perfect compromise for first attempts at oil painting. Lefranc & Bourgeois offer a choice of the colours most favoured by professionals and hobby artists. The paints allow the artist to work with a palette made up of basic colours. 36 colours, of which 5 are primary colours, have been produced from carefully chosen pigments distinguished by their lightfastness. The colours have a creamy, pasty consistency, mix well together and dry crack-free. The primary colors there are: 1. Titanium-Zink White 013 2. Cadmium Yellow Hue (Primary yellow) 153 3. Magenta (Primary red) 437 4. Cyan (Primary blue) 063 5. Ivory Black 269 Tubes 60 ml (2 fl.oz.) Up |
Maries OilMaries, China Maries Oil are an economical range of oil paints intended for students and those begining the art of oil painting. Very economical for large canvas work. Marie’s offer a superior strength of colour and mixing qualities allowing the choice of finely detailed work or heavy impasto styles. Maries Oil Colour Paints have “selected & adopted the most permanent pigments, the best refined botanic oil, mixed and are finely ground into smooth paste. Varied chemically and physical properties are strictly examined, they have a suitable degree of dryness and as the paste is steady, they can keep up and give full play of the strokes of painters. The white colours are particularly prepared to ensure from yellowish. All Maries Paints are packaged in non-leaded, non-toxic aluminium tubes. 27 color shades. 21 ml Tube. (0.71 fl.oz.) 170 ml Tube (5.74 fl.oz.) Up |
Winton oilWinsor & Newton, England Many of the Winton Oil formulas contain modern hue pigments that produce an extremely close likeness in color to the more expensive natural pigments, and have an excellent permanence rating. Wintons are intermixable with other oils. The increased popularity of oil painting led Winsor & Newton to develop an economical range of color designed for use by amateur and student artists. Winton Oil Paints are made to the highest standards with moderate cost limits. Using traditional skills and modern colour chemistry techniques results in a range of carefully selected hues. The replacement of some of the more extensive traditional pigments with modern alternatives enables these standards and economic price level to be maintained. Tube 21, 37 and 200 ml (0.7, 1.25 and 6.76 fl.oz.) 47 color shades. Up |
Artisan – Water Mixable Oil ColourWinsor & Newton, England Genuine Oil colour with thins with water and cleans with soap and water. Based on Modified Linseed Oil. No hazardous solvents required. Use with Winsor & Newton Artisan Water Mixable Mediums. The Paints are NOT similar to Acrylic, Tempera or Gouache paints. Touch-dry time 3-7 days. Paints after drying are water-resistant and save texture of your work. These paints can be mixed even with usual oil colours. 40 color shades. Tube 37 ml (1.25 fl.oz.) Up |
Van Gogh H2OilRoyal Talens, Holland * Water-soluble oil colour with the properties of traditional oil colours |
Rembrandt – professional oil colorsRoyal Talens, Holland Rembrandt Oil Colors are world-wide known for their consistent professional quality. These oil paints are the ultimate choice for professional artists around the world. They are made in Holland by craftsmen who mill the paint on triple rollers. Rembrandt uses lightfast pigments and the purest Linseed and Safflower oils making them permanent and durable. They can be mixed with each other extremely well. They are safely intermixable with other oil paints. The highest possible pigment concentration and the fact that they are ground extremely finely means that all the colours have maximum colour intensity. As regards lightfastness Rembrandt oil colour is unique. All 120 colours have the highest degree of lightfastness (+++). Each shade has its own formula which guarantees a high level of stability and quality. The range of colours is well-balanced: there is equal distribution over different colour groups and a good balance between opaque and translucent colours. * Sublime brilliance and intensely deep colours * Optimal colour strength due to the highest possible concentration of pigments and very fine grinding * Highest degree of lightfastness * Very pure colours and greatest durability of the paint coat Characteristics: * Zinc white and Titanium white both based on linseed oil (for painting grounds) and based on non-yellowing safflower oil * Permanent madder lake colours Tube 40 ml (1.35 oz) 120 colors. Up |
Van-Gogh – oil colors for professional artists and beginnersVan Gogh Oil Colours meet to the requirements of the beginners and advanced amateur artists. The main properties: * Strong and brilliant colours * Uniform degree of gloss and drying time * Retains colour integrity for a long time thanks to lightfast pigments Due to the buttery consistence of the paint Brush strokes remain very visible and the paint stais in place. Other strong points of Van Gogh Oil Colour are an equal drying time for all colours and a uniform degree of gloss (so that even mixed colours have an identical appearance after drying). The colors range has opaque and transparent colours, in order to create depth effects in the painting. Transparent colours are ideal for use in glazing paintings. All colours are manufactured from high quality pure pigments ground in pure linseed or safflower oil. The lightfastness varies from good to very good, so that paintings have the same colours after decades, as the day on which they were painted. Tube 20 ml (0.67 oz.) and 60 ml (2 oz.) 66 colors. Up |
Master Class – oil paints for Professional artists and amateurs from St.-PetersburgThe factory of artistic paints (ZHK) ‘Nevskaya Palitra’: St.-Ptersburg, Russia Violtan NOTES: |
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