School-life tension? :P

All right, I’m set to go out tomorrow and blow $30 on some paints. πŸ˜› (I feel silly going all the way out to the art store and spending $5. Even though that may be the sensible thing to do.)

I’ve checked: I have more weeks in the semester than I expected! So now I for real have three weeks left of classes! And I should get started on my peer grading.

I think Database Management will be…manageable, given that the work I’m doing for the last group assignment seems easy enough. Then there is the Final, which…I’m not really sure I’ll do well on, but I think it will be OK (as a co-worker of mine is fond of saying). I have a tutoring session scheduled for tomorrow morning; I’m hoping that this will make the Final easier.

And then there is improving on my Instructional Design proposal, and dealing with the Research Guide for my Reference course. Not really liking that last class, right now (perceived interpersonal friction because I was stressed, and now the Prof thinks I don’t care; and I’m wondering if I care enough to explain to her what was going on, which isn’t her business), but I might be able to do something with the last project which will make it worth my time.

The other day…I did get out my colored pencils. Like the archive of colored pencils going back to 1994 or whatever…

They work well, still; they just aren’t suitable for reproduction work (which is why I started in with the watercolors in the first place)! I have found, though, that some of these pencils are actually using pigments which appear very similar to what’s in my paints (like Cobalt Turquoise).

The major issue I have and have had with these is that it’s difficult to cover the paper 100%. The workaround I found for this is to paint the paper first, then color it with the pencils, so that what shows through is not white, but something else that adds some kind of depth or contrast.

I mean, that’s old news, but if you haven’t been following this blog for years, you might not have found the information. (I need to work on my organization of past posts.)

I also have too many colored pencils. I need to choose one or two of my repeat colors and then give away (or at least put away) the rest. It’s just annoying when I’m trying to match a color and I have more than one that look very similar…

…and I should aim to get rid of the older Prismacolors, first (some of which may be older than some of my readers).

Hmm. Well, aside from that, work was…tiring. And I still have yet to decide on my topic for the Reference Guide.

I’m thinking that color dynamics aren’t an “academic” enough topic, and that I would be better off going with something like an Art History angle where it comes to Japanese woodblock printing. I mean, it’s niche enough that I probably wouldn’t have to worry too much about narrowing my search…whereas color dynamics would have me sorting through masses of shallow books.

They’re not all shallow, just most of them don’t touch on what I want to know. At all. Like, I don’t care about interior design…or picture books…I’ve tried researching this before, but maybe my mistake is trying to use my home library system instead of one that has an effective OPAC (Online Public Access Catalog).

On the other hand, I’ve been reading handprint today…and that site has a wealth of information on watercolors. I’ve mentioned it before, but I haven’t until now just read it for kicks. But if I did want to do some work on pigments and watercolors as regards a Research Guide, I think there is a page there somewhere with an annotated bibliography, from which I could start.

Actually, that sounds a bit too hard to risk an assignment on it.

I’ll think about it.

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Recap of the past three days

I’ve been told to go to bed, but I know I won’t remember what happened over the past three days, if I don’t record it. I’m pretty sure I made the last post in the early morning (i.e. after midnight) on Tuesday.

I think I was able to go to the Japanese market for foodstuffs that day (soba noodles, senbei)…I know Wednesday, I worked and went out later. I also started designing quilt layouts.

Thursday, I saw a professional in the morning and then…either Tuesday or Thursday, I went to the fabric store, and either Tuesday or Thursday, I went to the produce market. (It’s all kind of blurring together.)

Today I was mostly asleep until evening, but I have started working on assignments, again.

I also did check that lightfastness chart on Tuesday, but I haven’t made photos yet. There are about 6 or so paints that I now know fade after about 4 weeks of direct sunlight, and a few others which are also starting to do so, but it’s only barely noticeable. (On the other hand, the difference between Winsor & Newton Yellow Ochre and Yellow Ochre Light has been magnified: Yellow Ochre Light is yellower and less red than regular Yellow Ochre!).

I need to re-swatch Scarlet Pyrrol (from M. Graham & Co.), because it looks like it has been altered, but I don’t know from what; if memory serves, it is different underneath the covering paper, as well as on top. This could indicate heat or atmospheric influence, or some kind or corrosion, as versus just light…it looks grittier than I remember.

Of course, no one hangs their paintings in the window in direct sunlight, but it’s meant to replicate advanced wear.

Aureolin is still holding up fine (surprisingly, given its reputation), as have a range of pink-magenta-red paints. I may want to go and get W&N’s variant of Scarlet Pyrrol (it’s called something else, like Winsor Orange Deep, but I’d have to look at my archive or look it up online to be sure what it is). [EDIT: It’s called “Winsor Orange (Red Shade)”.]

Okay, I need to brush my teeth before I totally conk out. But yes, apparently I’m doing very well right now…

Playing with color mixing

Last night’s project did inspire me to see what kind of a color gamut I’d be able to produce with gouache (opaque watercolor). I also took note of the fact that colors mixed using the same pigments tend to harmonize.

With that in mind, and also knowing that I didn’t know my gouache well enough to tell how each color related to the next, tonight I just sat down and started painting out and mixing colors (without attempting to do anything like the lightfastness chart I completed last night for my transparent watercolors).

prismatic (rainbow) color mixing chart
I seem to have missed an intense red-violet and yellow-green. Right now I’m wondering what kind of muted colors and chromatic greys I can get out of this prismatic range.

It’s probably immediately apparent that I seem to be interested in cool colors more than warm ones. The above chart was made using seven colors, all Holbein with the exception of Permanent Rose and Intense Blue, which are Winsor & Newton brand:

  1. Permanent Rose
  2. Primary Magenta
  3. Ultramarine Light
  4. Intense Blue
  5. Peacock Blue
  6. Lemon Yellow
  7. Permanent White

Pretty much all the colors in the image are mixed rather heavily with Permanent White, so that the colors can actually be recognized. Both of the brands of paint I used here don’t have white as a filler in the gouache itself (neither does M. Graham & Co.). This is a sign of quality. It also means that the paint often needs to be mixed with white for both opacity, and for the color to be visible: I can see that if I use these often, I will likely need white in a larger quantity.

However, I don’t need it yet.

Peacock Blue is the only paint here which contains more than one pigment in its tube (there is some Phthalo Green mixed in there along with Phthalo Blue), and is also the only paint containing a pigment which isn’t essentially a primary color.

I used three blues, here, because I wanted to see what they would do. Intense Blue is a Phthalo color, while Ultramarine Light is…what it looks like. I wanted to see if I could make clear violets out of it, and the answer is apparently yes.

The Ultramarine I had experience with, prior, was Ultramarine Deep — it makes violets so dark (close to black) that I haven’t made the time to properly dilute them to see their actual character. Ultramarine can come with a green or violet bias. It looked like Ultramarine Deep was a violet-bias paint while Ultramarine Light was a green-bias paint, but the latter still works well for violets (apparently!). It just needs a nice violet-leaning reddish color like Permanent Rose or Primary Magenta.

I tried to mix colors which I thought would be adjacent to each other on the color wheel — so, for instance, I didn’t try mixing violets with Phthalo Blue as a component. Not yet.

Something that did surprise me is that Permanent Rose (top left corner) plus Lemon Yellow make a color extremely similar to Flame Red, even though both Permanent Rose and Lemon Yellow are on the cool side of the color gamut for both red and yellow. Flame Red, however, is a warm, intense red-orange. The mixture I’m referencing is in the lower left corner of the image above, and closer in color to Winsor & Newton’s Flame Red than Holbein’s Flame Red.

Given that…I am wondering if I got Peacock Blue because it was close to cyan, or just because it was pretty…the fact that red can be mixed from magenta + yellow is something I had heard about but not experienced, until now. (I’m talking about the CMYK system of color mixing, where red is not seen as a true primary color because you can get red from magenta + yellow, but you can’t derive magenta from anything we presently know of.)

Alright, I’ve talked enough tonight. I’m kind of itching to get back to my planning journal — I’ve been making notes about the content of future posts without the necessity of actually publishing them, yet. The fact that I had discovered that Web Production could be a full-time job is part of what I mentioned last night…essentially it’s like being an editor, but online.

That would be a really interesting outlet, I think! It involves the generation and development of ideas, content, and — likely, if my instruction in Marketing serves — the questions of relevance to the organization’s goals and user base. This would be in contrast to making the website functional (Web Development), or making it aesthetically pleasing and communicate in a user-friendly manner (Web Design).

I generally shy away from being in charge of things, but I could see myself working in a Web Production capacity, especially if I were passionate about the project…

Lightfastness testing chart, final version

I completed my watercolor lightfastness testing chart tonight, though it hasn’t spent time in direct sunlight, yet. Apologies for the poor lighting in the photo documentation (this all took place after dark)!

There is, I think, a lot I’ve learned from this project (and the phase of exposing this to daylight, has barely begun). I’ve been trying to get this chart done before school starts up, but if last semester was any hint, I might want to start studying now. πŸ˜›

Anyhow, below is what I’ve currently got:

watercolor lightfastness testing chart -- final version

The majority of these colors are Winsor & Newton brand, with notable departures (which, for your sake, I feel the need to get to, below).

For those who have been following this project, I did make it out earlier to get a Pyrrole Orange pigment — this is PO73, in the far right column. (I also got a better Raw Umber: both Daniel Smith and M. Graham had online swatches with nice flow.) I had planned to get a W&N color, but second-guessed myself when I saw that M. Graham & Co. also made a Scarlet Pyrrol with the same pigment (which I had skipped over and just not seen, online. One of the downsides of the Web is that you don’t see what you don’t see…).

I don’t think it totally replaces Grumbacher’s Vermilion Deep (just to its left in the chart above), but then again, I’m having less and less faith in that paint performing well. I did try again to paint Vermilion Deep out tonight, to see if the lack of wet-in-wet flow was something I wasn’t doing right, or if it was a characteristic of the paint itself. At this point, I think the latter is true.

Nor does it really give me any reassurance to know that the paint is made of four separate pigments (as I realized when making pigment notes on those black papers [Strathmore ArtAgain coal black paper — acid-free and heavy], though I just now realize that those papers may well fade in the sunlight as well as the paints! and that in turn could compromise the protection for the paints underneath the flaps…not to mention the visibility of my pigment notes).

Ah, right: I also just now realize that no one here really knows what I did. I thought I took photos during my working process tonight, but I must have forgotten to turn on the camera–! Seriously, I took the camera out, and everything. I don’t know what happened, except maybe I forgot to take pictures and thought I did, or had a critical user error. (I don’t think it’s a problem with my camera!)

Right now I have photos of every sample cut out and rearranged from their prior order (photos shown last post), with the little black rectangular shielding papers attached by a Scotch Tape hinge, and secured by a little more tape over the white part of the swatch. Then, I have photos of everything stuck down with a roll of tape on the back of each sample, which I should be able to remove. I just bit it and stuck it to a piece of Bristol board, too, which is good in that it gives structure to the piece. It’s just likely unnecessarily expensive.

The final product is what you see, above.

Less about the process and more about what I learned: it was very enlightening to note down the pigment codes of everything I had, because then I could see what I didn’t actually need.

For instance, Sap Green (PG36 + PY110) should be able to be produced by a mix of Phthalo Green [Yellow Shade] (PG36) with Isoindolinone Yellow (PY110) — which I have, now. What I’m paying for is basically for the company to discover and mix it for me, unless I didn’t have and didn’t want either of its parent pigments; or this is one of those cases like Permanent Magenta (PV19) and Permanent Rose (PV19) sharing the same pigment code and apparently just being different variants of chemicals similar enough to be classified as the same thing. (See the lower right corner of the above photo for an illustration.)

I also realized that W&N Payne’s Grey and W&N Indigo look harmonious because they’re a mix of three of the same pigments, just in different proportions. I had mentioned the harmony recently — likely in my last post, or the one just before it. That is, the colors looked like they were in a range (and I guess they were).

Also, W&N Burnt Umber seems to be a mix of other earth pigments…which makes me want to investigate what actual Burnt Umber looks like.

*sigh*

Okay, so what is not Winsor & Newton brand? Working from right to left, and top to bottom:

  1. The Raw Umber at the upper right corner (M. Graham & Co.): PBr7
  2. Lamp Black (Holbein): PBk6
  3. Prussian Blue (Daniel Smith): PB27
  4. Cerulean Blue Chromium (Daniel Smith): PB36
  5. Hansa Yellow (M. Graham & Co.): PY3
  6. Isoindoline Yellow Deep (Holbein): PY110
  7. Scarlet Pyrrol (M. Graham & Co.): PO73
  8. Vermilion Deep (Grumbacher): PR188, PR173, PR209, PY3
  9. Rose Madder (Mijello Mission Gold): PR176

The photo above is also sideways; paint names are visible to the left of the color painted, but I thought the pigment codes were likely more valuable — and visible — than the paint names (some of which, like “Phthalo Blue” instead of “Winsor Blue,” I’ve altered as I can memorize them).

And finally, those two out of order in the lower right corner are colors that I’ve decided not to use for now (various reasons), but am testing them for lightfastness anyway, as it may become valuable information in the future (particularly as regards PO62, which is in another mix on this palette [W&N Indian Yellow: PO62, PY139]).

I don’t regret getting Scarlet Pyrrol at all, at this point. It’s a beautiful color and harmonizes nicely with Permanent Rose and Winsor Yellow, at the least. I’m also softening up on the Winsor & Newton Cotman (as versus Professional) Cadmium Orange Hue, at least until I can see if it fades. It’s not terrible, but it is the only student-grade paint in this chart. That said, with the caveat that its lightfastness is to be determined, it performs better than some of the artist-grade paints.

At this point, I’m wondering what would happen if I took all the convenience mixes away: what would I have left in single-pigment paints, and could I get by with that? (Probably! But I would also probably start filling the spaces in my palette with other single-pigment paints, to mix colors I couldn’t get otherwise…)

I have more material to write about: particularly that producing web content could be a full-time job, aside from the web development and design angles; targeting an audience (a.k.a. remembering who you are); subject matter for art; and how I have begun to remember who I am (those last three things are entangled)…but I’ve written enough for tonight.

I will set this to post at 7:30 my time. For now (it’s 2:30 AM here), I can get some rest.

Continuation: lightfastness chart photos

Thinking back on it, maybe it would have been best to delay gratification and combine this post and the last, into one. πŸ™‚ In any case, I do now have photos.

color chart (aided by Photoshop)
I used Photoshop to cut out the two empty rows on the left, between the reds and blues.

I’ve opted for a more natural look to this, instead of trying to make the white of the paper as close as possible to the white of the screen, which distorts the colors a bit. There is a brightness adjustment added to this, but that’s all.

I’ll be identifying the colors by Row (top to bottom) and Column (left to right), for my international readers…I realize this might not be immediately apparent.

I also need to let you know a bit of errata: Viridian (Row 4, Column 5) isn’t a cobalt color, it’s a chromium color. I have a pattern of confusing one for the other…

Last night, I was also mistaken in saying that Vermilion Deep was the only paint in which I got brush strokes: Raw Umber (Row 3, Column 6) did it too, but I don’t expect much from Raw Umber, at this point (maybe I should try a different brand).

Anyhow: see that Winsor Orange (Row 2, Column 4)? Gah. It’s just terrible compared to the majority of the colors. Because my Winsor Orange tube also has a cracked cap and wanted to gush when I tried getting the cap off the tube (it was stuck and I had to really work to get it off)...and it grays out really quickly once I try to mix it…I’m not entirely certain what I’m going to do with it. Maybe I’ll go to an artists’ meetup and conveniently forget it/donate it…

blue test swatches

This time, swatching out the blues did produce an effect that is visible on a computer monitor (…I think?). Some of these colors, though…

I was working wet-into-wet, here. With a fully loaded brush, sometimes the paint dispersed immediately to leave the area I intended to mark heavily, leaving mid-range coverage in its wake. With some paints, like Cobalt Blue (second from the top, to the left), the paint actually seemed to try to cover the entire area evenly, instead of in a gradation. This would be a good thing if you were using it for a sky, which this color is almost perfect for (unless you didn’t want a blue sky!).

I had been trying to produce gradations to see what finer applications of the colors might do under sunlight.

One of the things I am impressed with, though, is the beauty of the colors which are more muted, here. I think I started out in class with French Ultramarine, Cobalt Blue, and Phthalo Blue (Green Shade). Cerulean Blue Chromium, Prussian Blue, and Indanthrene Blue were all later additions.

I’ve mentioned before that I read on handprint.com that indanthrene/indanthrone can be approximated by a mix of Phthalo Blue with Quinacridone Violet (a.k.a. Permanent Magenta, in Winsor & Newton’s range: Row 6, Column 1) — check the notes under PB60 (Pigment Blue 60). I’ve tried this, and it does work, though the mix is obviously going to vary in shade depending on proportions.

I can also see myself working with Prussian Blue more, in the future. I believe I got this to try and mix decent greens…with my memory being unclear on whether it actually helps, though I think it does.

swatches of red paints

To the right, here, are the reds I’ll be testing. The relative character of Permanent Rose does, I think, come through — though this is still a bit of a dull capture. I’m looking at it now under an artificial light and it seems to almost glow. (This is Winsor & Newton’s formulation: different companies have a tendency to call the same pigments by different names.)

The top two, Rose Madder and Alizarin Crimson, are known to change color over time; hence they’re called fugitive pigments. I’m doing the lightfastness test to see how bad this actually is.

Incidentally…those two colors are related. They were originally derived from Madder (a plant) — Alizarin Crimson is one of two components that make up its color…

Anyway, the top swatch is Mijello Mission Gold — I got it as a bonus when I bought my palette. But even here, they acknowledged that it is not great so far as longevity…The second swatch, Alizarin Crimson, is Winsor & Newton brand. I’m not crazy about it, when there are alternatives.

I really like the Winsor Red (fourth from the top), after all this time. This was our “warm” red in Watercolor class (using a split-primary palette), though it barely leans to either a warm or cool direction. (Permanent Rose was our cool red.)

I’m not sure what to do with Vermilion Deep, though as I said last post, I’m going to try and find a better-quality paint. This one had almost no flow, and I’m not sure if it’s due to age (I got it on Amazon, who knows how old it is) or formulation. Maybe the page was just too dry?

Permanent Magenta isn’t showing up in the photograph, all that well…but I just checked another file and it’s similarly distorted. Permanent Magenta is basically a red-leaning violet color, more than a violet-leaning red. There’s an earthiness that it shares with Indanthrene Blue, which one might expect…

When mixing two pigment colors — like Permanent Magenta and Phthalo Blue (excluding fluorescent colors [which absorb light and re-emit it at different wavelengths], duochrome paints [which look different depending on one’s viewing angle] and complex things like dichroic glass [which both transmit and reflect light, though this may be an entirely different animal]) — the result of the mix reflects frequencies of light that have to be reflected by both (?) of the colors which went into it, unless I’m mistaken.

The basis of subtractive color (as used in non-digital painting) is that we perceive color as the leftovers of the light absorbed. The frequencies of reflected and emitted light, taken together, our brains interpret as a specific color. So Permanent Magenta reflects many wavelengths (colors of light), which my brain interprets as predominantly warm violet, with red. And Phthalo Blue reflects many wavelengths, which my brain interprets as deep blue with a hint of green.

When pigments are mixed, what is left over after both pigments subtract what they will of the light present, is the new color. In other words, a color very close to Indanthrene Blue is the light which was not absorbed by both Permanent Magenta and Phthalo Blue. Magenta absorbs some of what Blue doesn’t; Blue absorbs some of what Magenta doesn’t.

The forward result is a deep, inky blue with both violet and green tones supporting it, closer to black (black means no light is reflected), which makes sense…though I’m not sure I could do the math now to support why I think it does make sense. The following is just hypothetical:

On a scale from white (100%) to black (0%) — we’re talking about value, now —

Some light is subtracted from 100% with Magenta (Magenta would have a negative value); and more light is subtracted with Magenta + Blue (Blue would also have a negative value; the addition of a negative value is the same as subtraction). Even though this is not simple subtraction (after all, we are talking about many, many frequencies of light which are being tweaked individually), if Black = 0% and both Magenta and Blue subtract their part from 100% (white light), it seems feasible to state that:

close up of Permanent Magenta, Phthalo Blue, and Indanthrene Blue in greyscale

Magenta + Blue < Magenta, and

Magenta + Blue < Blue.

Wow, that was hard to get out. And I might be wrong, or maybe I should go into Chemistry + Optics…

There is the remaining fact that my Phthalo Blue swatch is indeed darker than my Indanthrene Blue swatch. I’m thinking that this has to do largely with the density of its application, not to mention the intensity of Phthalo Blue pigment, which has to be severely diluted to get to the point where we can even see that it’s blue. I do see that Indanthrene is grayer, though, and I wonder if that matters…

I’ve just looked at the image in greyscale, but I’m not sure that helps…

It doesn’t help, either, that my camera didn’t totally pick up the intensity of the Phthalo Blue application. I’m not sure why.

To get back on track, then…there are the yellows. I kind of am irritated at myself for not planning their placement out better, and it’s to the point that I don’t want to cut them out and rearrange them on Photoshop. But if you scroll back up to the top of the page, or better yet, if I re-post that image below:

color chart (aided by Photoshop)

…you can see that Isoindoline Yellow Deep (PY110), Indian Yellow (PO62, PY139 — just realized that this is a mix of Winsor Orange [!] and a different variant of Isoindoline Yellow), Winsor Yellow Deep (PY65) all look very similar.

For the cool yellows, Winsor Yellow (PY154), Hansa Yellow (PY3), and Aureolin (PY40) are hard to tell apart, here: but it’s not so bad in person — at least, when the sun is up!

Then there are the oranges, neither of which I’m too fond of, but Cadmium Orange Hue did save me from having to mix orange from the limited pigments we were allowed, in Watercolor class. It’s possible that the intensity of Cadmium Orange just can’t be gotten out of the colors we had. Maybe I should stop looking toward the yellows for the source of the problem, and try mixing more with an orangish, warm red, instead of a middling red.

At Green Gold (Row 3, Column 4), the yellows start morphing into greens. I feel the need to suggest that perhaps what I had mentioned before about mixing an alternative in acrylics from Bronze Yellow + an Earth Yellow + a blue, may have been off point. You see, Green Gold doesn’t look like it’s meant to be used on its own, but rather sparingly, to do things like warm up greens. It looks fairly horrific on its own and in high density, but look at this:

monstera-3

This is something I was playing with, a while back (hence the example number, I just pulled this from my archives): apologies for the lack of realism (it wasn’t the point of this exercise). Green Gold is what I used to heat up the right side of that leaf. It’s also transparent, so it’s very suited for this.

I don’t think that a mixture approximating what one sees in the tube or applied heavily, really gets close to what one would use Green Gold for. As I said a while back, Green Gold is a very expensive pigment. But I can see that a little goes a long way.

It wouldn’t have come to me so soon, except that in my latest play, I rinsed the Green Gold watercolor paint off of my palette and saw it form an almost neon yellow-green color in high dilutions in the sink. This isn’t something that’s meant to be used as-is, but rather combined with other colors.

I also really want to get into trying to mix more greens, so I can stop dealing with the question of how to create a yellow-leaning green. This is part of why I got Sap Green, unless I’m mistaken (I think the only green we were allowed in class was Viridian…which at the time, I hated. Not so much, now).

Speaking of Viridian, I’ve been advised not to let it dry long-term on a palette. I took this advice and kept it out of my Mijello palette; however, this also means that it goes forgotten, a lot of the time. But I don’t want it to become like Burnt Umber and just become a free-floating rock whose composition I have to guess at. (Burnt Umber still rehydrates beautifully; it just rattles around as — well — a rock, in dry form.)

three granulating green to green-blue pigments

I have an appreciation for Cobalt Turquoise now, that I don’t think I could have predicted. These two colors — Cobalt Turquoise and Cobalt Turquoise Light — are heavily granulating colors. I’m not sure if I’ve played with them too much, but the three pigments to the right are ones that are relatively intriguing for me, right now.

Particularly, it may be possible to get a more vivid range of greens by starting with a lighter-valued intense pigment like Cobalt Turquoise Light.

Also: Indigo and Payne’s Grey…are two colors that kind of wow me, now. Payne’s Grey is a cool-toned color which is almost, but not quite, black. If black brackets one end of a color range, Payne’s Grey would sit between it and Indigo.

The Indigo color I have is Winsor & Newton, and it isn’t actually true indigo dye (as real indigo is fugitive, this being why jeans fade).

Aside from this, I feel the need to mention, if briefly, Dioxazine Violet (Row 2, Column 5)…which is probably not a necessary color on this palette, now.

Earth tone paint swatches

And the entire column to the left of this passage, including Payne’s Grey, is composed of earth tones. The only one of these that I’m questioning the utility of is Raw Umber, because what I’m seeing in my photos and on my paper is what I’d consider, fairly…well, bad. I’m not sure if it’s me or the paint, or the amount of water on the paper…but I think it’s the paint. This is Winsor & Newton, as well.

The thing about Raw Umber is that I’ve been looking at paint swatches of different brands online, and they don’t all look alike. I’m not entirely sure…what causes that? but there are definitely versions which are bluer than others. In Color Dynamics class, we made a mixture of Ultramarine plus Raw Umber to produce a blend which could dull down colors without causing them to lose their essential character (or “hue,” if you would like me to be direct). πŸ™‚

And in Watercolor class, we didn’t even use earth tones; we mixed them by utilizing a strategy of mixing across the color wheel (as I’ve mentioned [somewhere] before, this will result in muted colors, ranging into chromatic greys). I’m really not sure if anyone liked doing it. πŸ˜‰ But earth pigments are a nice shortcut if you don’t want to mix skin tones out of three primaries. πŸ˜›

The nice part about mixing watercolors is that if you use a white palette, you can see what color you’re coming up with before you ever put it on the paper (though that can’t always be exactly accurate — I’ve seen artists online make test marks on the edges of their drawings. I used to make test marks on the facing pages of the sketchbooks…).

After all of that — unless my light, here, has already faded some of this, I should be moving on to putting black strips over the faces of the swatches. I’m probably also going to be doing some cutting in the process…which will likely be at least a little nerve-wracking, because I haven’t completely gotten the hang of not having my knife veer off course, yet!

Anyhow, that’s for another day…

Completed color layout for lightfastness test (no photos yet)

It will kind of be hard to talk about this without a photo, but the stuff’s just finished drying. πŸ˜› I also kind of screwed it up by not planning it out enough, the other night, when I began.

I should mention that I didn’t follow a method I found online or in a book — tonight was just spent swatching out colors. I’ve planned on using black acrylic paint to block out light, using watercolor paper as a surface and laying this on top of the swatches.

It turns out, I have exactly 36 watercolors I would imagine using (or 35 plus Lamp Black, fine distinction). I still haven’t gotten to the gouache, or to the part of this which involves blocking out sunlight.

As yet, I’m undecided as to whether to even take the risk of exposing Prussian Blue to strong direct sunlight…I’ve read online that strong UV exposure can release cyanide gas. Plus, I’d never put a painting in the line of direct sunlight if I could manage it, and these days, having direct sunlight hitting a wall for extended periods of time is rare and only an issue on east walls, near a window, at sunset (a luxury afforded by having blinds instead of curtains, I suppose).

Also, I found that I have several orange-leaning yellows that look alike (although they’re of different formulations), and only one red-orange, which is…not the greatest-handling watercolor I’ve ever used (this is Grumbacher Finest Vermilion Deep — the only watercolor I tested to leave visible brush strokes tonight [though also the only Grumbacher Finest in my collection — the Grumbacher Academy student-grade paints are actually really nice, for the price, so I was interested in their artist-grade formulas]).

This could explain my difficulty in producing strong oranges; the “orange” pigments I have are closer to yellow-orange, with the exception of W&N Cotman Cadmium Orange Hue (the only Cotman I’m using, and that because it performs noticeably better than W&N Professional Winsor Orange).

I’m looking at some kind of Pyrrole Scarlet or Pyrrole Orange (PO73) to try and open up the warm, clear red-oranges, though I’m not sure this is necessary. (I actually have my eye on Winsor Orange Red Shade, which to me looks closer to red.) Basically, I’m after something that is a similar hue to Cadmium Red Light, but without the cadmium. I’ve vented about cadmium salts before; the most I’ll say here is that they’re unacceptably toxic to me, right now.

I have the Vermilion Deep (which is a convenience mixture), plus Winsor Red (another Pyrrole, PR254), but those are the only neutral or warm reds that I have: everything else leans violet (though that’s not saying much when two of those cool reds are Rose Madder [Mijello Mission Gold] and Alizarin Crimson [Winsor & Newton Professional], both of which are said to be fugitive).

I can, also, add a golden yellow or “orange” to red to make it more red-orange; my problem is that I’m not sure how lightfast any of those yellows are (which is a reason to do the lightfastness testing). And I only have one decent orange…which is a convenience mixture, because I haven’t wanted to use Cadmium Orange. (I’ve been reading that it’s best to use single-pigment paints when possible, to avoid “mud”, though honestly I haven’t run across that problem yet.)

Still, though, it would be nice to have one red-orange workhorse, and the flow of my Vermilion Deep is disappointing, compared to everything else I used, tonight. This is with the possible exception of Isoindolinone Yellow Deep (Holbein), which backflowed unexpectedly for me while drying (although this was the first time I used it — maybe a greater degree of skill is needed with Holbein’s formulations); and Winsor Orange (which I just really don’t like. When you see the photo, you’ll see one reason why).

Winsor Orange is actually made with an entirely different pigment than Winsor Orange Red Shade, by the way…

One thing I did really unexpectedly enjoy was seeing the performance of some of the cobalt colors I have. Yes, I know, cobalt’s toxic, too; but I’m not as concerned about it, having needed to work with it in the past.

In particular, shades of Viridian through Cobalt Turquoise Light…then also dealing with Cerulean (though I have Daniel Smith Cerulean Blue Chromium, which isn’t a standard Cerulean) and Cobalt Blue…I just want to DO something with those, you know?

The Ceruleans, Viridian, and Cobalt Turquoise and Cobalt Turquoise Light are all colors whose pigments clump together (this means they “granulate,” unless “flocculate” is the more accurate term, I’m not certain), and so they produce really interesting textures. There is also a common thread here in that all these colors are based on cobalt — which has a color range that really astonishes me: from yellow to green through blue and violet (at least so far as I’m currently aware).

There’s also the difficulty here that some cobalt colors (like my Cerulean Blue Chromium [PB36, “Cobalt Chromite Blue Green Spinel”]) will react poorly with certain other pigments (in this case, Winsor Yellow [PY154, Benzimidazolone Yellow])…I don’t know why. I’m not a chemist. But it leads to immediate strong granulation (visible even before laying down the paint) and poor adhesion to the paper.

I’m sure there’s some way of helping the paints stay down (like maybe mixing some type of glue [likeΒ nikawa, or animal glue] with the paint), but I did get rid of my test paper where this occurred because I was more concerned about keeping the pigment from finding its way into anyone’s system and making them sick, than keeping records. Cobalt is a heavy metal, so it’s not safe to get it everywhere. I just also read that like cadmium, it can’t be chelated out of one’s body; so it’s best to contain it, when possible.

And I almost didn’t get around to saying this, but almost immediately after I finished this chart, I wanted to redo it in a more organized fashion. Seriously, once I realized that I stuck one of my only orange paints right in a column of yellow paints…gah. Or, right after I came back to this today and realized I’d want to organize this by column instead of row, and could not “erase” the paints I’d already laid down…and then penciled in what went where as best I could and then realized I’d not foreseen everything, despite it.

It seems silly to make an art project out of categorizing and organizing colors, but I’m pretty sure that the tendency to want to do so is an effect of my job (for newcomers to the blog, I work in a library as support staff). And at this point, I’m resisting (for the moment) cutting these apart and re-ordering them, because it will make things more of a pain when I put the light-blocking strips on top.

I guess I’ll see how I feel about this, tomorrow…(well, technically, after some sleep).

One week since the beginning of Break…

It’s only today that I realize it’s been about a week since my last posting. I’ve been busy moving things around, and cleaning. (By “moving things around,” I mean sorting through all the papers in my office, and sorting through everything in the bathroom. Also, going through the books on my main bookcase to organize them by approach and theme.)

This started with my cleaning and organization of the craft table, because I needed space to cut a sheet (or roll) of tinted acetate and didn’t have room for the cutting mat or the roll. Right now things are OK down there — space is usable — but it isn’t optimal.

I also went through everything in the drawers in my bathroom, and beneath the drawers in my bathroom. Anything which could spoil, which I couldn’t remember buying in the last 6 months, I was told was fine to throw away. Particularly, used makeup, which can cause infection if there have been bacteria growing in it and then one applies it to one’s face. (I also shaved down my old eyeliners [which I hadn’t been using], and threw out what had dried out.)

The only reason I started thinking about makeup is that I did have a job interview, a couple of days ago (which was the last big thing to get out of the way before I could have true relief). I did mostly go to the interview in order to gain practice and not be kicked off of the qualifying list, but I am not certain what I would do if I were offered the job. Nothing to do but wait now, I guess.

And I have realized by now…that having expanded piercings is kind of like having tattoos. I didn’t really “get it” until a couple of days ago, though.

I was able to get that Quinacridone Magenta paint I wanted! (I haven’t tried it out yet, though.) I’m hoping that it will give me clearer violets than either Permanent Rose or Alizarin Crimson. There was a complicating factor in that I went in to buy a tube of Winsor & Newton Quinacridone Magenta gouache (opaque watercolor), and they were totally out of that color!

I did recall that W&N’s Quinacridone Magenta’s pigment code is PR122, though, and that I did have a backup choice in Holbein gouache. What I didn’t know is that Holbein’s “Primary Magenta” color is PR122 (I found this out at the store) and at least from what I’ve seen online, is extremely close to Winsor & Newton’s “Quinacridone Magenta.” The major difference is that the W&N Quin. Magenta is bluer than the Holbein Primary Magenta, so there may still be a use in waiting for the W&N at another time.

Anyway, this is just a continuation of the Color Dynamics website that I wanted to put up on the Web (but which was much too voluminous in scope and content to use simply as a final project in my Web Design class).

It’s fairly apparent by now, though, that if I want to publish a full site to the Web…I’ll have to rent some server space, which is not something I’ve arranged yet. It would also help to know what I was doing when setting up that server space, though I have been doing some study to prepare me for that.

I had wanted to continue working on this project to help me build skills in Web Design! Now that the pressure’s off, though…hmm. I haven’t touched it in at least a week. But during that week, well…I’ve been going to work, organizing stuff, cleaning, and shopping.

We did go to Nihon Machi (Japantown) recently, where I found a retrospective book on Emigre (the “type foundry”) which goes back to 1986. It cost a bit, but I was like, “when am I going to find this again,” and I didn’t want to buy it from Amazon. (It does seem that having an in-person storeΒ is a service.) I’ve read that experience with typography is one of the only things I need to know that I don’t know, if I want to be a Web Designer. I don’t think that knowledge of typography is one of those things that goes out of date, though.

I also found a book called Everyday Watercolor (from a different bookstore), which looks really interesting! I haven’t been able to look deeply into it yet, though, because I’ve been cleaning. What’s annoying is that in my cleaning the bathroom, I apparently disturbed something that was hungry (likely a spider) that bit up my legs and caused an emergency cleaning of both my bedroom and my office. So I haven’t been able to get as deeply into things as I would have liked.

I also replaced the Borden & Riley marker paper that I’ve almost used up. On the trip, I should have taken something printed, if not the old pad itself — translucency is key to this stuff being of use to me. If I had something to view through the paper, it would have made my choices easier.

The marker paper I had was like a very high-quality tracing paper. What I found at the store under the same name, however, was not the same product. The type of paper which is under the same brand name now seems to be different (more opaque, thicker, whiter) than it was when I bought my last pad.

Because of this, I did a slight shift and got two pads of paper which I hope will replace the Marker paper qualitatively (as I don’t really care if the markers bleed — but the fact that they had “No Bleed-Thru” paper that bled, is likely why they decided to sacrifice transparency). Borden & Riley is relatively inexpensive, which actually helps me be creative (because I don’t especially have a fear of wasting materials).

One of the pads is Borden & Riley #110M Technical Vellum (which is sized to be easily Xeroxed, at 8.5″x11″); the other is #37 Boris Marker Layout, 9″x11″. The new #37 appears more translucent than the old #37 Layout paper.

I’ve also been going through my photo archives, and have a couple of images that would be nice to work through in painting, both variants of the same basic photo. One of them can be a 4″x6″ panel in acrylic…unfortunately, these dimensions (2:3) are not common in larger sizes, at least here. However, I can do a larger version in 11″x14″, easily — and I’m thinking of doing that one in watercolors. The major issue with the latter is paper buckling, so I’m going to have to figure out how to map a 10.5″x13.5″ space out on the photo (0.25″ will be masked out on all sides to hold the paper down)…ehhh…

Yeah, that’s not going to be the most fun thing ever. But it will give me some Photoshop practice.

And yes, using inches as measurements is a pain. I haven’t yet done the research to answer the question of why letter-sized paper is 8.5″x11″ (I have a feeling it’s some historical quirk), but it’s been bothering me recently.

Also…I have a very good library to go through if I ever get bored. I’ve just got to remember that it’s there. I’ve also got to filter out things I will likely never read or reference. In particular, I have a couple of books on HTML and Web Design which have got to be fairly dated by now (they were bought by a family member, a while ago: copyrights 1998 and 1999, to be exact).

Yes, I think that if someone could have been born and graduated from high school in between the time those books were written and the time I’m looking at them, it may signal that an update is needed. The HTML book is on Version 3.2. We’re on HTML5 now.

Yeah, I…am not sure how much help those will be, except as historical artifacts…