I am lucky that your tutorial series are the very 1st video I was exposed to before I start to oil painting- to this day, it is one of the luckiest moments in my life!!! Thank you for generously sharing your know how ♥️
I agree with you, once I started learning how to mix paint and mixed colors to get a black, I noticed I could make it cool or warm. It allowed me to create a new depth to things. I then saw something about color I can't really explain. All I say is (although maybe not correct) Color is Subjective and Relative. If the values are correct and the colors are working with each other in the painting, there's nothing wrong in my eyes. Although, if someone wants pure realism and accuracy, they'll take note of the difference. I have to admit, your videos and some others have taught me well about mixing paint.
Someone once said that Franz Hals had a whole messload of blacks. I forget who it was, or what exact number he said, but it was written on the walls of the National Gallery of Art in Washington.
I enjoy to watch your very nuanced knowledge of color and qualities in realist oil painting and I always tell other artist friends to watch your color mixture videos because they are the best I have ever met anywhere 🙏🎶💜🎵
Thanks for this additional insight. Years ago, a Russian artist told me that black from the tube ends up creating a grayish effect on the painting and Russian painters do not use it for that reason. So deeper black only by mixing as described here.
This man seems to be looking younger as the years go by. i remember watching his vids years ago when he had a scraggly beard and longer hair. He looks good for his age. Must be the geneva paints lol
sure, depending exactly what part of the space, but yes as the base that black made from burnt umber and blue is great, the best aspect of it is that you can mix it freely with anything else and won´t give you the problems true black gives.
Once I found out about chromatic blacks my tubes of bone and ivory black have been left behind. Your combination of orange and blue is certainly useful and I am glad that you are sharing this knowledge with everyone. In my work, I prefer to use a mixture of 1 part Alizarin Crimson to 1 part Sap Green and slowly add small amounts of Pthalo Blue (about a fifth of a part in total) to that mixture. This combination lets me lower the saturation and/or lower the luminosity of just about any color without having to formulate the target color's true complement. Since I am employing glazing in most of my paintings, I like the natural transparency that these pigments provide. (I can increase the opacity of the layers with mineral/earth pigments or with titanium dioxide if needed at any point during the process.) Thank you for all of your great work and I certainly appreciate you making this corner of the internet where we can share our experiences.
I must say my blacks are also Red/Green/Blue mixes. That started way back when I noticed the red blacks, purple blacks and green blacks on plumage and furs and now always use it for 'black' areas generally. May not be right, but 'lively' blacks does liven up what could be a very dull area of a painting.
Had the idea to paint a large black background with ivoryblack and then to put over a second layer with a lighter color, so that it's not pour black. Glad I've watched this video. (=
Hey Mark, You mentioned once, you will tell us one day how it happened that you painted the president. Is this still to come? I think this might be interesting for us. You also wanted to tell, why you have chosen to share your knowledge with us on youtube If you did a video about this I'd be very very happy :-) Cheers from Germany
Interesting video - thank you for the information, particularly regarding cracking in ivory black. As a tattoo artist, I have to rely on contrast - and therefore black - in my daily practice much more heavily than in my paintings. One question: out of the black pigments (ivory, lamp, etc.) which is the darkest (regardless of its properties as oil paint)?
I also really like the look of UM Blue + Burnt Sienna or Burnt Umber. It is worth noting, however, that Ultramarine pigments do have a kind of unique vulnerability: despite their generally excellent lightfastness, they are extremely susceptible to acids. Which, in most settings, wont necessarily be a problem (& I’m not sure exactly how it works in oil painting- maybe some kind of varnish seals it? But in acrylics you can simply seal a painting with an isolation coating, & then varnish/finish it, & I’d think that should largely protect it from exposure to acids)… However, it’s important to keep in mind, especially if you don’t intend to seal/finish the painting, because- as unlikely as it is that you’ll spill some acidic liquid on a painting- in a very polluted big city environment, where there are acids, sulfides & such, in the air, the acidic air pollution can cause ultramarine to fade very substantially, from what I’ve read. So, perhaps either using an alternative (indanthrone blue has a nice, warm, smokey color that is well-suited for mixing neutrals without this issue) or sealing your painting in some way to prevent exposure to pollution would be a solution if you expect to potentially have it displayed in any environment that might expose it to acidic pollution. Otherwise, you could get the ultramarine blue fading away, leaving browns where you intended to have blacks/greys. I really like indanthrone blue, personally, so I don’t mind it at all for this purpose. It’s a little more neutral by default, so it doesn’t necessarily replace that super vibrant, high-chroma warm sapphire-like blue that ultramarine provides when applied pure… You could probably use it as the base to mix a pretty convincing ultramarine alternative… I have a copper pthalo [PB15:0] blue right now, the one Winsor & Newton sells as Winsor Blue, which is a much warmer blue, similar to indanthrone or UM blue… As a pthalo, on its own it’s properties are quite different from UM blue- very transparent, & not quite as rich/warm… But it’s very saturated, & I bet if you mixed just a touch of it with some indanthrone blue, you could raise the chroma of the indanthrone enough to get a pretty great hue match without making it SO transparent that it looks like a straight up pthalo… And both of those blues have excellent lightfastness & no other permanency problems that I know of. So that could be an option. Anyway, anything in that ballpark can mix with dark earth tones like burnt umber & burnt Sienna to yield very nice dark neutrals (& with a little zinc white, a whole spectrum of lighter neutrals ranging from blue-greys to brown-greys). I don’t know exactly to what extent air pollution is a serious threat, outside of some of the most polluted metropolises in the world, but you know… Lightfastness, acid/heat resistance, the archivability of a surface/ground- these usually aren’t factors we consider because they’re likely to ruin a painting overnight. A professional artist takes them into account because they want to ensure that, regardless of where a painting ends up being displayed, they want to ensure that it will survive into the future, however long it can (whether the primary motive is to do right by the person you sell it to or for posterity). So these little quirks of our materials are worth studying & keeping in mind. That way, even if you do decide that the risk of a given pigment’s resilience against the elements/lack thereof is worth it, you can at least plan & make those decisions on an informed basis (& if the shortcomings of a material can be mitigated, such as by sealing ultramarine blue, or putting alcohol inks behind UV protection, or whatever, you can do that). Just to give an example: it’s better not to paint oils on most wood panel to begin with, because the acids/tannins in the wood can leech out over time & damage the paint film (acrylics are much more resistant to this damage, & so are preferable if you must work on wood panel)… But, if you didn’t know that, you might paint some ultramarine blue directly onto wood panel… You may even seal the painting, if you know ultramarine is vulnerable to acid, but didn’t know that the wood itself could be a source of acids… And then you would be quite surprised when the ultramarine blue starts severely fading, despite being sealed away from exposure to the air & any acidic liquids from the outside… But, the more you know about the benefits & limitations of your materials- if you’re informed about both the pigment AND wood panel, & what kinds of surfaces/grounds are suitable for the long-term survival of oil paintings- then you can avoid these kinds of mistakes & ensure that the work you dedicated so much time & energy to will last a good long time. Of course, there’s also the countervailing philosophy, embracing the impermanence of art (as of all things). Not getting too hung up on how long it will last; the fact that a zen garden pattern or an alcohol ink piece, or a performance art piece is impermanent doesn’t necessarily mean these art forms aren’t worth doing. There can be beauty & profundity in their fleeting nature… And even the best preserved painting will decay eventually, as all things will. One day the Sun will explode & even the hardest marble statues will return to their origin as star dust, & eventually accumulate in black holes & evaporate away, or be re-emitter from the next universe’s Big Bang or something… No one says you HAVE to want your work to outlast you. That said, in the painting market, permanent, lightfast materials are generally valued, & most painting buyers probably will not appreciate a heady explanation about how actually you used fugitive pigments intentionally because everything is ephemeral. So if you’re painting professionally, trying to sell your work, regardless of your own preferences it’s probably a good idea to think about the customer in this regard & bother to make something that will last (or else you should specifically warn them that your unfinished monochrome landscape in Alizarin Crimson will probably not last too many hours in direct Sunlight).
@MarkCarder what's opinion about Lamp Black? I've noticed nobody ever talk about it its Mars or Ivory black. Tell ya rhe truth aftrr i learned ur mixing method & understood. I used my blsck, think only to add to my ultra & umber if its a drak painting to really distinguish the darkest shadows or no light. What I have used it for is like saturation & get desaturated color like how its used in Zorn or Apelles.. like black & yellow ochre gives me the green more natural and don't havr to use complimentary to desaturate
Interesting. I used burnt umber + ultramine mix for a long time, but over the years I seem to have switched to almost always using raw umber and payne's grey. I'm not sure what the reason is except that I just like the tone more. It's more ashphalty and getting a neutral mix is not as sensitive as mixing burnt umber and ultramarine . When tinted with titanium white It's kind of yellow-warmish through green-black through neutral grey through to cool grey. I'm aware that the payne's grey is a mix already but I find it that useful and don't have any issues muddying other mixtures or anything like that, but that the range of subtle neutral tones from just 2 tubes of paint is great for my work - I'm often already using raw umber or payne's straight from the tube. Curious if anyone else has tried this mix
Also using ivory black for shading it will make muddy grey when mix to the lighter color. With raw umber and ultramarine blue you will get a more colorful greyish and the transition will be smother and it gives you the chance to create in the painting a more coldish or warmer feeling . But i ultimately think if you want to achieve the darkest effect like tenebrism you will have to use some sort of black, Caravaggio used organic carbon black for example.
@@rocifier but when exposed to the sunligth you will see the purple glaze shinning, and with a true black in his side you can see the difference and the power of the black, thats why black should be used only when necessary for a lot of artists, but i dont follow that rule :) . The best way is to experiment, paint a black square and another with your mix and try to achieve that blackness of the first square
@@rocifier and in my opinion black is the perfect color for glazing shadows and creating depth, its not the only one but for me its the easier and most dramtic of them , burnt umber is in the same category but its more warm, black brings cold in my opinion ( take in mind that im not talking about pure black without some solvent)
There are plenty of paintings made with ivory black. A part for some impressionists almost all the best painting in history were made with mixes with ivory black, so yeah it can have issues but not using a color limit your art. Most of Caravaggio underpainting were made with ivory black and have no or limited cracks. Some mars black are also a very fast drier. If you want a not black you can do a mix of quinacridone magenta and prussian blue, it's one of the faster drier we know.
I have a question off subject. Which is best? Keyed strecher bars vs glued solid bars. Im making my strecher bars and have 15 year old painting that have solid corners. They seem to be working fine. 1 mouth ago i built table saw jig to make finger joints, for keys. They look good but setting in my shop. They are not as tight as when they were made. Thank you for your time. Acrylic paint 4x4 frames.
I have been making blacks by mixing Raw Umber with Payne's Grey. I have heard of the Burnt Umber/French Ultramarine black from a few sources. Perhaps I should try it.
Omg I tried ivory black as an under painting mixed with ultramarine blue and it’s been sooooo frustrating! It seems like it’s sinking in and very dull. I keep painting on top but it keeps sinking in😭
From a conservation standpoint, burnt umber isn't as viable as ivory black for the under layers, or top layers for that matter. Burnt umber actually has more fat in it than ivory black. So, in that regards ivory black is leaner. However, ivory black dries slower than burnt umber because burnt umber has manganese which is a natural dryer. That's why you see so much cracking in painting with burnt umber used over other colors. And it's sketchy to use as the bottom layers as it has more fat, which wouldn't adhere to the fat over lean rule. That being said. Ivory black doesn't have the undertone of burnt umber. Which means that when you paint over it with transparency. It shifts the colors a certain way. And ivory black tends to shift the transparent blues and yellows into greens. So, in that regards burnt umber is easier to manage as the color shift stays on the same side of the color spectrum.
One thing that always bothers me of this mixing my oen blacks (been using your method for years now) is dat if you abstractly paint a yellow for example next to it it will create this greenish transition, i recently painted my dog which has blond long hair and the shadows in his fur create these green spots next to his hair, so for these instances i am still using blacks
Ive been using Geneva ultramarine blue and burnt umber to make black but it never seems to come out dark enough. It usually feels like a dark gray. What am I doing wrong? How do I mix a deep black?
Wow so you don´t use black, it is FUNNY, after watching a few of your videos you were all this time refeering to umber plus blue! Now I get it, why you mixed white and yellow with black! (in another video) yes, it is a great black, but it is a surprise regarding your "dark" style that you avoided the darkest color, and you sure justified it properly.
I just wanted to add, you’re right about blacks. Black out of the tube is a depth killer. Like white, it just flattens everything. I tried your mix of blue & burnt umber. It’s very nice and lively, leaning toward blue or brown. Another I use is alizarin and viridian green.
Regards maestro, im far away from you, im intrested in learning the Live Life and this tehnik....Im many years in oils and i just worked many works but i didn worked Live Life and i have lucky to find you. Honestly i sow many artworks of live life on my country and im dont like it honestly, i want highest level to work, so here i am. Did you have Patreon or skillshare or online maybe, or to buy videos somhowe i want to achive this level.Regards with respect to your knowledge ,masterworks and for you Vagallla oil painter.
I am lucky that your tutorial series are the very 1st video I was exposed to before I start to oil painting- to this day, it is one of the luckiest moments in my life!!! Thank you for generously sharing your know how ♥️
I share your sentiment. It certainly saves a lot of money in wasted tubes of useless colours.
Thanks for all the good videos, your videos on colour matching are the best in UA-cam.
I loved that explanation. I need more of this...
I agree with you, once I started learning how to mix paint and mixed colors to get a black, I noticed I could make it cool or warm. It allowed me to create a new depth to things. I then saw something about color I can't really explain. All I say is (although maybe not correct) Color is Subjective and Relative. If the values are correct and the colors are working with each other in the painting, there's nothing wrong in my eyes. Although, if someone wants pure realism and accuracy, they'll take note of the difference. I have to admit, your videos and some others have taught me well about mixing paint.
Love that you are loading content again! Thank you!
Someone once said that Franz Hals had a whole messload of blacks. I forget who it was, or what exact number he said, but it was written on the walls of the National Gallery of Art in Washington.
A welt of knowledge this man has and always good tips hints and just pure talent thanks for sharing
I enjoy to watch your very nuanced knowledge of color and qualities in realist oil painting and I always tell other artist friends to watch your color mixture videos because they are the best I have ever met anywhere 🙏🎶💜🎵
Great ! I'll start painting in oil soon so thats pretty good advice i got from you. Thanks...and also thanks for the Ralph Mayers info.
Umbers (Pbr7) also have a high oil content, even higher than Ivory black. I prefer using Transparent oxide red.
Thank you so much. It is a pleasure to have your advice.
Interesting perspective, logical and well presented. Great job!
Thanks for this additional insight.
Years ago, a Russian artist told me that black from the tube ends up creating a grayish effect on the painting and Russian painters do not use it for that reason.
So deeper black only by mixing as described here.
Cool Black because it gives you both Black and a bit of blue so it’s helpful when ur using the Zorn palate
Sometimes I use a dark blue and burnt umber for black also, but other times I just use black mixed with some burnt umber so it doesn't look too cold.
This man seems to be looking younger as the years go by. i remember watching his vids years ago when he had a scraggly beard and longer hair. He looks good for his age. Must be the geneva paints lol
Good advice, thank you. Sometimes I do space scenes. I'm guessing I would tilt more to the ultramarine side.
sure, depending exactly what part of the space, but yes as the base that black made from burnt umber and blue is great, the best aspect of it is that you can mix it freely with anything else and won´t give you the problems true black gives.
Once I found out about chromatic blacks my tubes of bone and ivory black have been left behind. Your combination of orange and blue is certainly useful and I am glad that you are sharing this knowledge with everyone. In my work, I prefer to use a mixture of 1 part Alizarin Crimson to 1 part Sap Green and slowly add small amounts of Pthalo Blue (about a fifth of a part in total) to that mixture. This combination lets me lower the saturation and/or lower the luminosity of just about any color without having to formulate the target color's true complement. Since I am employing glazing in most of my paintings, I like the natural transparency that these pigments provide. (I can increase the opacity of the layers with mineral/earth pigments or with titanium dioxide if needed at any point during the process.) Thank you for all of your great work and I certainly appreciate you making this corner of the internet where we can share our experiences.
I must say my blacks are also Red/Green/Blue mixes. That started way back when I noticed the red blacks, purple blacks and green blacks on plumage and furs and now always use it for 'black' areas generally. May not be right, but 'lively' blacks does liven up what could be a very dull area of a painting.
Sir, thanks for all information you gave; I have learnt a lot from your videos.
This was excellent info on black paint. Thank you.
Had the idea to paint a large black background with ivoryblack and then to put over a second layer with a lighter color, so that it's not pour black. Glad I've watched this video. (=
Thanks for this information. Lots of helpful posts as well.
I've always very much liked your hints and tips. May I ask a question? When will you be returning to critiquing other painter's paintings?
Hey Mark,
You mentioned once, you will tell us one day how it happened that you painted the president. Is this still to come? I think this might be interesting for us.
You also wanted to tell, why you have chosen to share your knowledge with us on youtube
If you did a video about this I'd be very very happy :-)
Cheers from Germany
Interesting video - thank you for the information, particularly regarding cracking in ivory black. As a tattoo artist, I have to rely on contrast - and therefore black - in my daily practice much more heavily than in my paintings. One question: out of the black pigments (ivory, lamp, etc.) which is the darkest (regardless of its properties as oil paint)?
I also really like the look of UM Blue + Burnt Sienna or Burnt Umber. It is worth noting, however, that Ultramarine pigments do have a kind of unique vulnerability: despite their generally excellent lightfastness, they are extremely susceptible to acids. Which, in most settings, wont necessarily be a problem (& I’m not sure exactly how it works in oil painting- maybe some kind of varnish seals it? But in acrylics you can simply seal a painting with an isolation coating, & then varnish/finish it, & I’d think that should largely protect it from exposure to acids)… However, it’s important to keep in mind, especially if you don’t intend to seal/finish the painting, because- as unlikely as it is that you’ll spill some acidic liquid on a painting- in a very polluted big city environment, where there are acids, sulfides & such, in the air, the acidic air pollution can cause ultramarine to fade very substantially, from what I’ve read. So, perhaps either using an alternative (indanthrone blue has a nice, warm, smokey color that is well-suited for mixing neutrals without this issue) or sealing your painting in some way to prevent exposure to pollution would be a solution if you expect to potentially have it displayed in any environment that might expose it to acidic pollution. Otherwise, you could get the ultramarine blue fading away, leaving browns where you intended to have blacks/greys.
I really like indanthrone blue, personally, so I don’t mind it at all for this purpose. It’s a little more neutral by default, so it doesn’t necessarily replace that super vibrant, high-chroma warm sapphire-like blue that ultramarine provides when applied pure… You could probably use it as the base to mix a pretty convincing ultramarine alternative… I have a copper pthalo [PB15:0] blue right now, the one Winsor & Newton sells as Winsor Blue, which is a much warmer blue, similar to indanthrone or UM blue… As a pthalo, on its own it’s properties are quite different from UM blue- very transparent, & not quite as rich/warm… But it’s very saturated, & I bet if you mixed just a touch of it with some indanthrone blue, you could raise the chroma of the indanthrone enough to get a pretty great hue match without making it SO transparent that it looks like a straight up pthalo… And both of those blues have excellent lightfastness & no other permanency problems that I know of. So that could be an option. Anyway, anything in that ballpark can mix with dark earth tones like burnt umber & burnt Sienna to yield very nice dark neutrals (& with a little zinc white, a whole spectrum of lighter neutrals ranging from blue-greys to brown-greys).
I don’t know exactly to what extent air pollution is a serious threat, outside of some of the most polluted metropolises in the world, but you know… Lightfastness, acid/heat resistance, the archivability of a surface/ground- these usually aren’t factors we consider because they’re likely to ruin a painting overnight. A professional artist takes them into account because they want to ensure that, regardless of where a painting ends up being displayed, they want to ensure that it will survive into the future, however long it can (whether the primary motive is to do right by the person you sell it to or for posterity). So these little quirks of our materials are worth studying & keeping in mind. That way, even if you do decide that the risk of a given pigment’s resilience against the elements/lack thereof is worth it, you can at least plan & make those decisions on an informed basis (& if the shortcomings of a material can be mitigated, such as by sealing ultramarine blue, or putting alcohol inks behind UV protection, or whatever, you can do that).
Just to give an example: it’s better not to paint oils on most wood panel to begin with, because the acids/tannins in the wood can leech out over time & damage the paint film (acrylics are much more resistant to this damage, & so are preferable if you must work on wood panel)… But, if you didn’t know that, you might paint some ultramarine blue directly onto wood panel… You may even seal the painting, if you know ultramarine is vulnerable to acid, but didn’t know that the wood itself could be a source of acids… And then you would be quite surprised when the ultramarine blue starts severely fading, despite being sealed away from exposure to the air & any acidic liquids from the outside… But, the more you know about the benefits & limitations of your materials- if you’re informed about both the pigment AND wood panel, & what kinds of surfaces/grounds are suitable for the long-term survival of oil paintings- then you can avoid these kinds of mistakes & ensure that the work you dedicated so much time & energy to will last a good long time.
Of course, there’s also the countervailing philosophy, embracing the impermanence of art (as of all things). Not getting too hung up on how long it will last; the fact that a zen garden pattern or an alcohol ink piece, or a performance art piece is impermanent doesn’t necessarily mean these art forms aren’t worth doing. There can be beauty & profundity in their fleeting nature… And even the best preserved painting will decay eventually, as all things will. One day the Sun will explode & even the hardest marble statues will return to their origin as star dust, & eventually accumulate in black holes & evaporate away, or be re-emitter from the next universe’s Big Bang or something… No one says you HAVE to want your work to outlast you. That said, in the painting market, permanent, lightfast materials are generally valued, & most painting buyers probably will not appreciate a heady explanation about how actually you used fugitive pigments intentionally because everything is ephemeral. So if you’re painting professionally, trying to sell your work, regardless of your own preferences it’s probably a good idea to think about the customer in this regard & bother to make something that will last (or else you should specifically warn them that your unfinished monochrome landscape in Alizarin Crimson will probably not last too many hours in direct Sunlight).
Excellent explanation. Thanks for the advice in this video.
cool ... and warm :) thank you 🙏. is 'sinking in' with that mix also less a problem ?
@MarkCarder what's opinion about Lamp Black? I've noticed nobody ever talk about it its Mars or Ivory black. Tell ya rhe truth aftrr i learned ur mixing method & understood. I used my blsck, think only to add to my ultra & umber if its a drak painting to really distinguish the darkest shadows or no light. What I have used it for is like saturation & get desaturated color like how its used in Zorn or Apelles.. like black & yellow ochre gives me the green more natural and don't havr to use complimentary to desaturate
Interesting. I used burnt umber + ultramine mix for a long time, but over the years I seem to have switched to almost always using raw umber and payne's grey. I'm not sure what the reason is except that I just like the tone more. It's more ashphalty and getting a neutral mix is not as sensitive as mixing burnt umber and ultramarine . When tinted with titanium white It's kind of yellow-warmish through green-black through neutral grey through to cool grey. I'm aware that the payne's grey is a mix already but I find it that useful and don't have any issues muddying other mixtures or anything like that, but that the range of subtle neutral tones from just 2 tubes of paint is great for my work - I'm often already using raw umber or payne's straight from the tube. Curious if anyone else has tried this mix
Also using ivory black for shading it will make muddy grey when mix to the lighter color. With raw umber and ultramarine blue you will get a more colorful greyish and the transition will be smother and it gives you the chance to create in the painting a more coldish or warmer feeling .
But i ultimately think if you want to achieve the darkest effect like tenebrism you will have to use some sort of black, Caravaggio used organic carbon black for example.
not at all, if you mix dark purple in then it will be perceived as even darker than most blacks. perception of purple hues are pretty unique like that
@@rocifier but when exposed to the sunligth you will see the purple glaze shinning, and with a true black in his side you can see the difference and the power of the black, thats why black should be used only when necessary for a lot of artists, but i dont follow that rule :) .
The best way is to experiment, paint a black square and another with your mix and try to achieve that blackness of the first square
@@rocifier and in my opinion black is the perfect color for glazing shadows and creating depth, its not the only one but for me its the easier and most dramtic of them , burnt umber is in the same category but its more warm, black brings cold in my opinion ( take in mind that im not talking about pure black without some solvent)
Thank you so much Mark. This is such an important video😊
Amazing explanation❤️❤️
Can you talk about white artists grade vs student grade titanium white ?
Thanks Mark. Needed this.
There are plenty of paintings made with ivory black. A part for some impressionists almost all the best painting in history were made with mixes with ivory black, so yeah it can have issues but not using a color limit your art. Most of Caravaggio underpainting were made with ivory black and have no or limited cracks. Some mars black are also a very fast drier.
If you want a not black you can do a mix of quinacridone magenta and prussian blue, it's one of the faster drier we know.
We need shipping to germany. I want this paint so much.
Always a pleasure. As an ArtistOpath. ...your art will improve with his skills..
What about doing an underpainting in black/white only? It would get messy quick wouldn't it? If you use anything except white black I mean.
Mark why the change in your primary yellow?
I have a question off subject. Which is best? Keyed strecher bars vs glued solid bars. Im making my strecher bars and have 15 year old painting that have solid corners. They seem to be working fine. 1 mouth ago i built table saw jig to make finger joints, for keys. They look good but setting in my shop. They are not as tight as when they were made. Thank you for your time. Acrylic paint 4x4 frames.
I have been making blacks by mixing Raw Umber with Payne's Grey. I have heard of the Burnt Umber/French Ultramarine black from a few sources. Perhaps I should try it.
yeah you should
Thank you 🙏🏻
Gracias sensei
Omg I tried ivory black as an under painting mixed with ultramarine blue and it’s been sooooo frustrating! It seems like it’s sinking in and very dull. I keep painting on top but it keeps sinking in😭
I live in Plano, TX (in Dallas metroplex). Do you offer online courses?
I’d love to see another painting demonstration,I find them extremely helpful., Incase you’re lost for video ideas.
“It's like, how much more black could this be? And the answer is none - none more black.”
This one is going to eleven.
Thank you.
What would be a replacement for cobalt yellow? I am trying to go safer with my painting. I appreciate your videos as I am learning. Thanks
nothing wrong with cadmium yellow just store it out of reach of kids
From a conservation standpoint, burnt umber isn't as viable as ivory black for the under layers, or top layers for that matter. Burnt umber actually has more fat in it than ivory black. So, in that regards ivory black is leaner. However, ivory black dries slower than burnt umber because burnt umber has manganese which is a natural dryer. That's why you see so much cracking in painting with burnt umber used over other colors. And it's sketchy to use as the bottom layers as it has more fat, which wouldn't adhere to the fat over lean rule.
That being said. Ivory black doesn't have the undertone of burnt umber. Which means that when you paint over it with transparency. It shifts the colors a certain way. And ivory black tends to shift the transparent blues and yellows into greens. So, in that regards burnt umber is easier to manage as the color shift stays on the same side of the color spectrum.
One thing that always bothers me of this mixing my oen blacks (been using your method for years now) is dat if you abstractly paint a yellow for example next to it it will create this greenish transition, i recently painted my dog which has blond long hair and the shadows in his fur create these green spots next to his hair, so for these instances i am still using blacks
is that a real pear?
Thanks a lot🙏🙏
If I paint the Geneva black over dried Ivory black it shouldn't crack, right?
In my expirience ivory black is way blacker than this bu umb mixed black. It has a beautifull deepness that other blacks lack.
excellent explanation. ty
Interesantísimo, muchas gracias!
Ive been using Geneva ultramarine blue and burnt umber to make black but it never seems to come out dark enough. It usually feels like a dark gray. What am I doing wrong? How do I mix a deep black?
Prussian blue and burnt umber
You most likely have a dirty pallet and your milking it up by getting white in there. Also, try Phthalo green + Perm. Rose. makes a very deep black!
Just buy pigments, not packed paints.
@@highstax_xylophones Thanks!
@@artaddict2313 Thanks!
Black paint matters (can that be said nowadays?)
Danm I like blue and rubine
Perfect
siyah yoktur, karanlık vardır.
Wow so you don´t use black, it is FUNNY, after watching a few of your videos you were all this time refeering to umber plus blue! Now I get it, why you mixed white and yellow with black! (in another video) yes, it is a great black, but it is a surprise regarding your "dark" style that you avoided the darkest color, and you sure justified it properly.
I just wanted to add, you’re right about blacks. Black out of the tube is a depth killer. Like white, it just flattens everything. I tried your mix of blue & burnt umber. It’s very nice and lively, leaning toward blue or brown. Another I use is alizarin and viridian green.
Just mix the black or white with the other colors you need...
Funny how you dont know when its the last time you paint nor when its the last time u comment
I hope to activate the Arabic translation for Arab followers....
And thank ✨
Zorn managed
Regards maestro, im far away from you, im intrested in learning the Live Life and this tehnik....Im many years in oils and i just worked many works but i didn worked Live Life and i have lucky to find you. Honestly i sow many artworks of live life on my country and im dont like it honestly, i want highest level to work, so here i am. Did you have Patreon or skillshare or online maybe, or to buy videos somhowe i want to achive this level.Regards with respect to your knowledge ,masterworks and for you Vagallla oil painter.