Sunday, July 13, 2014
This is the first post for our new line of Marion Street Art Materials Oil paint. I've made a test of one of our first colors, Blue Ochre. It is the smokey blue color at the center of the above picture. Around it are various colors and the mixes that can be made with them. I'll do a bigger breakdown soon but for now you can see at about 2 o'clock from the blue ochre is a Yellow light and between is the rich grass green that comes about from a 50-50 mixture. Counterclockwise from this, at about 1 o'clock is a Cadmium Yellow medium and the much browner green that you get with that mixture. One of my favorite mixtures is right above this at the top- Burnt Umber- which gives a really nice rich dark brown with great life (Ok it may be hard to see in this picture).Actually I was quite surprised by the mixes that came from all of the earth colors, Burnt Sienna in the upper left corner, Raw Sienna in the upper right corner. It makes some incredible yet very natural colors that I've had a hard time mixing in the past. Below is a very transparent Ultramarine Pink and the Blue Ochre is transparent enough to mix with it to make a violet without overwhelming it.
Monday, April 14, 2014
The above 180-183 is the result. Using a burnt umber as a starting point it has a warm reddish feel that is pulled back by a little bit of blue violet. The lighter tones are wonderful neutrals. I've had it in stock at the shop and without my saying anything (Like look look a new color) several customers have added it to their pallets
Sunday, November 18, 2012
When I started making pastels,
way back when, I did so because I loved the feel of them. It was my Goldilocks moment. The few pastels that I had used before were either to hard and scratchy or way to soft and crumbly. I do like to push a bit when I "draw" so I hope you can understand my problem. Experimenting with different chalks, clays, talcs, etc. I could change how each stick would feel. Suddenly a whole new experience was opening. I had color that I could push against and it wouldn't crumble and be reduced to dust but left in its wake a beautiful rich intensity. They were smooth without being slick.
Monday, June 14, 2010
I've been thinking of updating the sets that I offer. I haven't changed the single color sets since I started- and I made about 200 colors. Now that the line is 350 colors maybe it is time. This is one option that I have been considering for the blues. My original set was a range of 5 of 5 different blues. Now I am thinking of changing that somewhat, bringing in a couple of new colors. One would be the #514 which is a very dark navy blue, almost black. Another would be my #4 a very cool bluish white. The numbers for the set above are: 514, 540, 340, 641, 510 / 520, 341, 80, 430, 140 / 521, 343, 81, 431, 221 / 522, 344, 82, 433, 142 / 4, 524, 84, 434, 144 .
Here is a picture of my current set. The numbers in this set are: 80-84 / 430-434 / 340-344 / 540-544/ 520-524 . Any thoughts about this? Some other suggestions?
Friday, February 12, 2010
The black and greys that I make (#450-460) have a little burnt umber mixed with the black to give a warm tone.
Tuesday, January 12, 2010
Recently I've had three pigments that I use become unavailable. This has led to a couple changes to the color groups that I make. The biggest change is to the group 280-284. Not being able to get the main pigment for this group led me to rethink what I wanted to do with these colors. I liked the aspect of the color getting yellower as it lightened instead of getting paler. First of all I wanted to make the darker color in the group darker and richer. The bigger change came however in the lightest color. I couldn't get a good duplication with other pigments that I had available and I was looking for a good yellow green to use in my tropical set. I finally setteled on the color pictured and then worked with the darkest and lightest colors to make the middle ones.
There were a couple of other colors that also used this pigment but in both cases I've just mixed other pigments to replace the older color. The new colors came very close to the old ones the only difference being that the new colors are not as gritty as the old pigment was. Which, all in all, I can live with that.
Thursday, April 30, 2009
I've also gotten a couple of new pigments that I was experimenting with. They are both transparent iron oxides, one yellow and one red. Think of them as an intense raw sienna and burnt sienna. I use the yellow to mix with the bright yellow that I have to give it a nice earthiness while still keeping the intensity. The same worked with the red to give a good range of bright but not electric colors. These are the colors #740-743.