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Watercolor Basics with Susan Donohoe
Watercolor Basics with Susan Donohoe BASICS SUPPLY LIST FOR - TECHNIQUES - Day 1 The lists are long, beginners should bring what they have. They SHOULD NOT go out and buy supplies just to have them. I will bring supplies that they can use to fill in the blanks. Better for them to learn in the workshop what is best for them to buy instead of wasting their money. Personal Needs for each day: Please bring any of these items that you will require. A cushion for your chair, the day can get long for your backside. Your lunch each day. There is a microwave and a small refrigerator for your use. Keep it simple. Hydration-bring plenty of liquid to stay hydrated. A sweater or work shirt to stay comfortable as the room temperature may fluctuate throughout the day. Brushes: Preferred brands: Escoda, Holbein, Cheap Joe’s, Loew-Cornell, Da Vinci, Halcyon One of each if you have them: Round: #6, #10, #14, #18+ (the biggest round brush you own - no need to buy one.) Flat: 1/2”, 1”, 2”, Hake (if you have one) Scrubber brushes: assorted sizes. (These brushes can be purchased at Michael’s or JoAnn’s. They are stiff brushes similar to oil painting brushes. They are sometimes called fabric brushes.) Paper: Arches #140 - Cold Press - 1 full sheet. If you know how and wish to do so prior to class, you can tear the full sheet into 4 equal 1/4 sheet pieces. Paint: Artist Grade Paint only!!!! Preferred Brands: Holbein, Daniel Smith, Mission, Aquarelle Sennelier, M. -
Ice Cream Flavor Sorbet Flavor
Ice Cream Flavor Sorbet Flavor Banana Milk Tea Acai Sorbet Butter Pecan Mocha Chip Bloody Orange Sorbet Cherry Vanilla Orange Creamy Limon Cello Sorbet Chocolate Pistachio Mango Sorbet Chocolate Chip Cookie Dough Pumpkin (Seasonal) Pink Grapefruit Sorbet Chocolate Fudge Swirl Red Bean Watermelon Sorbet Chocolate Peanut Butter Rocky Road Coconut Sesame Cookie –N- Cream Strawberry Dulce de Leche Strawberry Cheesecake Cotton Candy Taro Green Tea Vanilla Chocolate Nutella Wild Berry Mint Chip Dry Topping Wet Topping Fresh Fruit Topping Almond Slice Marshmallow Black Cherry Banana Coconut Flake M & M Caramel Sauce Blueberry Chocolate Chip Mochi Chocolate Sauce Mango Chocolate Crunch Mini Peanut Butter Cup Peanut Butter Sauce Pineapple Chocolate Sprinkle Oreo Cookie Hot Fudge Strawberry Cookie Dough Peanut Marshmallow Sauce Dry Walnut Pecan Nutella Sauce Fruity Pebbles Rainbow Sprinkle Strawberry Sauce Graham Cracker Reese’s pieces Vanilla Syrup Gummy Bear Toasted Coconut Wet Walnut Gronala Whipping Cream Homemade Chocolate Mousse Macaron Tiramisu Cup Strawberry Shortcake Apricot Vanilla Matcha Lemon Tart Mango Cup Rose Cotton Candy Oreo Taro Coconut Pistachio Pecan Tart 4” Cheesecake Oreo Tiramisu Nutella Red Velvet Cake Wild Berry Raspberry Passion Fruit Strawberry Cheesecake Milk Tea Fruit Tea Oolong Tea Original - Black Tea with Milk / Green Tea with Milk *Apple Lychee Oolong Tea *Almond Nutella *Blueberry *Mango Oolong Milk Tea Banana Papaya Grape *Passion Fruit Brown Sugar Oolong Milk Tea *Coconut Red Bean Grape Fruit *Peach Honey Oolong -
2021 Rose List HT = Hybrid Tea Type Frag Dis
2021 Rose List HT = Hybrid Tea Type Frag Dis. Description $27.99 FL = Floribunda GR = Grandiflora All My Loving HT X DR Tall, large single light red to dark pink blooms Angel Face FL X Strong, Citrus Fragrance. Low bushy habit, ruffled lavander blooms. Anna's Promise GR X DR Blooms with golden petals blushed pink; spicy, fruity fragrance Arctic Blue FL DR Good cut rose, moderate fruity fragrance. Lilac pink, fading to lavander blue. Barbara Streisand HT X Lavender with a deep magenta edge. Strong citrus scent. Blue Girl HT X Large, silvery liliac-lavender blooms. Fruity fragrance. Brandy HT Rich, apricot color. Mild tea fragrance. Chicago Peace HT Phlox pink and canary yellow blooms on 6' to 7' shrub Chihuly FL DR 3' - 4' tall, blooms with shades of apricot yellow, orange and red Chris Evert HT 3' - 4' tall, large melon orange blushing red blooms Chrysler Imperial HT X Large, dark red blooms with a strong scent. Repeat bloomer Cinco De Mayo FL X Medium, smoky lavender and rusty red-orange blend, moderate sweet apple fragrance Coffee Bean PA DR Patio/Miniature. Smokey, red-orange inside, rusty orange on the outside. Coretta Scott King GR DR Creamy white with coral, orange edges. Moderate tea fragrance. Dick Clark GR X Cream and cherry color turning burgundy in the sun. Moderate cinnamon fragrance. Doris Day FL X DR 3'-5' tall, old-fashioned ruffled pure gold yellow, fruity & sweet spice fragrance Double Delight HT X Bi-colored cream and red blooms. Strong spice scent. Elizabeth Taylor HT Double, hot-pink blooms on 5' - 6' shrub Firefighter HT X DR Deep dusky red, fragrant blooms on 5' - 6' shrub First Prize HT Very tall, golden yellow suffused with orange, vigorous plant, rich fruity scent Fragrant Cloud HT X Coral-orange color. -
Art Spectrum® Dry Ground Pigments
Art Spectrum® Dry Ground Pigments Art Spectrum® has been collaborating with artists for over 50 We are continuously exploring new and exciting pigment colours to years to make professional artists’ colour with high performance enhance the artist’s modern palette. pigments discovered and developed through the ages. Art Spectrum® Dry Ground Pigments can be used in the Our selection of the highest grade modern and traditional preparation of your own hand-made formulated colours as the pigments are sourced from the world’s finest pigment houses. artist colourmen have done for centuries. All colours are ASTM rated, pure lightfast single pigments and are Art Spectrum® Dry Ground Pigment label’s comply with current included in the formulation to create our Professional Quality Artists’ Australian standards and legislation. Oil Colours, Watercolours, Gouache, Pastels and Primer ranges. NICKEL TITANATE YELLOW CADMIUM YELLOW LIGHT ARYLIDE LEMON S2 ASTM I PY53 S4 ASTM I PY35 S3 ASTM II PY3 DGP10 DGP20 DGP30 AUREOLIN ARYLIDE YELLOW CADMIUM YELLOW S4 ASTM II PY40 S3 ASTM I PY74 S4 ASTM I PY35 DGP510 DGP40 DGP50 DIARYLIDE YELLOW CADMIUM YELLOW DEEP CADMIUM ORANGE S2 ASTM I PY83 S4 ASTM I PY35 S4 ASTM I PO20 DGP60 DGP70 DGP80 Lightfastness: Transparent Colour American Society for Testing and Materials (ASTM), conforming to standard D4302-90. Semi-Transparent Colour ASTM I: Excellent Lightfastness Opaque Colour ASTM II: Very Good Lightfastness ASTM III: Good Lightfastness WARNING! Do not spray apply cadmium colours. If swallowed seek medical advice. Keep -
Tucson Art Academy Online Skip Whitcomb
TUCSON ART ACADEMY ONLINE SKIP WHITCOMB PAINTS WHITE Any good to professional quality Titanium or Titanium/Zinc White in large tubes(150-200ML) size. Jack Richeson Co., Gamblin, Vasari, Utrecht, Winsor & Newton are all good brands, as are several other European manufacturers. I strongly recommend staying away from student grade paints, they do not mix or handle the same as higher/professional grade paints. YELLOWS Cadmium Yellow Lemon Cadmium Yellow Lt. (warm) Cad. Yellow Medium or Deep Indian Yellow ORANGES Cadmium Yellow Orange (optional) Cadmium Orange REDS Cadmium Red Light/ Pale/ Scarlet (warm) Cadmium Red Deep Permanent Alizarin Crimson Permanent Rose (Quinacridone) BLUES Ultramarine Blue Deep or Dark Cobalt Blue Prussian Blue or Phthalo Blue GREENS Viridian Viridian Hue (Phthalo Green) Chrome Oxide Green Olive Green Sap Green Yellow Green VIOLETS Mauve Blue Shade (Winsor&Newton) Dioxazine Violet or Purple EARTH COLORS Yellow Ochre Raw Sienna Raw Umber Burnt Sienna Terra Rosa Indian Red Venetian Red Burnt Umber Van Dyke Brown BLACKS Ivory Black Mars Black Chromatic Black Blue Black MARS COLORS Mars Yellow Mars Orange Mars Red Mars Violet IMPORTANT TO NOTE!! Please don’t be intimidated by this list! You will not be required to have all these colors on hand for our class. This is intended to be a recommendation for the studio. Specific colors on this list will come in handy for mixing in certain color plans. I will be happy to make suggestions along the way A good working palette for the studio would be: Cad. Yellow Lemon, Cad. Yellow Pale(warm), and/or Cad. -
Color Chart ® ® ® ® Closest Pantone® Equivalent Shown
™ ™ II ® Color Chart ® ® ® ® Closest Pantone® equivalent shown. Due to printing limitations, colors shown 5807 Reflective ® ® ™ ® ® and Pantone numbers ® ™ suggested may vary from ac- ECONOPRINT GORILLA GRIP Fashion-REFLECT Reflective Thermo-FILM Thermo-FLOCK Thermo-GRIP ® ® ® ® ® ® ® tual colors. For the truest color ® representation, request Scotchlite our material swatches. ™ CAD-CUT 3M CAD-CUT CAD-CUT CAD-CUT CAD-CUT CAD-CUT CAD-CUT Felt Perma-TWILL Poly-TWILL Thermo-FILM Thermo-FLOCK Thermo-GRIP Vinyl Pressure Sensitive Poly-TWILL Sensitive Pressure CAD-CUT White White White White White White White White White* White White White White White Black Black Black Black Black Black Black Black Black* Black Black Black Black Black Gold 1235C 136C 137C 137C 123U 715C 1375C* 715C 137C 137C 116U Red 200C 200C 703C 186C 186C 201C 201C 201C* 201C 186C 186C 186C 200C Royal 295M 294M 7686C 2747C 7686C 280C 294C 294C* 294C 7686C 2758C 7686C 654C Navy 296C 2965C 7546C 5395M 5255C 5395M 276C 532C 532C* 532C 5395M 5255C 5395M 5395C Cool Gray Warm Gray Gray 7U 7539C 7539C 415U 7538C 7538C* 7538C 7539C 7539C 2C Kelly 3415C 341C 340C 349C 7733C 7733C 7733C* 7733C 349C 3415C Orange 179C 1595U 172C 172C 7597C 7597C 7597C* 7597C 172C 172C 173C Maroon 7645C 7645C 7645C Black 5C 7645C 7645C* 7645C 7645C 7645C 7449C Purple 2766C 7671C 7671C 669C 7680C 7680C* 7680C 7671C 7671C 2758U Dark Green 553C 553C 553C 447C 567C 567C* 567C 553C 553C 553C Cardinal 201C 188C 195C 195C* 195C 201C Emerald 348 7727C Vegas Gold 616C 7502U 872C 4515C 4515C 4515C 7553U Columbia 7682C 7682C 7459U 7462U 7462U* 7462U 7682C Brown Black 4C 4675C 412C 412C Black 4C 412U Pink 203C 5025C 5025C 5025C 203C Mid Blue 2747U 2945U Old Gold 1395C 7511C 7557C 7557C 1395C 126C Bright Yellow P 4-8C Maize 109C 130C 115U 7408C 7406C* 7406C 115U 137C Canyon Gold 7569C Tan 465U Texas Orange 7586C 7586C 7586C Tenn. -
Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. -
Ozone and the Deterioration of Works of Art
.. ENVI RONHENTAL SCIENCE AND TECHNOLOGY A-129 OZONE AND THE DETERIORATION OF WORKS OF ART Cynthia L. Shaver and Glen R. Cass * Environmental Engineering Science Department and Environmental Quality Laboratory California Institute of Technology Pasadena, California 91125 James R. Druzik Conservation Center Los Angeles County Museum of Art Los Angeles, California 90036 ABSTRACT Seventeen artists' watercolor pigment samples and two Japanese woodblock prints were exposed to 0.40 ppm ozone in a controlled test chamber for three months. It was found that several artists' pigments when applied on paper will fade in the absence of light if exposed to an atmosphere containing ozone at the concentrations found in photochemical smog. Alizarin-based watercolors containing 1,2 dihydroxyanthraquinone lake pigments were shown to be particularly sensitive to ozone damage, as were the yellow pigments used in the Japanese woodblock prints tested. Indoor-outdoor ozone monitoring in a Pasadena, CA art gallery confirmed that ozone concentrations half as high as those outdoors can be found in art galleries that lack a chemically protected air conditioning system. Care should be taken to protect works of art from damage due to photochemical smog. Introduction The fading of pigments 1s a major hazard to works of art. Poor lightfastness usually is blamed, a process in which photochemical oxidation of the pigments occurs involving both light and oxygen (1-4). Short of encasing art objects in hermetically sealed inert atmospheres, the customary response has been to reduce lighting levels in museums and to restrict the display of light-sensitive artwork. Ozone, an oxidant much stronger than oxygen, is formed by reactions between hydrocarbons and oxides of nitrogen in photochemical smog (5). -
Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S. -
Personal Enrichment Courses SUPPLY LIST
Personal Enrichment Courses SUPPLY LIST Beginning Acrylics Intermediate Acrylics Instructor: Patti Overholt Instructor: Patti Overholt Niceville Campus Niceville Campus Please try to purchase Galeria Acrylic Paints Supply List (Windsor Newton) for best color mixing results. 1. CANVAS: One 8x10 Canvas Panel Supply List One 9 x 12 Canvas Panel 1. CANVAS: One 8x10 Gallery Wrapped Canvas Three 8x10 Canvas Panels 2. BRUSHES: 2. BRUSHES: #1 inch and a #0.5 inch Flat Brush #1 inch and a #0.5 inch Flat Brush #4 inch and a #8 Filbert #4 inch and a #8 Filbert #8 inch Round Brush #8 inch Round Brush A fan Brush A fan Brush A one inch craft brush A one inch craft brush 3 Palettes Knives, Small, Med. and Large 3. ACRYLIC PAINT: 3. ACRYLIC PAINT: (Starter Sets are available online and at local craft stores. Hobby (Starter Sets are available online and at local craft stores. Hobby Lobby has the best coupon offers. PLEASE avoid cheap paints as Lobby has the best coupon offers. PLEASE avoid cheap paints as colors are off and the pigments are thin.) colors are off and the pigments are thin.) • Ultramarine Blue • Ultramarine Blue • Cerulean Blue • Cerulean Blue • Alizarin Crimson • Alizarin Crimson • Rose Pink • Rose Pink • Cadmium Red Medium • Cadmium Red Medium • Cadmium Yellow Medium • Cadmium Yellow Medium • Yellow Ochre • Yellow Ochre • Indian Yellow • Indian Yellow • Titanium White • Titanium White • Unbleached Titanium (Buff • Unbleached Titanium (Buff White) White) • Burnt Umber • Burnt Umber • Acrylic Extender • Acrylic Extender MISCELLANEOUS: MISCELLANEOUS: Brush Holder for water Plastic Palette Plastic Bottle with water Styrofoam Trays Paper Towels Small jar Golden Moulding Paste Package of Handy or Baby Wipes Brush Holder for water Plastic Bottle with water Paper Towels Package of Handy or Baby Wipes Saran Wrap Personal Enrichment Courses SUPPLY LIST Acrylic Painting Have Fun Drawing Instructor: Marvin Tweedy Instructor: Patti Overholt DeFuniak Springs Campus Niceville Campus Supply List Supply List 1. -
The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names
Uc 8 , .Department of Commerce Na Canal Bureau of Standards Circular UNITED STATES DEPARTMENT OF COMMERCE • Sinclair Weeks, Secretary NATIONAL BUREAU OF STANDARDS • A. V. Astin, Director The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names National Bureau of Standards Circular 553 Issued November 1, 1955 For sale by the Superintendent of Documents, U. S. Government Printing Office, Washington 25, D. C. Price 32 7 1 National Bureau of Standards NOV 1 1955 8 (0*118 QC 00 U555 Cop. 1 Preface I^Ever since the language of man began to develop, words or expressions have been used first to indicate and then to describe colors. Some of these have per- sisted throughout the centuries and are those which refer to the simple colors or ranges such as red or yellow. As the language developed, more and more color names were invented to describe the colors used by art and industry and in late years in the rapidly expanding field of sales promotion. Some of these refer to the pigment or dye used, as Ochre Red or Cochineal, or a geographical location of its source such as Naples Yellow or Byzantium. Later when it became clear that most colors are bought by or for women, many color names indicative of the beauties and wiles of the fan- sex were introduced, as French Nude, Heart’s Desire, Intimate Mood, or Vamp. Fanciful color names came into vogue such as Dream Fluff, Happy Day, Pearly Gates, and Wafted Feather. Do not suppose that these names are without economic importance for a dark reddish gray hat for Milady might be a best seller ; if advertised as Mauve Wine whereas it probably would not if the color were called Paris Mud. -
Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern.