MODERN WATERCOLOR III Fair FR Fair G Granulating J Semi-Opaque NA Not Yet Tested H Opaque
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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. -
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 -
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. -
Watercolours: What´S Different in the New Assortment?
Product information Watercolours HORADAM® watercolours: What´s different in the new assortment? The following colours have got a new name: Art.-No. Old Name New Name 14 208 Aureolin modern Aureolin hue 14 209 Translucent yellow Transparent Yellow 14 211 Chrome yellow lemon Chromium yellow hue lemon 14 212 Chrome yellow light Chromium yellow hue light 14 213 Chrome yellow deep Chromium yellow hue deep 14 214 Chrome orange Chromium orange hue 14 218 Translucent orange Transparent orange 14 366 Deep red Perylene maroon 14 476 Mauve Schmincke violet 14 498 Dark blue indigo Dark blue 14 648 Sepia brown tone Sepia brown reddish 14 786 Charcoal grey Anthracite The following colours are completely omitted due to raw materials which aren’t available anymore: Art.-No. Old Name 14 652 Walnut brown This tone cannot be mixed out of other colours. 14 666 Pozzuoli earth This tone can be mixed using 14 649 English Venetian red and the slightly reddish 14 670 Madder brown. These colours are now produced using other pigments. Therefore they have got a new name and a new number: Old Art.-No. Old Name New Art.-No. New Name 14 345 Dark red 14 344 Perylene dark red 14 210 Gamboge gum modern 14 217 Quinacridone gold hue 14 478 Helio blue reddish 14 477 Phthalo sapphire blue 14 536 Green yellow 14 537 Transparent green gold - Discontinued colours The described product attributes and application examples have been tes- a warranty for product attributes and/or assume liability for damages that ted in the Schmincke laboratory. -
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. -
Brochure Old Holland Classic Oil Colours Drying Time & Transparency
Old Holland Classic Oil Colours Drying time & Transparency Transparency: * = Transparent **** = Opaque Drying time: F = Fast, M = Medium, S = Slow Oil content: H = High, M = Medium, L = Low, VL = Very Low Colour name Colour index Pigment classification Trans- light- Drying Oil parency fastness time content A1 Titanium white PW6 Titanium dioxide **** 7/8 m l A2 Zinc white PW4 Zinc oxide *** 7/8 m l 3 Lead white PW1 Basic lead carbonate **** 7/8 f vl 4 Flake white no.1 PW1-PW4 Basic lead carbonate zinc oxide **** 7/8 m vl A5 Mixed white no.2 PW6-PW4 Titanium dioxide- zinc oxide **** 7/8 m l A6 Old Holland yellow PW4-PW6- Zinc oxide- Titanium dioxide- Natural ochre **** 7/8 m l light PY43 B8 Old Holland yellow PW4-PW6-PY- Zinc oxide-titanium dioxide-mono.azo-Natural ochre **** 7/8 m l deep 74-PY43 B7 Old Holland yellow PW4-PW6- Zinc oxide-titanium dioxide-monoazo-Natural ochre *** 7/8 m l medium PY74-PY43 B103 Brilliant yellow PW4-PW6- Zinc oxide- Titanium dioxide- Disazo- Diketo pyrollo *** 7/8 m l light PY83-PO73 pyrrole B106 Brilliant yellow PW4-PW6- Zinc oxide- Titanium dioxide- Nickel titanate- Diketo- **** 7/8 m l PY53-PO73 Pyrrolo- Pyrolle B109 Brilliant yellow- PW4-PW6- Zinc white- Titanium dioxide- Nickel titanate- Diketo- **** 7/8 m l reddish PY53-PO73 Pyrrolo- Pyrolle B112 Napels yellow PW4-PW6- Zinc oxide- Titanium dioxide- Nickel titanate- Disazo **** 7/8 m l reddish extra PY53-PO43 B115 Flesh tint PW4-PW6- Zinc oxide- Titanium dioxide- Zinc iron oxide- *** 7/8 m l PY119-PR2 Condensed azo B118 Indian yellow- PY95-PY129 Azo condensation- -
3 Pigments in Powder Form
PIGMENTS (DRY POWDER FORM) Application: I = Inks, C = Paint, P = Plastics Name C.I. Application Constitution Tricolith Yellow IYP PY 1 I, C arylide yellow Tricolith Yellow 10G PY 3 I, C arylide yellow Tricolith Yellow TWA PY 12 I diarylide (disazo) yellow AAA Tricolith Yellow GRP (transp.) PY 13 I, C, P diarylide yellow (disazo) AAMX Tricolith Yellow GRP (opaque) PY 13 I, C, P diarylide yellow (disazo) AAMX Tricolith Yellow BRM (transp.) PY 14 I, C, P diarylide yellow AACT Tricolith Yellow BRM (opaque) PY 14 I, C, P diarylide yellow AACT Tricolith Yellow VGP PY 17 I, C, P diarylide yellow (disazo) AAOA Tricolith Yellow Y2F PY 55 C, P disazo (diarylide p-toluidine)) Tricolith Yellow SY PY 61 C, P monoazo (calcium salt) Tricolith Yellow ST PY 62 C, P azo (calcium salt) Tricolith Yellow ST-2 PY 62:1 C, P azo (barium salt) Tricolith Yellow LCY PY 65 C, P monoazo Tricolith Yellow OSN PY 73 C monoazo Tricolith Yellow SFY (transp.) PY 74 I, C arylide (monoazo) yellow Tricolith Yellow SFY (opaque) PY 74 I, C arylide (monoazo) yellow Tricolith Yellow RM PY 75 C arylide (monoazo) yellow Tricolith Yellow 3RP (transp.) PY 83 I, C, P diarylide (disazo) yellow Tricolith Yellow 3RP-OP (opaque) PY 83 I, C, P diarylide (disazo) yellow Tricolith Yellow 3G PY 93 P,C,I condensed azo Tricolith Yellow RSY PY 95 P,C,I condensed azo Tricolith Yellow NTS PY 97 C monoazo Tricolith Yellow TWS PY 126 I, P diarylide yellow (disazo) Tricolith Yellow VRF PY 127 I diarylide yellow (disazo Tricolith Yellow ISN PY 139 C, P isoindoline Tricolith Yellow AGR PY 147 P anthraquinone -
Syllabus 29002 ART 315.001 Color, S20, 5:30 – 8:10 Pm, MW, School of Art Graphic Design B121 Professor Peter Andrew, [email protected], 936-468-4804 Ext
Syllabus 29002 ART 315.001 Color, S20, 5:30 – 8:10 pm, MW, School of Art graphic design B121 Professor Peter Andrew, [email protected], 936-468-4804 ext. 4451, office B127, advising/office hours by appointment. Students registered in this class are responsible for fulfilling the requirements in this syllabus in order to earn a passing grade. Description: ART 315 Color - 3 semester hours, 6 hours studio, 6 hours independent study per week. Practice, theory, and study of color in art, media, and design. Levels A, B. Prerequisite: ART 110. This course is the study and practice of color in design. Students research, study, and mix color in a variety of projects. Projects are color assignments and free studies aimed at enabling a person to see, control, and eventually predict or master color effect. The instructor and visiting artists will demonstrate techniques and materials. The midterm and final exam presentations require you to prepare and conduct a live color demonstration, in addition to an exhibition of your personal color studies. Intended Course Learning Outcomes • Students demonstrate proficiency in art studio practices, to apply in a major studio focus area. • Students exhibit competency applying technical and problem solving skills appropriate to their art studio focus. • Students develop visual skills and creativities. • Students compare self-progress to models of excellence in art with in and outside of class activities. • Students actively invent, produce and showcase their art skills to the public in art exhibits. Student Learning Outcomes • Students demonstrate abilities to explore creative options within clearly defined limits. • Students demonstrate abilities to follow directions and to complete projects on-time building craftsmanship. -
Color Chart Includes Those Colors Made from Inorganic Pigments, That Is, Metal Ores Dug from the Earth
GAMBLIN ARTISTS COLORS GAMBLIN ARTISTS OIL COLORS Artists Oil mineral inorganic colors modern organic colors Colors • All colors made from metals (Cadmium, Cobalt, Iron, etc.) are “inorganic” • Carbon based pigments are “organic” • 19th century colors of the Impressionists and the colors of Classical and Renaissance era painters • 20th century colors • High pigment load, low oil absorption • Most pigments available in a warm and cool version (ex. Phthalo Green, Phthalo Emerald) • Colors easily grey-down in mixtures, excellent for painting natural colors and light • Best choice for high key painting, bright tints • Mostly opaque with a few semi-transparent and transparent colors • Mostly transparent, with some semi-transparent colors Impressionist 20th Century CADMIUM CHARTREUSE CADMIUM LEMON CADMIUM YELLOW LIGHT CADMIUM YELLOW MEDIUM CADMIUM YELLOW DEEP HANSA YELLOW LIGHT HANSA YELLOW MEDIUM HANSA YELLOW DEEP INDIAN YELLOW CADMIUM ORANGE CADMIUM ORANGE DEEP CADMIUM RED LIGHT CADMIUM RED MEDIUM CADMIUM RED DEEP PERMANENT ORANGE TrANSPARENT OrANGE NAPTHOL RED NAPTHOL SCARLET PERYLENE RED white · grey · black ALIZARIN CrIMSON MANGANESE VIOLET COBALT VIOLET ULTRAMARINE VIOLET ALIZARIN PERMANENT QUINACRIDONE RED QUINACRIDONE MAGENTA QUINACRIDONE VIOLET DIOXAZINE PURPLE TITANIUM WHITE RADIANT WHITE TITANIUM ZINC WHITE QUICK DRY WHITE FLAKE WHITE REPLACEMENT ULTRAMARINE BLUE COBALT BLUE PrUSSIAN BLUE CERULEAN BLUE COBALT TEAL INDANTHRONE BLUE PHTHALO BLUE CERULEAN BLUE HUE MANGANESE BLUE HUE PHTHALO TURQUOISE FASTMATTE TITANIUM WHITE ZINC WHITE -
Reitech Corporation, Located in Reading, Pennsylvania, Has Built A
Reitech Corporation, located in Reading, Pennsylvania, has built a reputation for formulating and producing the highest quality water-based pigment dispersions since 1972. Under the brand name Reisperse®, we offer an extensive portfolio of dispersions in both resin and resin-free systems that our customers use to achieve color in paints, coatings, adhesives, inks and specialty applications. Unlike most of the larger dispersion houses, Reitech will customize a product to meet your specific requirements. There is no need to settle. Allow Reitech to solve your problems by: • Developing a specific color – no longer blend dispersions or live with “ballpark” matches • Improving performance – greater compatibility, lightfastness and durability • Increasing overall value – often our consistency, economics, and turnaround eliminates the need to self-manufacturing your own dispersions Let’s have a discussion on what’s really important to you! Contact Us: Reitech Corporation 3146 Marion Avenue Reading, PA 19605 Phone: (610) 929-9451 Email: [email protected] PIGMENT DISPERSIONS APPLICATION LIGHTFASTNESS COLOR REITECH CODE Contains DESCRIPTION CI # Resin % Pigment % Solids Inks Coatings MasstoneTint Masstone Tint B15R514 Phthalo Blue Crude PB 15 Yes 44 49 x 8 8 B15:0N377 Phthalo Blue Red Shade PB 15:0 No 36 43 x 8 8 B15:0RU400 Transparent Phthalo Blue Red Shade PB 15:0 Yes 39 49 x x 8 8 B15:0RU773 Phthalo Blue Red Shade PB 15:0 Yes 40 47 x x 8 8 B15:1R853 Phthalo Blue Red Shade PB 15:1 Yes 40 48 x x 8 8 B15:2N326 Phthalo Blue Red Shade -