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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. -
Pigmentology
PIGMENTOLOGY The Coloressense Concept THE 3 in 1 COLORESSENSE CONCEPT Coloressense Coloressense Coloressense PURE + EASY FLOW + SKIN TOP for large scaled for very delicate and for pigmentations that pigmentations and precise drawings require a fast handpiece shadings guidance and for pigment masks Coloressense EASY FLOW SKIN TOP Pigments Color Activator Calming Liquid Because of the highest possible Coloressense concentrate Mixed with Skin Top, the color- pigment density, Coloressense mixed with Easy Flow leads to a essense concentrate turns to an Pigments are destined for every hydrophilic color pigment, which oily pigment – perfectly fitting kind of pigmentation, you can suits perfect for exact hair dra- for all pigmentations with a fast use them pure or thinned. wings and precise contouring. handpiece guidance ( Powdery) Being concentrated "pure" they The coloressence concentrate or glossy pigmentations ( Star- are used for large scaled pig- becomes very fluent without loo- dust Gloss ). mentations, as shadings and full sing its opacity. Through the large enrichment drawings. of witch hazel extract, Skin Top appears haemostatic and regu- Usage category : Usage category : lates the lymph drainage, which pigmentation color : pure As a pigmentation color : smoothens the whole treatment 7-10 drops of the pigment for session. 1-2 drops Easy Flow Usage category : As pigmentation color: 10 drops pigment for 2-4 drops Skin Top As a pigment mask : 10 drops pigment for 4-5 drops Skin Top 2 Goldeneye Coloressense Colours 9.11 BB 8.25 HC 8.23 EQ -
Basics About the Red Cross
BASICS aboutBASICS the REDabout CROSS the RED CROSS I n d ian Red Cross Society Indian Red Cross Society First Edition 2008, Indian Red Cross Society Second Edition 2014, Indian Red Cross Society National Headquarters 1, Red Cross Road New Delhi 110001 India 2008, 2nd Edition © 2014, Indian Red Cross Society National Headquarters 1, Red Cross Road New Delhi 110001 India Project leader:Prof.(Dr.) S.P. Agarwal, Secretary General, IRCS Manuscript and editing: Dr. Veer Bhushan, Mr. Neel Kamal Singh, Mr. Manish Chaudhry, Ms. RinaTripathi, Mr. Bhavesh Sodagar, Dr. Rajeev Sadana, Ms. Neeti Sharma, Ms. Homai N. Modi Published by : Indian Red Cross Society, National Headquarters Supported by:International Committee of the Red Cross (ICRC) Basics about the Red Cross Contents Idea of the Red Cross Movement .......................................................................................... 3 Foundation of the Red Cross Movement ............................................................................... 5 A Global Movement ............................................................................................................... 7 The Emblems ........................................................................................................................ 9 The Seven Fundamental Principles ...................................................................................... 13 International Humanitarian Law ........................................................................................... 21 Re-establishing Family Links -
The Duncan to Mayco Conversion Chart
TO CONVERSION CHART CC135 Lake Blue .......................UG72 Wedgewood Blue CC203 Neon Chartreuse ....................UG218 Pear Green CC136 Marlin Blue ...........................UG94 Pansy Purple CC204 Neon Orange......................UG85 Orange Sorbet CC137 Regency Purple.....................UG87 Regal Purple CC205 Neon Green ............................UG218 Pear Green CC140 Morocco Red .................................UG10 Crimson CC206 Neon Red .................................UG208 Fame Red AG401 Marbled Celadon ...................EL131 Turtle Shell CC141 Light Yellow .........................UG46 Bright Yellow AG402 Turquoise Haze ...................EL136 Lapis Lagoon CC142 Canary Yellow ......................UG46 Bright Yellow AG403 Ocean Mist ...............................EL103 Sea Spray CC143 Yellow Orange ..................UG203 Squash Yellow AG404 Winter Fog ...........................EL124 Stormy Blue CC144 Burnt Orange ...................UG203 Squash Yellow AG405 Smoke Stack ..........................EL101 Oyster Shell CC145 Indian Red ..................................UG31 Chocolate CN012 Bright Straw* ............................SC24 Dandelion AG406 Aged Moss .........................EL125 Sahara Sands CC146 Purple ........................................UG93 Wild Violet CN022 Bright Saffron* ..........................SC24 Dandelion AG408 Oyster Shell ................... EL140 Toasted Almond CC148 Deep Turquoise .......................UG19 Electra Blue CN052 Bright Tangerine* ...........SC50 Orange Ya Happy AG409 -
Transcending Colors for Fall Diverse and Adventurous Colors for Fall 2014 from Pantone
Transcending ALLIMAGES COURTESY THE AUTHOR Colors for Fall Diverse and Adventurous Colors for Fall 2014 from Pantone By Jennifer Foy his year’s fall color palette seems to relate to an obsession with the past combined with the “spirit of the present.” In the Spring 2014 Pantone T Palette, the majority of the hues reflected and held light, such as bright shades like Celosia Orange, Freesia Yellow and Hemlock Green. The Fall 2014 Pantone guide offers colors that can refresh your product offerings including wearables, décor, promotional items and gifts. “This is a season of untypical colors—more reflective of the imagination and ingenuity, which makes for an artful collection of colors and combinations not bound by the usual hues for fall,” noted Leatrice Eiseman, executive director of the Pantone Color Institute. “There is a feminine mystique that is reflected throughout the palette, inspired by the increasing need for women everywhere to create an individual imprint.” The Pantone Fall 2014 Palette consists of: PANTONE 18-3224 Radiant Orchid PANTONE 19-3955 Royal Blue PANTONE 16-1107 Aluminum PANTONE 18-1550 Aurora Red PANTONE 14-0837 Misted Yellow PANTONE 19-2047 Sangria PANTONE 15-3207 Mauve Mist PANTONE 18-1421 Cognac PANTONE 19-4037 Bright Cobalt PANTONE 18-0322 Cypress Radiant Orchid: The Color of the Year, Radiant Orchid, is a flexible shade of purple. A positive color for 2014! Cognac: Dark shades of brown with a luxurious shine to it comes to mind for this color name. A fitting hue for fall and a great alternative from the usual dark colors for a background of a product design. -
Watercolor Substitution Cheat Sheet * = Lindsay Recommended Color
Watercolor Substitution Cheat Sheet * = Lindsay Recommended color *Phthalo Blue (Strong cool-green leaning-blue) Prussian Blue (also look for that pigment) AKA Pthalo blue GS Cyan Blue or green shade. Cerulean Blue (if it looks dark: Mission Gold) Helio Cerulean **This colors is great for mixing green when Winsor Blue (Winsor & Newton) paired with a cool yellow. Intense Blue (Winsor & Newton/Cotman) Azure (Yarka/White Nights) Turquoise Indigo (deep cool blue grey) Indanthrone Blue Payne's Grey+Prussian Blue *Ultramarine Blue (warm, purple bias red) Colbalt Blue Pthalo blue Red Shade (not my fave substitute) **This color is good for mixing violet with a cool Poland Blue red or gray with burnt sienna. ***This color granulates for textured washes. Cerulean Blue (Less intense cool blue) Manganese Blue Phthalo blue + white Cinerous Blue (Sennelier) *Quinacridone Rose (Cool red with violet Alizarian Crimson undertones) Carmine **This color makes lovely purples and mauve Crimson lake with blues. Rose Madder (weaker than AZ) *Cadmium Red or Cadmium red light Vermilion (Warm red with orange undertones) Scarlet Napthol Red **This color makes beautiful oranges when mixed Bright Red/ Brilliant Red with warm yellows. Pyrrole Red Permanent Rose Magenta *Cadmium Yellow (warm yellow) Gamboge Cadmium yellow medium/Cadmium yellow deep Indian Yellow Permanent yellow deep **This color makes beautiful oranges when mixed with warm reds or peach with cool reds *Hansa Yellow Light (cool yellow) Lemon Yellow (cool yellow) Cadmium yellow light, pale or Cadmium -
48 Shades of Brown Free Download
48 SHADES OF BROWN FREE DOWNLOAD Nick Earls | 274 pages | 07 Jun 2004 | HOUGHTON MIFFLIN | 9780618452958 | English | Boston, MA, United States The Dandiest Shades Right, Ashley Tisdale? I think Lapo really understands how boring the same old must-have "it" items have become, and that 48 Shades of Brown people want things that reflect their own personality and style and not the glory of some company with a ritzy logo. Glossy Gold. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. Designer Lilly Bunn didn't shy away from statement walls in the Manhattan apartment of a something client. I can talk about it with Lapo and our mutual pal Wayne Maser. She empowers women and deserves all the accolades," he wrote 48 Shades of Brown Twitter. Step One: Build my profile. Sick of stale spaces? Kevin Mazur Getty Images. I 48 Shades of Brown I would feel sassier, but I 48 Shades of Brown felt more like a grown up, which was not expected. The Look. More From Color Inspiration. Today's Top Stories. Color Inspiration: Ligonier Tan. She accused Weber of always being in a mood when two were together, yet it was really her who always had an attitude. It wasn't so long ago that brown, in shades ranging from 48 Shades of Brown to copper to chestnut to chocolate, was a neutral of choice for interiors. Take Ana de Armas' auburn highlights for example. Add dimension to light brown by asking your stylist to paint a few face-framing strands with a brilliant blonde shade. -
Building Materials for Use in the Design of Low-Cost
J.'iT-' m-? *«*»■?: .3$ _.r'- :|i SST T;..CeV--r" " ; , * ' ’ • /:? .. ,/•• • k^' ••#' v -. • * i a 14 691 8W> a ■ :1 - N17tec^^ 5/* -s-: I no.31 1 - .;■;■■ 1 f1*-:- '-■•• •■''••'%r h it 9 '"' v'.i ,*£ ■'. S? ^ ■.- . *» '• i 1 jp&v; • -N«Sr--' y-' vrs^ '.,. y *r. *-^ „ ^T?v>/V v* V r -it " C" v-< */■ A -:- ~t>. '.- -. •• * ^ ’ ' »rr- v- V / ,-*£ ' \J^,- S' #C "aV •...- - . •>•■•*' -wif, W; •ryc^- ■j- s< :■■ ■sg&*r ***3$ ' - •-• . sw*!' -■••.,• V i. -v< ^ •2 •r^' • SW5 "-■• ■j.'- -;. •. • .a? V; ■ ^ ... ^ ,^A< r ^ # ■ - ’ . ■,,■ . | --Vs - j§£r^fC ■' ,* ■ »>»y v-,.-v':'>-'v k-rf5feC -v,X: i - ^ A.V . .. :; A- *Ar 4^ * ''t? ' v' '> - . • .-'■ _: '"-V: ^ v'' :~v' ■■■■ ■ ?&****?££! , ... •J®' -^-•rS^'r-^Sl£'--. i; .;;•: -s;-;s — 'Of , ■,'>'X-V^ '.% “S- >'^v:v-V" SS»:S'^ S-- ' , .. ■: - jtf5- '5vf>s.,s 3r' "V ' •r.v«' i x-'.vr ■ >'^- ■*• / ■•• i y • ? . - V. ••. • ••. w * -vw'- ^>^pr -4 \ *?z r asss-s ^5^SV- ? >4 _ $m$r- W - %;I Fedenil Housing Administration - >' g' v -1 !— “«• ^a^'as ■ ,;®av: +!$&'§* & a|S^‘ W - T ■ -//?: ■/?; ,„■" - ";-s •y ■v&r . est^P** -■*'* —^v;’ r# *ma£*L - v a" -s-^Ts s- -f ■ — ■ ■ Jit TECHNICAL INFORMATION ON BUILDING MATERIALS TIBM-31 FOR USE IN THE DESIGN OF LOW-COST HOUSING ***** ^sTchoito^ THE NATIONAL BUREAU OF STANDARDS UNITED STATFS DEPARTMENT OF COMMERCE ti WASHINGTON, D. C. l LIBRARY 4 # Jf Jf * August 22, 1936 PAINT PIGMENTS—BLACK, RED, AND LANES This is primarily a digest of the sections of Bureau of Standards Circular No* 69* "Paint and Varnish", (November 17, . 1917).»^ and Tech nologic Paper No. 27b, "Use of United States Government Specification Paints and Paint Materials", (December 15, 1924),^ by P. -
Shades of Brown 1
aSandoval Shades of Brown 1 Shades of Brown: Thoughts of A YoungMexicanAmericanChicano by Angel eFe Sandoval alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval Shades of Brown 2 Dedication to all the beautiful real\\\ fake fallen angels, to the seven-sinned haters, to the minority who struggles and stays positive amid the maddening negativity, and to the machos y machas who laugh like Mechistas— porque cuando ya no se puede… SÍ, SE PUEDE! SÍ, SE PUEDE! to the innocent: Raza who had to live these imperfect lines, to the youngsters just tryin’, waiting for the metaphorical midnight… it’s here. it’s here! alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval Shades of Brown 3 A Quick Quihúbole Truth is, I wrote this for the Chicanao Mestizaje del Valle Imperial, for the shades of brown. And so, even though I know this might not shade everyone in The Desert, I hope the Shades stretch and reach that certain someone…or two or 70-something-percent. See, I’m not coming to you with a black\and\or\white perspective here; I’m talking about the shades of brown: and that’s the truth, you know. I want you to see the truth, to see your shades. Cuz, la neta-la neta, the truth comes in shades of brown—just look around. And when truth is written down, truth is poetry. And this is my poetry : these are my Shades of Brown. Puro Chicanao Love. Angel eFe Sandoval el Part-Time poeta CalifAztlán 2012 year of the new movement c/s alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval -
Colour Chart.Indd
The Paints, Past and Present Details and Descriptions of Colours This section gives assessments for certain determinable characteristics of all the colours presently in my range, as well as a few informal remarks on their qualities and idiosynchrasies when used. Following the pattern already laid out on all my tube and can labels, and on my more recent colour charts, I give: (1) The Colour Index Number: This is an international system for classifying and identifying pigments solely by their (often very complex) chemical formulae( e.g P(igment) R(ed) 106, Mercuric Sulphide known as Genuine Vermilion). The use of vague traditional or invented colour names is thus clarifi ed, and so, in theory at least, is the vexed matter of what pigments manufacturers actually put into their paints. If a colourman is honest, each constituent pigment in a paint can be specifi ed precisely, and the practice of secretly adulterating or even completely substituting cheaper alternatives is made impossible. Assuming, that is, the colourman is honest…I can certainly state that there are no secret additions to any of the paints in my range. What you read as the C.I number on the label is what you get. (2) Estimated Relative Drying Speed: Bearing in mind that all drying speeds will be affected by temperature, humidity and light levels, these give a broad calibration of comparative speeds, from the Very Fast, such as the Umbers, many of which, if used neat, will be touch dry within a hot summer day, to the Very Slow, which in unmixed state, might take up to a week. -
Materials List
CONTINUING EDUCATION PROGRAMS MATERIALS LIST Course: PT 602EW Portrait Painting Basics Workshop Instructor: Theodore Xaras Days/Dates: Saturday and Sunday, July 27 & 28 Time: 9 a.m. – 5 p.m. Location: Room 461, 4th Floor / Samuel M.V. Hamilton Building 128 N. Broad Street, Philadelphia, PA 19102 (Use Student Entrance on Lenfest Plaza / Cherry Street) I. Paint The Class will use oil paints (brands of your choice). All colors besides white can be 1.25 oz. Titanium white (use a large tube—at least 5 oz or 150 ml) Ivory black Burnt umber Raw umber Burnt sienna Yellow ochre Cadmium red light or equivalent, such as vermilion hue Indian red Alizarin crimson Ultramarine blue Asphaltum (a dark transparent brown glazing color; Rembrandt brand is best) Other colors optional: Chromium green Prussian blue Cadmium yellow pale Lemon yellow Venetian red II. Brushes Preferably rounds and filberts in both bristle and sable or synthetic sable in varied sizes. Flats (optional) For your round sables (watercolor type brush), make sure you have a few that will come to a point. Ideal numbers for these would be Nos. 2’s, 3’s, 4’s, 6’s. For good inexpensive round brushes, try Dick Blick’s Masterstrokes (Nos. 3 and 4). Short handle sable watercolor brush is best. Long-handled brushes have a different number sequence: Nos. 8 to 10. III. Supports Canvas board or stretched canvas For head study: 16 x 20 minimum; 20 x 24 or 18 x 24 recommended; at least 24 x 30 or larger if hands are included Note: Some students may prefer to work on panel, either gessoed masonite or wood. -
COLONIAL GEORGIAN 1700-1776 FEDERAL 1780-1820 Base Color Trim Color Door Color Brick White Black Off-White Buff Natural Pale Ye
COLONIAL GEORGIAN 1700-1776 Base Color Trim Color Door Color Natural Same as Base Dark Brown Spanish Brown (dark, dul red) White Black/Green Prussian (Dark Blue/Green) Dark Grey Indian Red ("verging on scarlet") Dark Red Yellow Orche Green FEDERAL 1780-1820 Base Color Trim Color Door Color Brick White Black Off-White Buff Natural Pale Yellow Medium Blue Brown Ochre White Pale Yellow White Red Soft Beige Pale Green Medium Grey Medium Blue GOTHIC REVIVAL 1850-1870 TO EARLY VICTORIAN Base Color Trim Color Door Color Shades of Grey Darker than Base Unpainted Wood Drab or Fawn Darker than Base Oak Sage Lighter than Base Straw/Sand Lighter than Base Chocolate Red Buff Dark Grey Brick Pink Dark Green/Brown Mustard Straw Colored Stucco BRACKETED OR ITALIANATE 1840-1880 Base Color Trim Color Door Color Pale Beige Darker Beige Black Golden Sand Lighter Sand Natural Golden Brown Darker Brown Burgundy Olive Branch Stain Lighter Olive Light Grey Dark Grey Deep Grey Light Grey Grey Stain Lighter Stain Yellow Orche Dark Green Blue Grey Medium Brown Stone Dark Brown Old Gold Medium Red Fawn Sash (Reddish Brown) Buff Shutter Green MANSARD or SECOND EMPIRE 1855-1885 Base Color Trim Color Door Color Pale Olive Ivory Olive Rose Pale Rose Dark Green Peach Pale Peach Golden Sands Stain Ivory/Yellow Sash Olive Tan Bittersweet Straw Cream/Yellow Sash Light Yellow White/Brown Brown Brown/Bittersweet Sash & Shutters Light Brownstone Medium Brownstone QUEEN ANNE 1875-1905 MULTICOLORED PERIOD Base Color Trim Color Door Color Light Olive Dark Olive/Dark Red Accent