| Author | Message | ||
  Eugene Senior Member Username: Eugene Post Number: 519 Registered: 8-2006 |
I just bought manganese blue from LUCAS it isn't listed as a hue Dale | ||
Joanna Senior Member Username: Joanna Post Number: 230 Registered: 10-2006 |
My goodness, it is available, and not expensive (save for the shipping) it is PB33 on their site: Aquarell 1862: 1119 Manganese blue Master Quality - Finest Moist Artists' Watercolour. erittäin hyvä valonkestävyys, puolikuultava. (PB33) | ||
Rekha Senior Member Username: Rekha Post Number: 444 Registered: 8-2006 |
Manganese blue is still available from this finnish (can't recall) site; I bought it not too long ago http://www.articano.fi%2Fproducts.php | ||
Marie Senior Member Username: Marie Post Number: 483 Registered: 8-2006 |
Holbein's Peacock Blue has also been discontinued. Sorry about that. | ||
Joanna Senior Member Username: Joanna Post Number: 227 Registered: 10-2006 |
The old Manganese blue is gone, even from Blockx, who was the last manufacturer to have it. You can buy pigment from Kremer (the real Manganese blue.) Then make it up with gum arabic yourself and tube it. It is somewhat toxic, so mulling it requires a mask and a safe place to use it. Your palette is an excellent all-purpose palette. To substitute for the long-lost Manganese blue, you could add Holbein Peacock. This has no granularity, like Manganese blue, but it is a beautiful aqua blue that adds that cool tone, brighter than the duller but useful Cerulean. I'd also add Quinacridone Violet from Rembrandt--this is a good substitute for Alizarin, which is a beautiful cool deep red but somewhat fugitive. The Rembrandt version is very good, has wonderful mixing potentials, and I would possibly add cobalt blue and sap green. | ||
Ricky Unregistered guest |
I just found this forum, so my reply is a little late. For a good palette, you could have some warm and cool of the reds, yellows and blues. A very good choice would be Winsor and Newton: Indian Yellow (warm yellow) Cadmium Yellow Lemon (cool yellow) French Ultramarine Blue (cool blue) Winsor Blue (warm blue) Cerulean Blue (warm blue) Winsor Red (warm red) Permanent Rose (cool red) Burnt Sienna Burnt Sienna and French Ultramarine Blue are fantastic together. Paint a lot with just these two pigments, then add another and try the effects. Also extra blues are good: Manganese Blue, if you can find the old real pigment, instead of the Manganese Blue Hue, you will love it Prussian Blue, mixes with the other blues for lively darkness. And Raw Sienna is wonderful. The best Raw Sienna is made by Da Vinci, so get it from there. Take a full sheet of watercolor paper. Across the top of the sheet make boxes with a pencil to represent your pigments. Down the left hand side of the sheet make the same boxes. Fill in the rest of the sheet, across and down,with pencilled in boxes. It is like a matrix with columns and rows. Combine a little of your pigments according to the matrix and paint a little sample inside the corresponding boxes. You will learn a lot and will have a reference material that will help you in the future. It's easier to use it for reference if you attach this paper to a board, or cardboard so that you can easily use it. | ||
Joanna Senior Member Username: Joanna Post Number: 210 Registered: 10-2006 |
One more that I really like is Jim Kosvanec's book. This is because he puts in consistency as well as mixing--weak tea, milk, cream, etc. This helped me a lot. I did several portraits after reading this book and I feel he helped. Here is a link to reviews of the book. http://www.amazon.com/exec/obidos/asin/0823054373/699sp9374-20 | ||
Deecubed Junior Member Username: Deecubed Post Number: 24 Registered: 12-2007 |
Another great "survey course" in watercolor is Mastering the Watercolor Wash," by Joe Garcia. He also did the Watercolor Bible, but I like the first one more. It sounds as if you have some fundatmental skills and knowledge in your tool kit, having done oils before. I enjoyed reading the color advice from Marie. Love your colors in the work I have seen on your website, Marie! | ||
Grizrev Senior Member Username: Grizrev Post Number: 646 Registered: 8-2006 |
Nita Leland's "Exploring Color" is a big help as well. Take a look at it, as well as "The New Creative Artist" while you are on Amazon! | ||
Joanna Senior Member Username: Joanna Post Number: 209 Registered: 10-2006 |
I recommend 1. Jan Hart's book --link to reviews http://www.amazon.com/exec/obidos/asin/1600580521/87501m03054-20 . | ||
Gaitedhorse128 New member Username: Gaitedhorse128 Post Number: 3 Registered: 11-2007 |
Thanks for the advice. I do need a book on color; its always been a problem for me when I was painting in oils. Any recommendations for good color books? I have approx. 10 books on how to paint watercolor and a Carol Cooper, Small paintings, big results DVD. I've been collecting supplies and books in anticipation of finding time to paint. Thanks.... | ||
Grizrev Senior Member Username: Grizrev Post Number: 645 Registered: 8-2006 |
Gaitedhorse128, Marie is one of the best resources we have on this board for technical information -- or almost any information for that matter! You are lucky to get her attention, as she is a very busy artist. Let me add my amateurish two-cents worth: Since there are a myriad of colors and manufacturers out there, you can easily get lost in the weeds and spend a lot of money for paint you will not need and will never use. I'm glad you are at the beginning of the purchasing process. It really is economical, and also good for your artistic development, to mix your own colors from the primaries -- red, yellow, and blue. When you get as good as Marie, you can worry about the differences between various manufacturers and specialized, premixed colors. It is essential to have a "warm" and a "cool" of each primary color. For example, you should have a red that contains some amount of a "cool" color, meaning a color from the blue family (such as alizarin crimson). Then you should have a red that contains some amount of one of the "warm" colors from the yellow side of the color wheel, like a cadmium, which leans toward orange. Do the same with your yellow and blue colors. In trying to remember what is warm and cool, think of the yellow sun as warm, and the blue ice of glaciers as cool. As Marie suggests, you will also find good use for earth colors, like the raw sienna and burnt sienna. They are browns that belong to the "warm" colors. You can mix them from the primaries, but having them on hand ready to use is a convenience, particularly in getting darker and more muted color. This will get you started. Be sure to learn about the use of complementary and analogous colors in mixing what you want (you can probably Google for that information, if you don't have a book on color). | ||
Marie Senior Member Username: Marie Post Number: 471 Registered: 8-2006 |
Winsor & Newton is my hands-down favorite for all the earth colors. | ||
Gaitedhorse128 New member Username: Gaitedhorse128 Post Number: 2 Registered: 11-2007 |
Thank you, you wouldn't believe the list that I made up with what I thought I needed. You have made my list much shorter. What brand would you recommend for the raw sienna or yellow ochre? | ||
Marie Senior Member Username: Marie Post Number: 470 Registered: 8-2006 |
Gaitedhorse, welcome to the group! Here is what I would add to your your palette (in this order): 1) An earth yellow, either raw sienna or yellow ochre, will help with mixing greens and will give you a warm color between the alizarin and the aureolin. I haven't been especially happy with Holbein's yellow ochre or raw sienna. I'm not sure what the Sennelier versions are like. 2) A red or vermilion. I would probably go for a cadmium red, cadmium red light, or vermilion hue. Holbein's cadmiums are all first rate. Cadmiums are very expensive, but I have found them worth the money. If the price of a cadmium is daunting, then try the Senellier the Sennelier French Vermilion, which a gorgeous orange/red. 3) Cerulean blue will give you a greenish blue that is between the purplish ultramarine blue and sap green. Mixed with a yellow, it comes in handy for foliage. 4) A warm, bright yellow would be good. I would probably pick a cadmium yellow, which is a bit warmer than aureolin. You could even go with something as warm as a cadmium yellow deep or an indian yellow. Those are probably the most important paints to add. If you do a lot of landscapes, you'll probably want a way to get a really dark green. My favorite combination for a dark, landscape green is thalo turquoise (such as Holbein's Marine Blue) mixed with burnt sienna. You might be happy, though, with the paints you already have. Try some combinations of sap green with burnt sienna and/or alizarin first. Please keep in mind that I don't do much floral painting. Other folks might have better suggestions. | ||
Gaitedhorse128 New member Username: Gaitedhorse128 Post Number: 1 Registered: 11-2007 |
Since I am now laid off, I want to take some time to teach myself to paint with watercolor. I think that I need to get a few more paints before I start and since I'm on a tight budget, I need advice. I was reading other threads about needing warm and cool colors of each color and frankly, I'm lost when it comes to warm and cool colors. Below is what I currently have on hand: Holbein: Lilac Sap Green Aureolin Ultramarine Deep Permanent Alizarin Crimson Bright Violet Lavender Sennelier: Burnt Sienna Prussian Blue I'm hoping to paint florals and landscapes with flowers. Thank you. |
