Ch 5 Paint and Pigments

ideal pigments are permanent plentiful and nonpoisonous
color index names are made to avoid confusion in branding P(pigment) (letter for hue) ultramarine= PB 29
light means leaning towards color (cad yellow light, leans toward yellow)
deep means leaning towards red
Image result for cad yellow light vs deep
'hue' means a combination of pigments to replace costly historical pigments
binder holds the pigment together gum arabic or linseed oil

pigments have hue value and chroma transparency drying time and compatibility w/ other pigments
tinting strength is how well it holds chroma when white is added
mass tone is the color of pigment when spread thickly over a surface

lightfastness resistance to fading of color when in light
Image result for lightfastness testing
      colorant molecules break down in the presence of light
dyes are not lightfast
yellows magentas and violets tend to not be as lightfast
tone support with warm colors to help improve your paintings really greate for skies and foliage, warm peaks through and adds an aesthetic quality RUSSELL CHATHAM http://www.artbrokerage.com/artthumb/chatham_23191_2/850x600/Russell_Chatham_Colorado_Suite.jpg
skies can either be oiled out so details don't blend with the sky color or can be prepainted in the studio  and painted on dry when on scene
limited palette helps with unification and harmony
Stickande kulla av Anders Zorn 1901 - Anders Zorn - Wikipedia

beware of mud vs mud is a myth;
very clean, only use three pigments to find color
mud is relative and doesnt matter as long as it works with the painting, even tube up old paint for mixing mid tones Richard Schmid, 1934 | Tutt'Art@ | Pittura * Scultura * Poesia * Musica |
dont see grays and browns as dirty but as the 'chefs sauce'; better than fruit salad disease; well placed grays make colors sing

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