Cadmium Yellow light hue – Daniel Smith( which is a mixture of PY3, PY 53 and PY 138. I bought it by mistake instead of pure PY3)
Indian Yellow – QOR – (mixture of PY154, PY 150 and PR 206
Quinacridone Red Light – W&N – (PR 209)
Quinacridone Magenta — Rembrandt (PR 122) and by Schminke (PR 202)
Cobalt Deep – Sennelier (PB72)
Cerulean – Rembrandt (PB35)
Actually I always end up using also a couple of other colors: yellow ocre, burnt sienna and a dark mix I make with indigo and black together, almost like a Payne’s grey. These I find useful to give some natural tones, grey or warm darks.
Important inputs:
Try and stay a bit longer also with the things that do not work out. Before moving on, wait and see what can be learned from the “mistakes” and how it can be improve.
David Bomberg: speechless at the gigantic talent (In the Hold at 23!?!???), love how he evolved and changed, and a bit enraged that he did not live to enjoy his fame. Reminds me a bit of Cezanne, van Gogh and many other (Bach!).
Questions for Frances:
What to do with work which should be destroyed: how to re-use the support (for instance if tinting colors have been used and there is stll too much of them even after washing the board). What material to use to cover the support and re-use?
Is it OK if her handwritten notes appear in this blog?
How to save almost pure white areas in a graphite or charcoal drawing. For example, in this case I had to add white acrylic to have the statues and the swan again, which is very ugly. What should I have done? Also, there are much lighter twigs over a dark water…how do I get such thin light streaks in a pond of charcoal? I used a white soft pastel in the case but I hope there is a better way.
With reference to the last image with the multicolor bark, is there a medium I can use under the paint so to make the veins and the shadows of the bark cracking i the bark? I tried to make them very tediously with a very thin brush but they look very rigid and artificial
Do you have a couple of favorite grey mixes? I make it mixing ultramarine with burnt sienna, but maybe there are others? I know you can get grey by mixing anything, but I would like to have 3-4 “go-to” greys I do not have to think about and create again all the times
How to work from a photo
How to stay focused when there are too many things you would like to paint?
What are the absolute musts when thinking about choosing a space for a painting studio?
What I can use from the above though is the idea of a pueblo with a beach and the sea behind!