Thursday, December 31, 2015

Extra Credit Unit, Plein Air Study #1

I'll post this as my first of 100 plein air studies.  I have done others, but I want to gauge my progress from here.  I painted this in August 2015 in Estes Park, Colorado.

"Trio" by Monique Chartier; 12" x 9" oil on linen panel.
It is so enjoyable to paint outside.  I have many more square miles of canvas to go, but I have to start somewhere!

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Unit II-30 in 30 Challenge Introduction

Leslie Saeta hosts an online painting challenge in January and September of each year called the 30 in 30, challenging artists from around the world to paint daily for 30 days and post the results to their blog or website.  I will paint daily through the month of January (or at least I will post daily; painting ahead is allowed, thank goodness!)  At the end of the challenge, all of the artists will create a photo collage of their paintings.  My theme is fruit, including apples, oranges, and pears.  This is not the most exciting theme, but it will help me work on color and form, and it isn't intimidating.  If you'd like to join me, sign up here.

Here is a list of materials:
  • 30 small canvases--I'm using 6" x 6" stretched oil-primed linen canvases.    
  • Paint for days (30, that is)
  • Fruit for props (bonus--I can eat the prop after painting it!)
  • Shadow box--A shadow box is used to control the lighting and contain the still life set up.  I have constructed a shadow box out of black foam core board and duct tape, which isn't the sturdiest, but it works.  Carol Marine has a great plan for a shadow box that is on my someday list here.  I set my shadow box on a short bookshelf covered with a black sheet so it is less confusing.  The back is not as tall as the sides so that I can drape fabric for a background if I want.  Or, I can light the subject from behind.     
  • Lighting source for the still life.  I use two lights--a clip on workshop light, which I clip onto a cheapo tripod.  I use a full-spectrum light bulb that leans blue and aim it toward an upper corner to keep the shadows from going flat.  Then, I light the subject directly with a small gooseneck lamp that acts as a narrow spotlight and leans yellow. 
Here's a picture of my shadow box and still life set up.  Compare how the workshop light's illumination looks bluish, but the little spotlight looks more yellow (look at the light to the left of the pear and by the shadow--the yellow streak below the pear is its reflection).  In her book, Carol Marine mentions directing a bluer light to the upper corner of the box, and I think it gives the subject a nicer look.  

Still life shadow box made with black foam core. (I'll paint this pear in Lesson 3.  Stay tuned.)

Speaking of, I will be loosely following some tips and techniques from Carol Marine's book, which I highly recommend.  You can buy it here.

Here is my Pinterest board of materials for Unit II.

         Follow Monique's board Materials for Unit II of Wet On The Easel Blog on Pinterest.  

And, here is my Pinterest board of studio painting materials and tools.

       Follow Monique's board Studio Painting Supplies on Pinterest.


I plan to spend a few hours on each painting.

For the individual lessons, I am limiting how many times I can choose a particular fruit to ensure I don't just paint the exact same thing over and over.  The result should be a coherent yet varied body of work.

Grab-bag of Lessons
  • 10 Oranges
  • 10 Apples
  • 10 Pears 
Depending on what fruit I have on-hand, I will simply pick a lesson from my "grab-bag" each day.

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Tuesday, December 29, 2015

Unit I, Lesson 9--Ultramarine Blue Color Chart (& Warm Blues)

Ultramarine Blue Color Chart
Ultramarine Blue is a transparent blue that leans red.  It is one of my favorites.

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon 
    • Viridian Green 
    • Phthalo Blue
    • Ultramarine Blue (lots of it)
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 9 took me about 2.5 hours to complete.

Step One: Divide the canvas

Divide your canvas pad using the method outlined in Unit I, Lesson 1.  See my time-saving T-square trick here.

Step Two:  Arrange the colors

The colors remain in the same order as in the first color chart.

Step Three:  Mix the colors and apply the paint

I continued to use my value scale as explained in Lesson 6, here.

Step Four: Remove the tape


Ultramarine Blue Color Chart in progress
Step Five:  Let it dry

Completed Ultramarine Blue Color Chart.  Columns from left to right--Ultramarine Blue; Ultramarine Blue + Alizarin Permanent; Ultramarine Blue + Cadmium Red Deep; Ultramarine Blue + Transparent Oxide Red; Ultramarine Blue + Cadmium Yellow Light; Ultramarine Blue + Cadmium Lemon; Ultramarine Blue + Viridian Green; Ultramarine Blue + Phthalo Blue
That's it for the color charts!  I learned a lot about how my chosen palette mixes, and I learned a lot about value.  I will let the canvas pieces dry, then I plan to frame them in some way so that I can display them in my studio.  Here is a link to an article on how to frame unmounted canvas.  I will probably mat and frame them, and display them with a corresponding label.

BONUS--Warm Blues

Working with tints of Phthalo and Ultramarine Blue made me question which appears "warmer."  Remember that Phthalo Blue leans yellow and Ultramarine Blue leans red.  Both red and yellow are considered "warm" colors, but which is warmer?  This has always confused me (and there doesn't seem to be a consensus that I'm aware of), so while it was still fresh in my mind, I investigated a bit for my own reference.  

Warm colors appear to come forward, while cool colors appear to recede.  So, to test whether a yellow blue or a red blue appears warmer, I decided to compare both next to each other, tinted to the same value as each other and on a neutral gray background.  I used toned sketching paper for the background, which is approximately at Value 7.  

First, I taped the paper to ensure the spots of color were the exact same size.  (Smaller objects appear to recede, while large objects appear to come forward.)

Taping the paper

You can see that the paper is toned to Value 7 here.

Value 7

I tinted Phthalo Blue and Ultramarine Blue to approximately the same value as the paper to reduce potential confusion caused by value (high values appear to come forward and low values appear to recede).  

Here are my piles of paint, tinted to Value 7.

Tinted Phthalo Blue (top) versus tinted Ultramarine Blue (bottom)
You can see they are the same value here.

Tinted Phthalo Blue, Value 7 (top) versus tinted Ultramarine Blue, Value 7 (bottom)
I applied the paint squares and removed the tape.  Then, I tested the squares to make sure they were the exact same value, which they were.

Value 7 tints

Here is the final product.

Value 7 tints of Ultramarine Blue (left) versus Phthalo Blue (right)
Ultramarine Blue is on the left, and Phthalo Blue is on the right.  Which appears closer to you?  To me, the Phthalo Blue appears closer.  This leads me to believe that yellow blues are warmer than red blues, although both are warm.

You can access all of the lessons in this unit from the Index of Lessons page here.

Upcoming Lesson

Next up, Unit II--the 30 Paintings in 30 Days Challenge!  I will post an introduction to the unit soon.  In the meantime, you can sign up here.  

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Monday, December 28, 2015

Extra Credit Unit--100 Plein Air Studies Introduction

If you look into the past of the successful painter you will find square miles of canvas behind him.
~Charles Hawthorne


Painting en plein air in Rocky Mountain National Park, Colorado, August 2015.
I took a plein air workshop from Phil Stark in May 2015.  One of his mantras is that plein air work is practice, and you shouldn't expect to be any good until you have painted at least 100 studies (I'm paraphrasing here, probably poorly).  Here's a link to Phil's blog.  There is a ton of great information on his site, and if you get the chance to take a workshop from him, I highly recommend it.

So, on the days that I can, I will work on my 100 studies.  I will post them as I complete them--the good, the bad, and the ugly.  Hopefully the hundredth will look better than the first.  

Here's my Pinterest board of materials I use when painting en plein air.

       Follow Monique's board Plein Air Painting Materials on Pinterest.

You can access all of the lessons in this unit from the Index of Lessons page here.

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Sunday, December 27, 2015

Unit I, Lesson 8--Phthalo Blue Color Chart

Phthalo Blue Color Chart
Phthalo blue is a transparent blue that leans yellow (so it is on the green side).  It is a strong pigment; a little goes a long way.

I feel like I really have this process down pat, so this will be a short post.

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon 
    • Viridian Green 
    • Phthalo Blue (lots of it)
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 8 took me about 2.5 hours to complete.  


Step One: Divide the canvas

Divide your canvas pad using the method outlined in Unit I, Lesson 1.  See my time-saving T-square trick here.

Step Two:  Arrange the colors

The colors remain in the same order as in the first color chart.

Step Three:  Mix the colors and apply the paint

I continued to use my value scale as explained in Lesson 6, here.

Step Four: Remove the tape

For some reason, I had trouble measuring this one.  The last column is wider than the others.  Oh well!  

Phthalo Blue Color Chart in progress

Step Five:  Let it dry


Completed Phthalo Blue Color Chart.  Columns from left to right:  Phthalo Blue; Phthalo Blue + Ultramarine Blue; Phthalo Blue + Alizarin Permanent; Phthalo Blue + Cadmium Red Deep; Phthalo Blue + Transparent Oxide Red; Phthalo Blue + Cadmium Yellow Light; Phthalo Blue + Cadmium Lemon; Phthalo Blue + Viridian Green
One more to go!

You can access all of the lessons in this unit from the Index of Lessons page here.

Upcoming Lesson

Unit I, Lesson 9--Ultramarine Blue Color Chart

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon
    • Viridian Green
    • Phthalo Blue 
    • Ultramarine Blue (lots of it)
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 9 took me about 2.5 hours to complete. 

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Saturday, December 26, 2015

Unit I, Lesson 7--Viridian Green Color Chart


Viridian Green Color Chart
Viridian Green is a transparent vibrant green that leans blue.  It is very powerful, and it does not look natural straight from the tube.  (See the first column above.)  In other words, I wouldn't use it to paint vegetation without some serious graying first.  It makes gorgeous grays when mixed with the reds on my palette.  It is beautiful.

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon 
    • Viridian Green (lots of it)
    • Phthalo Blue
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 7 took me about 2.5 hours to complete.  

Step One: Divide the canvas

Divide your canvas pad using the method outlined in Unit I, Lesson 1.  See my time-saving T-square trick here.

Step Two:  Arrange the colors

The colors remain in the same order as in the first color chart.

Step Three:  Mix the colors and apply the paint

I continued to use my value scale as explained in Lesson 6, here.

Viridian Green

Viridian Green--Value 1


Viridian Green tint--middle row

Viridian Green tint--middle row (Value 5-6)

Viridian Green tint--second row

Viridian Green tint--second row (Value 3)

Viridian Green tint--fourth row

Viridian Green tint--fourth row (Value 8)

Viridian Green tint--bottom row (Value 10)

Viridian Green Color Chart in progress.  Columns from left to right--Viridian Green; Viridian Green + Phthalo Blue; Viridian Green + Ultramarine Blue



Viridian Green Color Chart in progress, black and white to show value steps.

Step Four: Remove the tape


Viridian Green Color Chart in progress.

Step Five:  Let it dry

Viridian Green Color Chart.  Columns from left to right:  Viridian Green; Viridian Green + Phthalo Blue; Viridian Green + Ultramarine Blue; Viridian Green + Alizarin Permanent; Viridian Green + Cadmium Red Deep; Viridian Green + Transparent Oxide Red; Viridian Green + Cadmium Yellow Light; Viridian Green + Cadmium Lemon. 

Two more color charts to go!  Woo hoo!

You can access all of the lessons in this unit from the Index of Lessons page here.

Upcoming Lesson

Unit I, Lesson 8--Phthalo Blue Color Chart

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon
    • Viridian Green
    • Phthalo Blue (lots of it)
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 8 took me about 2.5 hours to complete. 

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Wednesday, December 23, 2015

Unit I, Lesson 6--Cadmium Lemon Color Chart


Completed Cadmium Lemon Color Chart
Cadmium Lemon is an opaque yellow that leans slightly green (so there's a bit of blue in it).  Fair warning, this is a L O N G blog post.

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon (lots of it)
    • Viridian Green
    • Phthalo Blue
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 6 took me about 2.5 hours to complete.  It took longer because I was more conscientious about the value steps, as outlined below.

Step One: Divide the canvas

Divide your canvas pad using the method outlined in Unit I, Lesson 1.  See my time-saving T-square trick here.

Step Two:  Arrange the colors

The colors remain in the same order as in the first color chart.

Step Three:  Mix the colors and apply the paint

As with the prior lessons, the object of this exercise is to use the top row to display the pure paint, without any white, mixed in the same order.  Then, for each column, tint the rows lighter in even steps.  Because this color chart is a reference for Cadmium Lemon, the first column consists of only that hue.  The second column consists of Cadmium Lemon + Viridian Green, the next color in my palette.  The third column is Cadmium Lemon + Phthalo Blue, then Cadmium Lemon + Ultramarine, Cadmium Lemon + Alizarin Permanent, Cadmium Lemon + Cadmium Red Deep, Cadmium Lemon + Transparent Oxide Red, and finally Cadmium Lemon + Cadmium Yellow Light.

As I alluded to in the last lesson (here), I figured out a way to check and correct the value steps between the top row (the darkest or lowest in value) and the bottom row (the lightest or highest in value).

Value Exercise

Here is my value scale, next to some pools of paint on my glass palette.  As you can see, my value scale is well used and covered with paint and thumbprints.  You can buy a nicer looking new one here.

My value scale 
The value scale is a simple card-stock gray tone scale that lists in order ten value levels from the darkest or lowest (nearly black, at Value 1) to the lightest or highest (nearly white, at Value 10).  The darkest or lowest value possible for each pure color or combined colors is the pure paint or mixed combination without any added white.  The lightest or highest value for each pure color or combined colors is the hue tinted with enough white to match Value 10 or higher on the value scale.  

The first step in standardizing the steps between values in each column is to find the step on the value scale of the pure color or combined color.  It is very helpful here to take a picture of the paint next to your value finder (make sure you aren't casting a shadow) and edit the photo to turn it gray.  Here is an example:

Cadmium Lemon and value scale
You can squint to see the value compared to the value chart, but editing a photo makes it very clear where the value falls.  This works because it removes all color saturation, which can confuse the value issue.  Here's a black and white image of the same image:

Cadmium Lemon and value scale, black and white
Looking at the black and white photograph, it is clear that the value of the pure hue is slightly darker than Value 9 and slightly lighter than Value 8.  Now I have found the value of the top row of the column.  Keeping in mind that the last row should always match Value 10, I have the information necessary to create equal steps in value.  The top row of Cadmium Lemon ranges from Value 8-9 and the bottom row should be Value 10, as shown below.

Cadmium Lemon, bottom row, Value 10
Cadmium Lemon, bottom row, Value 10, black and white
The middle row should fall somewhat equally between the two, at Value 9-10.  Because at full saturation yellows start out high in value, the steps between the top and middle and middle and bottom rows are subtle, and they do not necessarily consist of separate numbered steps on the value scale.

The steps become more obvious when introducing colors that are lower in value at their most saturated, including greens and blues.  So, adding Viridian Green to Cadmium Lemon for the second column resulted in a lower starting value, as you can see in this image.  Remember that pure Cadmium Lemon at full saturation is about Value 8-9.  Here, it is obviously much lower.

Cadmium Lemon + Viridian Green
Here is a photo showing where the top row actually falls on the value scale (Value 4-5).

Cadmium Lemon + Viridian Green (black and white)

Cadmium Lemon + Viridian Green (black and white)
Knowing that the highest value in the column must be Value 10, the middle row must fall between Value 4-5 and Value 10.  The closest to the middle of these two values is Value 6-7.

Here is my first try.

Cadmium Lemon + Viridian Green + Titanium Zinc White

When I took a black and white photograph of the same image, it was too light, falling right at Value 7.

Cadmium Lemon + Viridian Green + Titanium Zinc White; too light at Value 7
So, I added more of the Cadmium Lemon + Viridian Green mixture to lower the tone.  Here is the corrected middle value:

Cadmium Lemon + Viridian Green
And, in black and white to confirm:

Cadmium Lemon + Viridan Green + Titanium Zinc White; Value 6-7
So, in the Cadmium Lemon + Viridian Green column, we know the top row is Value 4-5, the middle row is Value 6-7, and the bottom row will be Value 10.  So, the second row should be around Value 5-6, and the fourth row should be around Value 8-9.  Not exactly perfectly equal, but very close.  I continued this process with Cadmium Lemon + Phthalo Blue, and there you can see that the top row begins even lower in value.

Column 1--Cadmium Lemon; column 2--Cadmium Lemon + Viridian Green; column 3--Cadmium Lemon + Phthalo Blue
Therefore, there is more "space" between the steps on the value scale, which you can see when I turn this photo black and white.  With the darker colors, I found I have a tendency to not create enough "space" between the fully saturated hue (the darkest value) and the next row.  Using the value checker created more even steps.

Cadmium Lemon Color Chart in progress with value scale, black and white
Step Four: Remove the tape

Cadmium Lemon Color Chart in progress
Step Five:  Let it dry


Completed Cadmium Lemon Color Chart.  Columns, left to right:  Cadmium Lemon; Cadmium Lemon + Viridian Green; Cadmium Lemon + Phthalo Blue; Cadmium Lemon + Ultramarine Blue; Cadmium Lemon + Alizarin Permanent; Cadmium Lemon + Cadmium Red Deep; Cadmium Lemon + Transparent Oxide Red; Cadmium Lemon + Cadmium Yellow Light
You can also use the value scale to confirm you are adding equal amounts of a high value hue (yellow) with a lower value hue (blue, green, or red).  You can find the starting value of each with the value scale, and the combined hue should fall in the middle of the two starting values.

Looking at the finished product, you can definitely see that the steps beginning lower in value are more even than in my previous charts.  Isn't it pretty?  Let me know in the comments what you think of this exercise!

You can access all of the lessons in this unit from the Index of Lessons page here.

Upcoming Lesson  

Unit I, Lesson 7--Viridian Green Color Chart

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon 
    • Viridian Green (lots of it)
    • Phthalo Blue
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 7 took me about 2.5 hours to complete.
    
As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique

Monday, December 21, 2015

Unit I, Lesson 5--Cadmium Yellow Light Color Chart

Completed Cadmium Yellow Light Color Chart
Cadmium Yellow Light is an opaque yellow that leans slightly red.

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light (lots of it)
    • Cadmium Lemon
    • Viridian Green
    • Phthalo Blue
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 5 took me about 2 hours to complete.

Step One: Divide the canvas

Divide your canvas pad using the method outlined in Unit I, Lesson 1.  See my time-saving T-square trick here.

Step Two:  Arrange the colors

The colors remain in the same order as in the first color chart.

Step Three:  Mix the colors and apply the paint

The first column consisted of Cadmium Yellow Light, tinted to lighten its value down the rows.  The second column was Cadmium Yellow Light + Cadmium Lemon, the next color my palette.  Remember that Cadmium Lemon leans slightly blue.  Adding the Cadmium Lemon to the Cadmium Yellow Light (which leans  red) incorporates all three primaries: red, yellow, and blue.  Therefore, the mix with Cadmium Yellow Light + Cadmium Lemon mix "grays" slightly, because red + yellow + blue = gray.  You can see this most easily in the third row; the second column is "duller," or grayer, than the first.

Cadmium Yellow Light color chart in progress.  Left to right:  Cadmium Yellow Light; Cadmium Yellow Light + Cadmium Lemon.  
Of course, because the amount of red and blue in the respective yellows is very small, the effect is very subtle.

Although I recognized it before, I had an "aha!" moment as I was mixing the straight yellows together and then added the green and blue.  In this exercise, the top row consists of the color or colors straight from the tube (not tinted) along the top row.  Therefore, regardless of its intensity (chroma), the top row will be the darkest value the color or mixture can be.  The bottom row, in contrast, should be a light tint of the hue straight from the tube.  Yellows are a lighter value straight out of the tube than red or blue.  In other words, a yellow hue (irrespective of its intensity), starts out lighter than a blue or red.  Regardless of what hue is used in the top row, the bottom row should end with a light value or slight tint of the hue.  The value for the bottom row should be more or less consistent between the columns.  Because the ending place should be about the same, but the value of the colors in the top row varies greatly, the size of the steps necessary to get from the top to bottom row likewise varies greatly.  You can see the values clearly when I turn this image black and white.

Cadmium Yellow Light color chart in progress.  Columns left to right:  Cadmium Yellow Light; Cadmium Yellow Light + Cadmium Lemon; Cadmium Yellow Light + Viridian Green; Cadmium Yellow Light + Phthalo Blue.  
Cadmium Yellow Light color chart in progress, black and white to show color value.
You can see here that the steps lightening the value between the yellow rows are not as dramatic as the steps lightening the value between the Cadmium Yellow Light + Viridian Green and Cadmium Yellow Light + Phthalo Blue columns and rows.  The Cadmium Yellow Light and Cadmium Yellow Light + Cadmium Lemon columns' top rows begin at approximately the same value as the fourth rows for the Cadmium Yellow Light + Viridan Green and Cadmium Yellow Light + Phthalo Blue columns.  So, the yellow tints are simply not as dramatic.  Although I knew this, I did not fully grasp how light in value the yellows begin.  Yellow confuses me because it is so vibrant.  So, I figured out how to use a value finder and a little bit of math to keep the steps between the darkest and lightest values consistent and even.  I'll show you in the next lesson, here.

I completed the remaining columns and rows here.

Cadmium Yellow Light color chart--all color applied
Step Four: Remove the tape

Step Five:  Let it dry

Completed Cadmium Yellow Light color chart.  Columns from left to right:  Cadmium Yellow Light; Cadmium Yellow Light + Cadmium Lemon; Cadmium Yellow Light + Viridian Green; Cadmium Yellow Light + Phthalo Blue; Cadmium Yellow Light + Ultramarine Blue; Cadmium Yellow Light + Alizarin Permanent; Cadmium Yellow Light + Cadmium Red Deep; Cadmium Yellow Light + Transparent Oxide Red.
You can access all of the lessons in this unit from the Index of Lessons page here.

Upcoming Lesson  


Unit I, Lesson 6--Cadmium Lemon Color Chart

Materials needed:
  • Oil Colors
    • Alizarin Permanent
    • Cadmium Red Deep 
    • Transparent Oxide Red
    • Cadmium Yellow Light 
    • Cadmium Lemon (lots of it)
    • Viridian Green
    • Phthalo Blue
    • Ultramarine Blue
    • Titanium Zinc White
  • Canvas pad--I used Centurion oil-primed linen, 9"x12"
  • Masking tape--I used 3/4" tape
Unit I, Lesson 6 took me about 2.5 hours to complete.    

As always, please subscribe to follow along or join in.  I'd love to meet you--please introduce yourself in the comments.  Also, your feedback is most appreciated.  Leave your questions, comments, and hate mail below.  (I won't post the hate mail, ha!)  Thanks for stopping by.  Monique