Phthalo Blue and Burnt Sienna.
There is something about these subdued tones that move me. Similar is yesterday's mix with Ultramarine Blue. Tomorrow wraps up the Burnt Sienna and Blue series with Cerulean. Then it's on for three additional earth pigment exercises and two white mixes. That's it!
Wow: Burnt Sienna strongly emphasises the different leanings of ultramarine and cerulean. Comparing the two charts, one is clearly violet, the other greenish. In fact, there are two columns in the cerulean which are not even greenish but green: a soft, cool sage-leaf green and a slushy pondwater green right next to it.
ReplyDeleteIf you turn those two exercises on edge, with the blue at the top, you see a pleasing chromatic-perspective effect: blue sky, blued horizon, middle distance neutrals, foreground warmth.
I'll be sorry to see the Burnt Sienna go ... but then, who knows what the next exercises will bring? :-)
Katharine
Pthalo, pthalo, I should have said ... not cerulean. I've just seen the cerulean mix at the top of the page too. Similar weights of 'greenish' but the 'greenish' from cerulean is much greyer whereas the phthalo mix could not by any stretch of the imagination be described as 'grey'. Interesting. It's one thing knowing it and another seeing it.
ReplyDeleteLearned a new word yesterday: 'glaucous', meaning a greenish greyish blue, or a bluish greenish grey. Nice to have the dictionary definition so comprehensively illustrated here.
Burnt Sienna is such a wonderful pigment, isn't it? We really only got a quick peek at its possibilities, I'm sure.
ReplyDeleteOh ya, the thalo mix is awesome. Those greens! I could have spread those pigments over twice as many squares.
I'll be into some mixing exercises in the upcoming course and lots of greens, glaucous included, will be expected. There is lots of fun ahead! :-)