PAINTS - Part I
So I'm going to be talking about some of my favourite paints, in a couple of follow-up posts.
These are my essentials. If I start running out of one of these I panic a little! I'm pretty sure that if I have these 5, and primary colours, I can make magic. I have to admit I've been on a Reeves high for a while, I love the consistency combined with the richness in colour. But mostly you have to take into consideration price and availability - my all time favourite brand used to be Daler-Rowney's System 3, but there's only one store in my general area that stocks them, and that store is about 40min away.. so it just doesn't happen. Reeves is not just excellent, but I can also find them in most Stationary/Craft stores as well as the actual Art shop's that I normally frequent. When I do go there (the 40 min away shop) I stock up, but since they're also a little more expensive, and they wouldn't count as essentials anyway, they're a little lower down on the list. There isn't going to be a lot of Amsterdam on the list, since I'm still getting to know them, and most of the shades in their sample pack aren't shades I use super often, it's going to take a little longer to get to know them.
So the 5 are Raw Umber, Mars Black, Titanium White, Red Ochre and Yellow Ochre.
My essentials for gray are the same, except obviously red ochre. I tend to use Yellow Ochre, Mars Black and Titanium White, but not too heavy on the yellow, just enough togive it a bit of a green tone, it really enriches the overall tone of the painting, instead of a flat gray. Raw Umber is in there because I'll add a little now and then just to change things up, otherwise too much of the same creates a flatness again. Incidentally these are also the colours I would use for gold or yellow copper, just in different amounts.
I know in terms of Red this is overkill, if I only had one or two of these, I could make it work, but this is a little indulgence. Along with these I use Red Ochre and Burnt Umber (Reeves) without fail to darken.
Truth is, there was a System 3 flesh tone that I used to use ALL THE TIME when I did portraits in like 2004 or whenever that was, but the only way I can fabricate it is by mixing Reeve's Flesh, Zelcryls Naples Yellow and a little Red Ochre. So if I can be completely honest I've only donw caucasian portraits recently, I think these shades would go far, but I would add a Blue tone I was goind very dark. To me the key to painting skin is layering, if you stop and analyse just a small area on your cheek, you'll find that there are sooo many subtle differences, its a playground for a painter!
That's all for now, bare with me, I'll go more in depth as we progress!