Check out this video where Richard and Darin of R&F Handmade Paints talk about things that affect the drying rates of R&F Pigment Sticks. Probably one of the most frequently asked questions we get about Pigment Sticks is, how long they take to dry compared to oil paint out of a tube. Don’t forget that R&F Pigment Sticks are ON SALE at 15% OFF during our MOVING SALE.
Just in time for summer, Golden Artist Colors’ OPEN Slow-Drying Acrylics Landscape Set is ON SALE at 30% OFF! Designed for the traditional painter looking for an alternative to oil paints, plein air painters, and/or acrylic painters whose palettes need to remain wet far longer than other acrylics. Blend, soften and shade with traditional painting techniques, reduce skinning on the palette during long painting sessions, both in studio and outdoors. The Golden OPEN Slow Drying Acrylics Landscape Set includes seven (7) 22ml tubes: cadmium yellow primrose, yellow ochre, alizarin crimson hue, cadmium red light, ultramarine blue, manganese blue hue, and sap green hue. Also includes one 59ml tube of titanium white and one 30ml bottle of OPEN Thinner.
Undoubtedly blue is the essential color in my palette and I have up to six spaces reserved in my usual work zone for them. My works are characterized by cold and grayish ranges, so the blues are completely irreplaceable. The blues that I use the most are: Indigo, Indanthrone Blue, Ultramarine Blue, Cerulean Blue Chromium, Lavender, and Cobalt Teal Blue.
When mixed with different earth tones (Burnt Sienna, Burnt Umber, Sepia, etc.) I get infinite ranges of grays for all types of planes (background, middle ground and foreground). Mixed with a single yellow, I get a great variety of greens, as I do not usually have greens on my palette.
In the reference work “Fuente de Castellar” (Castellar Fountain) the blue is the essential protagonist of the work since the source is the main element of the work. To achieve the main gradient, three blues interlaced and fused with the proper density are necessary to produce the depth effect.
Pablo Rubén has been painting since he was a child, and the last 18 years working as a professional artist. President of the International Watercolor Society of Spain, he has joined in many of the most important watercolor Biennials all around the World: China, Korea, Thailand, India, Mexico, Canada, Belgium, Italy and has been awarded in International competitions such as American Watercolor Society, San Diego Watercolor Society, Slovenia International Watercolor Society. He is a passionate artist of “Plein Air” work and has more than 400 awards in this kind of contests in Spain and France. As a watercolor instructor he has given workshops in Spain, Portugal, France, Italy, Russia, Canada, USA, Brazil, and Mexico; being very appreciated as an art teacher. An avid traveler, urban scapes and all sorts of water reflections are the main subjects in his work, playing with aerial points of view to make original compositions.
Pablo Rubén paintings demonstrating the Importance of Blue
Hey DTLA, we get it. You dream it, you work hard, you grind ‘til you own it. We know you can’t always leave your studio/office when you run out of something bc you’re mid-flow, so we now offer same day delivery!
Whether you need a tube or a gallon of Titanium White paint, a sheet of watercolor paper or a case of foam board – no matter the temperature this summer, if it’s in stock at the store, stay cool and get what you need delivered to your door. Check out our delivery area and rates.
What if you’re in Los Angeles, but not in our DTLA delivery area? We can still ship to you! Orders of in-stock items placed before noon generally ship the same day, and would arrive the next day in most areas of Los Angeles.
Charles Forsberg demonstrates how Pigment Sticks by R&F Handmade Paints are both a drawing and painting medium like no one else. He frequently returns to drawing, forcefully striking marks into the heavily manipulated buttery paint, then tearing it apart, alternating in a push-pull sequence of drawing and smearing, scraping back, revealing previous drawing marks, and piling what he has scraped up into thick sculptural mounds.
Painting becomes an amazing and unceasing gestural exercise over many hours, as Forsberg turns the formless ooze he started with into a powerful structure of shapes and sharply accented marks. www.charlesforsberg.com/
As part of our MOVING SALE, R&F Pigment Sticks are ON SALE at 15% OFF, including all R&F Pigment Stick Sets. The 6-color sets come packaged in a 6½” × 7½” cradled Ampersand Gessobord with six (6) 38ml pigment sticks. The 12-color set coms in a 8″ × 12″ Ampersand Gessobord with twelve (12) 38ml pigment sticks.
An Abundance of Green
At risk of stating the obvious, there is a lot of green in the world.
This is true not only in nature, but in science. Residing in the middle of the spectrum of visible light, the human eye most readily sees green more than any other color. With great abundance, comes great variety. Our task as painters to navigate this broad color family comes with many challenges and possibilities – as greens vary drastically in regards to temperature and intensity.
The color green can put our eyes (and minds) at rest. It is the world-wide color of environmental consciousness. Green is a primary of light (additive color-mixing), but not of pigments (subtractive color-mixing).
We’ve heard from painters over the years that green is a challenging color family to mix within. It is. Not because we don’t have greens readily available from tubes, but because there is just so much darn green to navigate. We are so closely tied to nature, it can be a challenge to our sensibilities to incorporate greens of great intensity into our color palettes and paintings.
Let’s dive in and explore where the greens in the Gamblin palette fit into Color Space:
Note that we’ve included Cadmium Chartreuse and Phthalo Turquoise in this mapping, as they sit on the edge of green and yellow, and green and blue, respectively.
Mineral Greens and the Phthalo Boost
Mineral green pigments, such as Viridian, Cobalt Green and Chromium Green Oxide beautifully grey down in their tints and mixtures making them useful when depicting muted greens of the natural world.
To fully capture the diversity of this hue family, greens with greater chroma may be necessary. Permanent Green Light and Emerald Green are ready to go for this. The cool, blue-leaning Phthalo Green and the warmer Phthalo Emerald are both deep from the tube, yet beautifully vibrant in their transparency and tints. You don’t have to use phthalo pigments long before appreciating their high tinting-strength. Another key characteristic of this family of these modern organic pigments is their intensity in their tints and mixtures. Thus, Phthalo Green and Phthalo Emerald are incredibly useful in boosting the chroma of muted greens and pushing the envelope on incorporating “unworldly” greens into our painting.
Because green is a secondary color, many painter choose to mix all of their greens. The possibilities are endless. For simplicity’s sake, the examples below are limited to two yellows (Cadmium Lemon and Indian Yellow) and two blues (Cobalt Teal and Ultramarine Blue).
A six-color, “split primary” palette is one popular approach in choosing and organizing one’s color palette. Essentially, it utilizes a warm and cool for each primary. With the mixing of pigments (subtractive color mixing), there will always be some amount of intensity of color that is lost when two colors are blended together. The mixture is absorbing (subtracting) more of the spectrum of visible light, compared to each of the original colors in the mixture. However, the closer any two colors are on the perimeter of the color wheel, the least amount of intensity will be lost. The Cadmium Lemon and Cobalt Teal are both on the green side of their respective color families. Therefore, the resulting mixture will yield the mixed greens with the highest chroma. Cadmium Lemon and Cobalt Teal are also opaque, so their mixtures reflect more light off the surface and result in greens of lighter value (brightness).
Colors that live farther apart on the perimeter of the color wheel lose more intensity when mixed together. Indian Yellow and Ultramarine Blue is a good example. Each have a red bias (green’s complement), so their mixture will result in a green closer to the neutral center of the color wheel. Indian Yellow and Ultramarine Blue are also transparent in nature, trapping more light within the paint layer and creating a deeper value.
Positioned a moderate distance from each other, mixtures of Cadmium Lemon and Ultramarine Blue, as well as Cobalt Teal and Indian Yellow, predictably fill out the middle of the green hue family- neither the brightest nor the dullest of greens.
“The secret of mixing greens is an understanding of color temperature and value. Every tone and hue must relate to adjacent tones and hues. I prefer to have a large number of colors on my palette, representing numerous points on the color wheel. This allows me greater variety of temperature and saturation in my mixed colors (whether they are light values or dark values) and more options for toning a color if I want to shift or neutralize it. This is especially true for greens. Allowing subtle transitions of warm to cool, dark to light within a passage can make a beautiful statement. Setting a complement like a red, orange, purple or pink next to, or within greens can make all the difference. Additionally, the process of glazing to achieve different greens is important to me. Sometimes I will directly paint a lighter, warmer, relatively opaque green knowing that at a future point I will glaze a darker, cooler, transparent green (or other transparent color) over it. The two work together to make a new color you can’t get any other way.”
– Douglas Fryer
That’s right, we said it – ALL IN-STOCK PAPER PADS, ROLLS, AND SHEETS from your favorite paper brands are ON SALE. Bristol Pads, Mi-Teintes, Tracing Paper, Foundation Sketch Rolls, XL Mix Media Pads, Montval Watercolor Pads, Toned Mix Media Pads, Canvas Pads, Charcoal Paper Pads, Visual Journals, Gray Scale Pads, Manga Paper, Marker Paper, Field Sketch Watercolor, Printmaking Paper – it’s all ON SALE! We really don’t want to move this stuff to our new location.
Raw Materials Art Supplies is moving to a new location! Our new location is at 645 S. Los Angeles St., only two blocks away from our current store and at double the size, we’ll be bigger (and deffer). Come for more of the best art supplies, and stay for in-store classes, workshops, and product demonstrations! Stay tuned for further updates, because our new location at 645 S. Los Angeles Street is scheduled to open early August, and until then we’re going to have a huge MOVING SALE and you don’t want to miss that.
There are so many reasons to like Sennelier Oil Pastels, check out this video where Pierre from Pierre’s ArtVentures hangs out with artist Albert Handell, who chats about how he uses Sennelier Oil Pastels and oil paint in his work.
Created in the 1940s in collaboration with Picasso, Sennelier Oil Pastels are creamy, lipstick-like pastels that are rich in pigment, cover well, and have outstanding opacity and lightfastness. Available in 110 “classic” colors and 10 iridescent colors, they/re acid-free, can be applied to any surface, and may be thinned with turpentine and worked with a brush. Modern Sennelier Oil Pastels’ diameter are 20% larger than the original stick, and are available in a larger size called “Grand”– the equivalent of eight regular size sticks.
It’s the same great extra fine, vinyl-based professional grade line of matte permanent colors offering the optics, spirit, and feel of gouache, old tempera paints, and primitive painting grounds that you’ve always loved, but after being unavailable for what felt like forever, Flashe Matte Artists Colors are back with a new look and eleven (11) new colors for a total of 76 colors (including 12 iridescent and 6 fluorescent)!
Oh yeah, Flash Matte Artists Colors are ON SALE at 20% OFF!
Hyper-matte, velvety, and perfectly opaque on any surface, Flashe Matte Artists Colors are extremely highly pigmented, versatile, and can be applied densely for maximum opacity, or diluted with water to create transparent watercolor effects. Offering good adherence and resistance to weather aggression, Flashe Matte is ideal for fresco and wall painting, faux finish, film/tv/theater decoration, etc. Compatible with paper, canvas and other supports, or for preparing grounds.