20 X 16 in.
At first glance, the color organization of Daniel E. Greene (b. 1934) can seem somewhat complex and cumbersome to the artist not accustomed to setting out a palette comprised of value strings. But rather than making the procedure of painting more difficult by pre-mixing certain colors, these preparations make the actual time painting a more accurate and smoother process.
Based on historic color choices, Greene developed his palette after years of comparing his own color swatches to the works of the Great Masters. He places his colors on a custom-made, extra-large wooden palette which was colored a mid-toned greenish brown and sealed with polyurethane to make color and value comparisons easier. The palette, though possessed of a traditional shape, is too large and heavy for Greene to hold comfortably during a painting session, so he instead places it on a nearby tabletop while working. The number of colors, which is over five dozen, is not unusual when compared to the palettes of antiquity; Swiss painter P.L. Bouvier in his ground-breaking treatise Manuel des Jeunes Artistes et Amateurs en Peinture (1827) recommended a palette of twice as many paint piles!
|Eido Tai Shimano|
44 X 36 in.
MAIN COLORS (outer edge)
1. Flake White*
2. Ivory Black
3. Prussian Blue
4. Raw Sienna
5. Yellow Ochre
6. Naples Yellow
7. Cadmium Yellow Medium
8. Cadmium Red Light
9. Alizarin Crimson
10. Burnt Sienna
11. Raw Umber
12. Burnt Umber
13. Sap Green
14. Pthalo Green
* Greene advises choosing a white that best suits the needs of the artist and the painting. According to him, whites should be considered either slow-drying (like Zinc White) or fast-drying (Flake White). Greene uses Flake White (Lead Carbonate) because it dries rapidly and leaves crisp brushstrokes, but to many artists, Flake White is too stiff for comfortable use. To these artists, Greene recommends adding another white, such as Zinc, Titanium, or Permalba®, to the Flake White (¾ Flake White + ¼ other white). This mixture will be easier to manipulate.
SKIN-TONE TINTS (color strings - center of palette)
A. Raw Sienna + Cadmium Red Light + White
Add just enough Raw Sienna to the Cadmium Red Light to dull the latter, then add White in steps to create a value string. These middle tones and lights are useful in cheeks, mouth, chin, ears, etc..
B. Yellow Ochre + White
Add White to Yellow Ochre to create a value string. The lightest two tints are often used as highlights on the forehead and nose.
C. Yellow Ochre + Burnt Sienna + White
Mix Yellow Ochre and Burnt Sienna together with this understanding: too much Burnt Sienna will produce a color which too closely resembles the mixture of Burnt Sienna and White; too little Burnt Sienna will too closely resemble Yellow Ochre and White. Find the perfect balance.
D. Burnt Sienna + White
Add White to Burnt Sienna in steps to create a value string. This mixture is not often used.
E. Raw Umber + White
Add White to Raw Umber in steps to create a value string. Though the darker tints might be used as shadows, the middle tones and lights are intended for use as "cool" skin tones.
F. Raw Sienna + Black + White
Mix ⅔ Black with ⅓ Raw Sienna, then add White in steps to create a value string.
SHADOW TONES (lower right)
S1. Alizarin Crimson + Sap Green
Mix Alizarin Crimson with very little Sap Green to make a dark reddish brown. Add Cadmium Yellow Medium in steps to create a value string.
S2. Sap Green + Alizarin Crimson
To Sap Green add a little Alizarin Crimson to create a dark greenish brown (Sepia). Add Cadmium Yellow Medium in steps to create a value string.
HISTORIC SHADOW TONES (bottom middle)
(These four colors are based on those used by 17th c. Dutch Artists)
a. Raw Umber + Yellow Ochre
Mix very little Yellow Ochre with Raw Umber so that the latter is slightly lightened.
b. Raw Umber + Yellow Ochre + Yellow Ochre
Add more Yellow Ochre to the previous mixture to lighten it another value step.
c. Raw Umber + Yellow Ochre + Burnt Sienna
Create a mixture where all three colors are distributed equally (i.e. ⅓ Raw Umber, ⅓ Yellow Ochre, and ⅓ Burnt Sienna).
d. Raw Umber + Yellow Ochre + Burnt Sienna + Yellow Ochre
To the previous mixture, add more Yellow Ochre so that the amount of Yellow Ochre has been doubled (i.e. ¼ Raw Umber, ¼ Burnt Sienna, and ½ Yellow Ochre)
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