Mix or Use ready colors from Art Materials Stores

Mix or Use ready colors from Art Materials Stores

1. Mix colors => 2 or more kinds of different particle size distributions.

If particle sizes distribution is not narrow => Light can not be reflected evenly.

Or we say MORE light is scattered away then reflected to the viewer's eyes.

Therefore : mixed colors lose freshness (effect of less light). Generally dull. This is especially evident in watercolour.

Ready made tube colors, (comparing the same brand and quality paint) have one size distribution which is generally narrow and more definite. In the manufacturing place, particles were sieved. Certain size range is selected. Narrow size distribution implies even reflection. Results : More light is reflected into viewer's eyes.

2. Pure and Chromatics colors like Cadmium colors are generally more expensive. WHY buy these colors to mix and get dull colors that are readily available in art stores at MUCH MORE affordable prices?

Don't get me wrong. Mixing colors is a very good thing. It is a constant exercise of eyes and mind. And a palette can't fit in all the colors from art stores.

For me, I have some ready tertiary colors like burnt sienna, yellow orche, burnt umber, black, raw sienna, transparent oxide red. These colors help me adjust colors a lot faster then using pure chromatic colors like cadmium colors and pure blues and greens. And they are a lot cheaper. *** Not sacrificing any quality at all!!!

*** So why mixing colors:

My opinions:

1. Too many colors on the palette instead of helping us, it confuses us. And less experienced painters with less confidence in tones and temperature struggle a lot seeing too many colors.

2. Fewer colors help unifying the painted image naturally because the mixed colors belong to the same family.

3. It is especially good for painters who are tonal orientated with fewer colors. Tonal orientated painters can focus more on tonal relation.

Observation Painting Tips

Ng Woon Lam

Observation Painting Tips

Seeing is a dynamic behavior. To explain this, I use this simple e.g. here.

When I look into a dark place, my eyes start tuning to observe in the dark. Slowly, I am able to see more things. Then I suddenly move my eyes to a very bright place, I could not stand the brightness because my eyes are still tuned for the previous dark space. Again, slowly, I am able to adjust for the light. This scientifically proven behavior of eyes explains the dynamics of tonal observation. And, for colors, eyes work the same way.

When I stare at a piece of RED hot object, if I close my eyes, I see a blue/green pattern of the subject. My brains adjust to the complementary color to balance the shock of hot RED. Therefore color observation is also dynamic. So the question is 'Am I sure what I am seeing?'. My answer is 'NO'.

Many art teachers and art academy force students to observe 'EXACTLY' when they paint. I am not against that. This helps students to see more variation. However, every art students should know this basic TRUTH that they are not trying to 'MATCH' the color exactly. It is a training to search for colors and tonal structures and add them to one's visual dictionary.

In addition, sun light luminosity is about 10,000 times strongest than the BEST and the brightest painting material in the market. There is no way to duplicate the type of luminosity of direct lighting. Watercolor paintings look more luminous on computer screen than the original because computer screen is direct lighting while looking at paintings we are seeing reflected light. Sun light is even more luminous compared to computer screen.

So what do I do to show my observation experience. Generally, I paint brightest for light and paint darker for dark space. I key higher in chroma if I want the color to be brought out.

My rule is : Observe for variations BUT make decision for what my paintings need.