Hello Tom.... we have a wonderful expression here in Ireland, when people are a little crazy (in a good way) that they're as "Daft as a brush".... perhaps fitting for a painter.... I dont often comment on videos but I've been watching your's all afternoon, and I have to say that they blend (if you'll excuse the oil painting pun) of the wonderfully informative with great humour is most excellent.... I'll keep watching until the battery on the laptop dies.... thanks a MILLION..... I love it.... Thank you so much for sharing... Alas poor Yorick.... I knew him well.... ;o) Many thanks.... L.
As soon as I saw the funny intro to video I loved you. Your teaching is so brilliant and you madde it easy for me to understand. Thyank you Thomas. You are so good!!
Thank you so much, you are amazing! I have enjoyed your videos to the max.Your directional ability for teaching, maintaining my interest is a unique gift. "learning so much" your have a unique simplicity in detailing & explanation. I have absolutely no difficulty understanding your methods. you are gifted with magnitudes of intelligence and yet you have simplified your teachings so that anyone could have the ability to paint.Tom you have held my interest and inspired me in so many ways. Thank you so much! Edna C- in Tennessee.
Hello Tom. Well it has been a long search to find you and I am thrilled. I have watched many oil painting artists sessions over time but wanted "just that special person" to guide me through. You are a perfectionist just like me so I will be seeing you a lot. Thanks for sharing you knowlege. From Downunder signing off for today.
Thank you Thomas Baker! This 3-part series of this topic you did is amazing...the best I have seen, and certainly the most entertaining! They are so well thought out and described ..l learned so much in a short amount of time. Thanks for sharing your skills on such a daunting topic and giving us confidence that we CAN make the colors we need. Loved the humor too...a good trick for enhanced retention of new skills learned. Bravo!
You definitely found your calling in painting, but I think you have a second calling in comedy, too. Your partner in crime is pretty funny, as well. Thank- you for a taste of your DVD. It was both entertaining and enlightening. I'm going to check it out.
Also what brand and size of "bristol board" or "illustration board" did you buy? Was it 30 x 40? Will Elmer's foam board work if I gesso it? I am going to buy your dvds. But I want to get started on my color charts ASAP. Because I don't know anything yet.
OMG this was so funny and informative I thought I was going to die laughing at the end. What really made me laugh is that I'm always calling my husband Neanderthal and he always says 'To the Moon". Ha! I loved it.
I still enjoy watching your You Tube videos Tom! Your creativity truly has no bounds. Been awhile since an update on your cd's (I'm on your list) and I hope that you are still interested in producing them. Hope you had a fantastic summer!
Winsor & Newton doesn't make the Flake White #2 anymore. They only make #1. Do you buy W&N #1 and just thin it with walnut or poppy oil or linseed oil ? Or have you found another brand like Blockx lead white, Rubleve's lead white, Vasari's lead white, Micheal Harding's stacked lead white or any other brand that is great? I am asking because a large tube of some lead whites are about $80. Tom, which one do you use now? Thanks.
was on your website and tried to get on notification list for the color tutorial DVD but the click on contact button did not seem to be working. I would like to be on that list if possible or I guess I could just keep watching your website,. I really enjoy the youtube presentations, very informative especially the color charts. Am starting on mine now with the few colors I have. Thanks again.
Hello Ron. Send me an e-mail at jaybird@nmia.com so that I can get your e-mail address, and I'll put you on that list. I'm glad you've found my TH-cam videos useful. Tom
how much do you know to use for each part , like how much do you know to take the red and how much of the white , each time, is there a trick to knowing? I would hate to add in so much extra white it makes me skip down all the way down the chart and miss some colors
Thank you very much, it is very a good information, it is a pain i dont understant english. Escusme i have a doubt with Charts, when you mix first colour of tone, you mix same amount of both?, or it depend if it more dark, more transparent, etc thanks again
Hello Berny. Thanks for your question. Mixing two colors into a new color is more of an art than a science, and no two people will create exactly the same colors by such mixtures. However, minor differences in color mixtures will not affect the usefulness of the charts. As you have noted, some colors of oil paint are so transparent that when you mix them with non-transparent (opaque) paints, there may be very little change in color from the non-transparent paint. Therefore, if a half-and-half mixture doesn't show a significant change in color, add more of the most transparent paint until you do see a definite color change. Exactly how much extra to add is impossible to say, since paints vary so much in transparency. Just create what you judge to be an in-between color of the two, and use it. If you wish, you can make a note at the top of the column, such as "add extra of color A," or "mix about 2/3 of color A and 1/3 of color B." I didn't bother to do that on my charts, because I have found that it is easy to remix any color on the charts by just experimenting with the proportions a little.
Does this mean that every color you ever use is only a combination of two colors plus white? There's never a need to paint with a mixture of three or more colors?
Tom: Greetings again! I am still gathering oils for making my color chart. However, I want to use water mix oils because I have had cancer and lost a lung and need to be careful about toxic mediums etc. I found all the colors I need except manganese violet in water soluble paint. Could you give me the name of a close second that I may find in this color. I use to paint 35 years ago, and now I want to get back into it because of your teachings that motivate. So thankful for what you do.
Hello Angelina. So sorry to hear about your bout with cancer, but it sounds like you're doing all right now, and I'm glad to hear it. Another good violet color is ultramarine violet--you might try to find some of that in water-based paint. If you cannot find a violet that looks like a good one to you, then mix your own, from your red and blue. Just be careful to get the violet color consistent, because when mixing the secondary colors it's easy to get variations by accidentally varying the proportions. That's the advantage of buying green, orange, and violet in tubes: the colors are consistent, and it saves mixing time. But if you mix your own violet carefully for your charts, you should be fine.
You're right, Frank! Artists may use mahl sticks, but that cavewoman definitely had a maul stick. And she sent that cave artist off on a bone voyage with it, too. Obviously you've been boning up on your art history. . .
Dear Tom, I am trying to follow your suggestion by using Flake White. Nevertheless, finding difficulty to get this white from famous paint brands. E.g. W&N have Flake White No 1 which is a mixture of PW 4 and PW 1 pigments. Other brands came up with Fl. Wt. Hue which is PW 6 and not pure PW 1 pigment. Which one are you using? Many thanks in advance for your reply. Regards, Vlad
Vlad, you are wise to check the fine print on the side of any tube of "Flake White," as you have done, since so many paint manufacturers mix other, cheaper pigments into it and then call the whole thing Flake White. Usually they mix in a lot of less expensive zinc white. Most people take the name on the tube at face value, without looking closely at the labels as you do. As you noted, real Flake White is the pigment PW 1, and that is the only pigment you want in the tube. Utrecht sells a white paint that they call Flemish White, which seems to be all PW 1. I've been using it lately, and it does seem to be all PW 1 pigment. Here's a link to it: . You can also get it on Amazon.com.
Thomas Baker Thanks much Tom for your reply. I have checked Utrecht both their Flake and Flemish Whites I found the description almost identical for both in terms of pigments used (PW1) and other stuff! Any clue on what could be the difference between both types? BTW, I bought from London Cremnitz White which on the can is written "pure lead white in cold-pressed linseed oil" from Michael Harding as the salesman claims (although not written on the can, but the art supply shop is one of the best in London so couldn't have a second thought). My question is Cremnitz and Flake whites identical? Regards, Vlad
Any paint that lists PW 1, or lead carbonate, as its pigment is Flake White, and that includes Flemish, Cremnitz, or any other fanciful name for this lead white. Manufacturers claim that the different names indicate that their process is special, that they have unique production methods, or use differing amounts of either linseed or safflower oil, which makes them more stiff or more flexible, but as far as I'm concerned any paint made of PW 1 is Flake White. If it's a stiff version of Flake White, then add a few drops of Liquin or equivalent to it to make it spread better. With all that said, there are reported to be two types of lead carbonate, the "normal" and the "basic" kinds. The "normal" lead carbonate is said to not mix as well with oils, and thus makes an inferior oil paint, while the "basic" type is more desirable for artist paints. The Chinese are reported to be making lead white with the inferior "normal" type of lead carbonate. My advice is to just try the various brands and versions of white paint that list PW 1 as the ingredient, no matter what they're called, and use the one that works best for you, if you can tell any difference.
Ha, ha! You are always funny, but you topped it this time! Is that your wife? She's awesome, you two were meant for each other! And you are very helpful as well!
shouldn't the chart be bigger to include incremental amounts of the secondary colour added to the primary to show how the ratios of the two paints affect the outcome?
You could certainly do that, Ana, but the charts would soon become very large, and it would also take a lot more time. If you have the patience to do it, you would end up with something superior to these charts shown in the video. Maybe you could do it on a series of pages that you could keep in a binder or portfolio, instead of on large charts. You might try doing each mixture as a "smear," with the pure colors at opposite ends, and a gradual blending from one to the other in the middle. But leafing through pages in a binder would not be nearly so quick and easy as just glancing up at charts on a wall. The color charts as I show them in this video will always be somewhat imprecise, because for any two colors mixed, each painter settles on what he considers to be the best "median" color between the two, and that can vary, especially when the transparencies of the color differ widely. And yet, even with such imprecision, when all the charts are done I've found that there are so many color mixtures on them that somewhere, on one chart or another, and often on more than one chart, will always be the color you need for any given situation, or something very close to it, something that you can further modify if you need to.
Thank you for your instruction. I am so glad I watched this before buying my first set of oil paints or any paints for that matter. I will never buy a store bought black! (:
Well, thank you for your thanks. I hope you watched Part 2 as well, since it shows you how few paints you really need to paint pictures, and just which ones they are. But you will probably have to make the color charts in order to see all the colors that you can get from them.
Yes I watched all of it. I am ordering paints this Friday and the first thing I'm doing is making the color charts. I can see how the color charts will save time and that is good for me (:
But were Quinacridone violet and Quinacridone red invented in Sargent's time? Shouldn't a copy of Sargent's work be made with the specific pigments available to him at the time?
If I were making a perfect forgery, that might be examined by experts, I'd try to use Sargent's exact pigments (but just try to find pure lead white these days). But I doubt anyone looking at my copies can tell what tubes of paint the colors came out of.
+Thomas Baker -- Vasari, Rublev Natural Pigments, Micheal Harding and Blockx all make real lead/flake white. An artist on you tube named Kelli Folsom said her favorite is Rublev Natural pigments lead white no1. And another artist on you tube did a demo between Rublev no1 lead white and Rublev no 2 lead white and another lead white paint. You should check it out. Also, Kelli told me that between Vasari and Rublevs lead whites, Rublevs lead white holds up better in the tube over time. FYI, Micheal Hardings website says he makes REAL stacked lead white the way the old masters did with vinegar and dung. (I have not tried any of the brands mentioned above yet.) But I did buy Winsor Newtons Flake white no 1 as they discontinued no 2. Winsor Newtons Flake white no1 is very, very, very thick and dense. I have thinned it down with some walnut oil. I don't know if that is the right thing to do or not. As I just started painting in oil. Have you tried any of these brands? And if so which brand do you like the most? Thanks Mr. Baker.
I think Sir Skull should have his own little Art history programme here on you-tube. He could , for example, begin with a series on Dutch momento mori.. He shows promise..
I love it. Thanks a lot. I was a little lazy about creating these charts although I found literature everywhere (i.e. Richard Schmid) advising to do so. However, I must also criticize your spelling. I am from Spain and we have no Altimira caves in the North, but I heard of some ALTAMIRA archaeology sites though, lol!!! just teasing. Thanks a lot for your videos.
Thanks for that correction Ramon. I have fixed it on the master copy, but I guess I'm stuck with it in this video. I was worried for a minute there that you were going to tell me I'd spelled Color wrong, or something.
Thanks for your comment, Don. Bouguereau painted like most of the academic painters of his day--he was just one of the best, if not the best. If you watch my TH-cam video on glazing, you'll see how I think he added shadows to his skin colors. I plan to do a video on portrait painting that will probably show techniques similar to Bouguereau's, although he was secretive about how he painted, so no one knows for sure how he did things.
I plan to do color charts - as a teacher a the Savannah College of Art and Design, I am always seeking ways to improve. I going to take a look at your glazing vid. I look forward to purchasing your dvd on the color charts. Do you live in the US?
oh, nice! well I just watched the glazing vid, very good. I guess we all want to paint like Bouguereau. I have seen only 2 of his paintings in my life and was blown away. Fred is an expert from the art Renewal site? I need to take a second look there. D you know if Bouguereau used raw umber or burnt umber to under paint his paintings? All the best to you! Don
Don Rogers Fred is an art collector and owns several Bouguereaus, and he may be the guy who knows most about him. On Fred's ARC website is some info about how Bouguereau did things, so far as is known, because B. was secretive about his methods--he seems to have mixed glazes and things from secret formulas. David Parkhurst, a student of Bouguereau, wrote a book titled "The Painter in Oil," which may contain some of the info that B. taught him. Other than that, no one really knows how Bouguereau painted. He may not have underpainted at all (I don't either).
Thomas I hope I am wrong here but I suspect you may have given yourself a bit of extra work while creating your colour charts. You used each colour in turn as the basic one for each chart then proceeded to mix that colour with the others. But I think you over-egged the pudding, to use a baking expression. Let me explain what I mean using just three colours, red, yellow and blue. Starting with base colour red, you mix it with yellow, then you mix it with blue.So now you have red-yellow & red-blue mixes. The next base colour is yellow. You mix it with red, then you mix it with blue. But hang on a second. You already have a yellow-red mix. Only you called it red-yellow. Now, yellow mixed with red is surely the same as red mixed with yellow. Bear with me, my head is spinning, too. What you need to do is mix each base colour with the colours that come AFTER it in your list of colours: the colours that precede it have already been mixed. Redoing your charts this way means you create precisely half as many mixes as before. You alluded to this yourself when you observed that each mixed colour can be found at two places on the charts. Of course they can, you mixed each pair of colours twice. Am I wrong? By the way, you are one superb artist and I love your sense of humour.
bwriter bob Hello Bob. Thanks for the compliments. Yes, there are repetitions on the charts. But each chart is meant to be an independent demonstration of the color mixes possible with that particular color and all the others on your palette, and as such can be studied alone, without reference to any other charts. When you play practice chords on the piano, you are also repeating notes, but each one in a different context. Same with the charts.
That's a great system for finding just the right hue and value. But I wished I could apply it to pastels...but, unfortunately, it's impossible. I want to know which pastels will create just the right color I need, but pastels (without wrappers) have NO COLOR NAMES! So how to proceed??? Trial and error I suppose... which is not only tiresome, but also not very accurate.
Tom, you would make one hell of a forger. I have no doubt you could paint a completely new Rembrandt, Vermeer, Sargent, etc. A touch of unconventional thinking could make you a fortune. Of course it's not without some risk, but courts are usually very lenient to talented forgers.
bugisami Oh, I think anyone could forge a Picasso, Bugisami. Not much skill went into their creation, nor was much expected (see the TH-cam video . It would be more difficult to fake a Rembrandt, or any Old Master, because you'd have to have the correct canvas or wooden panel for the era, to try to fool the experts. Good forgers even rub the correct dirt onto their forgeries. Have you ever seen the 1966 movie "How To Steal A Million," with Audrey Hepburn? . It's hilarious, and it also shows you the lengths forgers go to, to make their work appear authentic. For the story of a real forger, who fooled Herman Goering and other Nazis when they were snapping up art all over Europe during WWII, read "The Forger's Spell" by Edward Dolnick. His forgeries were not even very good, but he had a convincing way of selling them. Anyway, thanks for your compliment!
bugisami It looks to me like Picasso himself probably had more than a few drinks before he painted his portraits. In other words, he didn't just use his imagination to add those extra eyes and noses, he actually saw them.
I CAN TESTIFY THAT HAVING THESE CHARTS TO REFER TO "DOES" WORK AND REALLY SAVES A TREMENDOUS AMOUNT OF TIME, NOT TO MENTION ELIMINATING GUESSWORK. IT'S WORTH THE TIME TO CREATE THE CHARTS.
Photography makes everything look good. You are looking at photos of my charts, not the real charts. My charts aren't perfect. Take a picture of your chart and see how much better it looks in the photo. Odd how that works, but it does.
i wish this guy was still making videos, hes hilarious and very informative
I LEARNED A LOT OF "USEFUL" THINGS FROM HIM.
You and me both!!! I found him looking for someone to actually TEACH what glazing is! So happy to see this color video! This is a GAME changer!!!
Yep! I found some very helpful info + demo on painting hair, and I love his humour!
The majority of my time when oil painting is used mixing colors. This is such necessary information for artists.
Also, I love that Sargent painting.
Incredible sense of humour. Down to earth- straight to the point- easy to understand teaching skills. A real genius. Thanks a lot for your videos.
Hello Tom.... we have a wonderful expression here in Ireland, when people are a little crazy (in a good way) that they're as "Daft as a brush".... perhaps fitting for a painter.... I dont often comment on videos but I've been watching your's all afternoon, and I have to say that they blend (if you'll excuse the oil painting pun) of the wonderfully informative with great humour is most excellent.... I'll keep watching until the battery on the laptop dies.... thanks a MILLION..... I love it.... Thank you so much for sharing...
Alas poor Yorick.... I knew him well.... ;o)
Many thanks....
L.
As soon as I saw the funny intro to video I loved you. Your teaching is so brilliant and you madde it easy for me to understand. Thyank you Thomas. You are so good!!
As always Thomas,you are so accurate and so easy to undersatnd. I thank You Highly,for all your help. Your the best.
Thank you so much, you are amazing! I have enjoyed your videos to the max.Your directional ability for teaching, maintaining my interest is a unique gift. "learning so much" your have a unique simplicity in detailing & explanation. I have absolutely no difficulty understanding your methods. you are gifted with magnitudes of intelligence and yet you have simplified your teachings so that anyone could have the ability to paint.Tom you have held my interest and inspired me in so many ways. Thank you so much!
Edna C- in Tennessee.
Hello Tom. Well it has been a long search to find you and I am thrilled. I have watched many oil painting artists sessions over time but wanted "just that special person" to guide me through. You are a perfectionist just like me so I will be seeing you a lot. Thanks for sharing you knowlege. From Downunder signing off for today.
Ahahahaha!!! Not expecting that last scene! Brilliant!! Looking forward to seeing how to make these charts!! Thank you!!
Thank you Thomas Baker! This 3-part series of this topic you did is amazing...the best I have seen, and certainly the most entertaining! They are so well thought out and described ..l learned so much in a short amount of time. Thanks for sharing your skills on such a daunting topic and giving us confidence that we CAN make the colors we need. Loved the humor too...a good trick for enhanced retention of new skills learned. Bravo!
Wow, that was super great. I loved the humour, too. He's funny and cute.
Very helpful video...I have been painting for two years now, and all this information is magic for me!! Thanks for sharing!!
I'm glad you found it useful (even if I can't pronounce your name--the spelling is Greek to me). Thanks for your kind comment.
Thomas Baker It is the truth! You have helped me a lot!!!! By the way, I am Greek!
ok...no more flying by the seat of my pants...you convinced me to make some charts!! thanks for sharing
My kind of Artist = Weird ! Super creative ... & definitely a Master !! Peace / LOVE
Thank you very much!❤🌷
This video is absolutely amazing!❤🌷
You definitely found your calling in painting, but I think you have a second calling in comedy, too. Your partner in crime is pretty funny, as well.
Thank- you for a taste of your DVD. It was both entertaining and enlightening. I'm going to check it out.
Thank you very much indeed Thomas for this great tutorial. I learned a lot from it. Much kindness, Adrian Dumont-Namin
Also what brand and size of "bristol board" or "illustration board" did you buy? Was it 30 x 40? Will Elmer's foam board work if I gesso it? I am going to buy your dvds. But I want to get started on my color charts ASAP. Because I don't know anything yet.
Thanks for making this easy to understand. Love your beautiful paintings.
real helpful man... keep making those amazing videos
OMG this was so funny and informative I thought I was going to die laughing at the end. What really made me laugh is that I'm always calling my husband Neanderthal and he always says 'To the Moon". Ha! I loved it.
Really enjoy your videos Thomas. Thank you for sharing your knowledge.
Glad you like my videos, Conor, and thanks for your comment.
I still enjoy watching your You Tube videos Tom! Your creativity truly has no bounds. Been awhile since an update on your cd's (I'm on your list) and I hope that you are still interested in producing them. Hope you had a fantastic summer!
so it's not a 50/50 mix when you start the values? i've seen people say it's not, how do i know what is a good solid mix before adding white?
bruh, his humor is on point
Winsor & Newton doesn't make the Flake White #2 anymore. They only make #1. Do you buy W&N #1 and just thin it with walnut or poppy oil or linseed oil ? Or have you found another brand like Blockx lead white, Rubleve's lead white, Vasari's lead white, Micheal Harding's stacked lead white or any other brand that is great? I am asking because a large tube of some lead whites are about $80. Tom, which one do you use now? Thanks.
was on your website and tried to get on notification list for the color tutorial DVD but the click on contact button did not seem to be working. I would like to be on that list if possible or I guess I could just keep watching your website,. I really enjoy the youtube presentations, very informative especially the color charts. Am starting on mine now with the few colors I have. Thanks again.
Hello Ron. Send me an e-mail at jaybird@nmia.com so that I can get your e-mail address, and I'll put you on that list. I'm glad you've found my TH-cam videos useful.
Tom
Have I lost my mind or is his clock's second hand running backwards at 12:25? I always suspected this guy was some sort of wizard.
yes haha!
how much do you know to use for each part , like how much do you know to take the red and how much of the white , each time, is there a trick to knowing? I would hate to add in so much extra white it makes me skip down all the way down the chart and miss some colors
Really superb , i like very much your videos,thank you for sharing .
I'm glad you like the videos, Pavanasri, and thanks for the compliment. pavanasri100 Matampalli
Thank you very much, it is very a good information, it is a pain i dont understant english. Escusme i have a doubt with Charts, when you mix first colour of tone, you mix same amount of both?, or it depend if it more dark, more transparent, etc thanks again
Hello Berny. Thanks for your question. Mixing two colors into a new color is more of an art than a science, and no two people will create exactly the same colors by such mixtures. However, minor differences in color mixtures will not affect the usefulness of the charts.
As you have noted, some colors of oil paint are so transparent that when you mix them with non-transparent (opaque) paints, there may be very little change in color from the non-transparent paint. Therefore, if a half-and-half mixture doesn't show a significant change in color, add more of the most transparent paint until you do see a definite color change.
Exactly how much extra to add is impossible to say, since paints vary so much in transparency. Just create what you judge to be an in-between color of the two, and use it. If you wish, you can make a note at the top of the column, such as "add extra of color A," or "mix about 2/3 of color A and 1/3 of color B." I didn't bother to do that on my charts, because I have found that it is easy to remix any color on the charts by just experimenting with the proportions a little.
Does this mean that every color you ever use is only a combination of two colors plus white? There's never a need to paint with a mixture of three or more colors?
Tom: Greetings again! I am still gathering oils for making my color chart. However, I want to use water mix oils because I have had cancer and lost a lung and need to be careful about toxic mediums etc. I found all the colors I need except manganese violet in water soluble paint. Could you give me the name of a close second that I may find in this color. I use to paint 35 years ago, and now I want to get back into it because of your teachings that motivate. So thankful for what you do.
Hello Angelina. So sorry to hear about your bout with cancer, but it sounds like you're doing all right now, and I'm glad to hear it. Another good violet color is ultramarine violet--you might try to find some of that in water-based paint. If you cannot find a violet that looks like a good one to you, then mix your own, from your red and blue. Just be careful to get the violet color consistent, because when mixing the secondary colors it's easy to get variations by accidentally varying the proportions. That's the advantage of buying green, orange, and violet in tubes: the colors are consistent, and it saves mixing time. But if you mix your own violet carefully for your charts, you should be fine.
Thomas Baker Thank you!
And a Great and Happy New Year
Love it love it . Want too see all the video's thx
Question: Was that cavelady's creative use of the bone the first known implementation of a "maulstick"?
You're right, Frank! Artists may use mahl sticks, but that cavewoman definitely had a maul stick. And she sent that cave artist off on a bone voyage with it, too. Obviously you've been boning up on your art history. . .
@@tinfoil777 hahahah
Thank you, Are all the top colours in the colour chart 50 - 50 ?
Dear Tom,
I am trying to follow your suggestion by using Flake White. Nevertheless, finding difficulty to get this white from famous paint brands. E.g. W&N have Flake White No 1 which is a mixture of PW 4 and PW 1 pigments. Other brands came up with Fl. Wt. Hue which is PW 6 and not pure PW 1 pigment. Which one are you using? Many thanks in advance for your reply. Regards, Vlad
Vlad, you are wise to check the fine print on the side of any tube of "Flake White," as you have done, since so many paint manufacturers mix other, cheaper pigments into it and then call the whole thing Flake White. Usually they mix in a lot of less expensive zinc white. Most people take the name on the tube at face value, without looking closely at the labels as you do. As you noted, real Flake White is the pigment PW 1, and that is the only pigment you want in the tube. Utrecht sells a white paint that they call Flemish White, which seems to be all PW 1. I've been using it lately, and it does seem to be all PW 1 pigment. Here's a link to it: . You can also get it on Amazon.com.
Thomas Baker Thanks much Tom for your reply. I have checked Utrecht both their Flake and Flemish Whites I found the description almost identical for both in terms of pigments used (PW1) and other stuff! Any clue on what could be the difference between both types? BTW, I bought from London Cremnitz White which on the can is written "pure lead white in cold-pressed linseed oil" from Michael Harding as the salesman claims (although not written on the can, but the art supply shop is one of the best in London so couldn't have a second thought). My question is Cremnitz and Flake whites identical? Regards, Vlad
Any paint that lists PW 1, or lead carbonate, as its pigment is Flake White, and that includes Flemish, Cremnitz, or any other fanciful name for this lead white. Manufacturers claim that the different names indicate that their process is special, that they have unique production methods, or use differing amounts of either linseed or safflower oil, which makes them more stiff or more flexible, but as far as I'm concerned any paint made of PW 1 is Flake White. If it's a stiff version of Flake White, then add a few drops of Liquin or equivalent to it to make it spread better. With all that said, there are reported to be two types of lead carbonate, the "normal" and the "basic" kinds. The "normal" lead carbonate is said to not mix as well with oils, and thus makes an inferior oil paint, while the "basic" type is more desirable for artist paints. The Chinese are reported to be making lead white with the inferior "normal" type of lead carbonate. My advice is to just try the various brands and versions of white paint that list PW 1 as the ingredient, no matter what they're called, and use the one that works best for you, if you can tell any difference.
Thomas Baker Many thanks Tom for your advise. Appreciate it. Looking forward for more of your amazing videos. All the best.
Thank you so much for your tutoring! I like it very much and learnt a lot!!!
Great entertaining video! thanks so much, really helpful! Are you related to Howard Baker the great Senator??
Hi Tom! Love your videos and I would love to see some paint along videos. I'd even pay money for those!
Hello Tammy. Well, I have a DVD about color in paintings that I'm working on. Watch my website for its release.
You are so funny and also a good teacher
Thanks!
What a great tutorial!
You should be on TV!!!
Ha, ha!
You are always funny, but you topped it this time!
Is that your wife? She's awesome, you two were meant for each other!
And you are very helpful as well!
You mean, you don't think those are real cave people?
love this song much information Thankyou and your funny!
thank you, i love your videos and the cientific proof is just mind blowing :D
Thank you so soo much! Great video! Very helpful!!
shouldn't the chart be bigger to include incremental amounts of the secondary colour added to the primary to show how the ratios of the two paints affect the outcome?
You could certainly do that, Ana, but the charts would soon become very large, and it would also take a lot more time. If you have the patience to do it, you would end up with something superior to these charts shown in the video. Maybe you could do it on a series of pages that you could keep in a binder or portfolio, instead of on large charts. You might try doing each mixture as a "smear," with the pure colors at opposite ends, and a gradual blending from one to the other in the middle. But leafing through pages in a binder would not be nearly so quick and easy as just glancing up at charts on a wall.
The color charts as I show them in this video will always be somewhat imprecise, because for any two colors mixed, each painter settles on what he considers to be the best "median" color between the two, and that can vary, especially when the transparencies of the color differ widely.
And yet, even with such imprecision, when all the charts are done I've found that there are so many color mixtures on them that somewhere, on one chart or another, and often on more than one chart, will always be the color you need for any given situation, or something very close to it, something that you can further modify if you need to.
Excellent instruction .
Thank you for your instruction. I am so glad I watched this before buying my first set of oil paints or any paints for that matter. I will never buy a store bought black! (:
Well, thank you for your thanks. I hope you watched Part 2 as well, since it shows you how few paints you really need to paint pictures, and just which ones they are. But you will probably have to make the color charts in order to see all the colors that you can get from them.
Yes I watched all of it. I am ordering paints this Friday and the first thing I'm doing is making the color charts. I can see how the color charts will save time and that is good for me (:
Really enjoy your videos.Please show me to paint a garment like chiffon , transparent!! just like the garment on the portrait in you studio.
Thank you for your videos!
But were Quinacridone violet and Quinacridone red invented in Sargent's time? Shouldn't a copy of Sargent's work be made with the specific pigments available to him at the time?
If I were making a perfect forgery, that might be examined by experts, I'd try to use Sargent's exact pigments (but just try to find pure lead white these days). But I doubt anyone looking at my copies can tell what tubes of paint the colors came out of.
+Thomas Baker -- Vasari, Rublev Natural Pigments, Micheal Harding and Blockx all make real lead/flake white. An artist on you tube named Kelli Folsom said her favorite is Rublev Natural pigments lead white no1. And another artist on you tube did a demo between Rublev no1 lead white and Rublev no 2 lead white and another lead white paint. You should check it out. Also, Kelli told me that between Vasari and Rublevs lead whites, Rublevs lead white holds up better in the tube over time. FYI, Micheal Hardings website says he makes REAL stacked lead white the way the old masters did with vinegar and dung. (I have not tried any of the brands mentioned above yet.) But I did buy Winsor Newtons Flake white no 1 as they discontinued no 2. Winsor Newtons Flake white no1 is very, very, very thick and dense. I have thinned it down with some walnut oil. I don't know if that is the right thing to do or not. As I just started painting in oil. Have you tried any of these brands? And if so which brand do you like the most? Thanks Mr. Baker.
DO YOU HAVE THE CD ON THIS FOR SALE YET? WOULD LOVE TO OWN IT FOR REFERENCE......
I think Sir Skull should have his own little Art history programme here on you-tube. He could , for example, begin with a series on Dutch momento mori.. He shows promise..
BRILLIANT!!!!
I love it. Thanks a lot. I was a little lazy about creating these charts although I found literature everywhere (i.e. Richard Schmid) advising to do so. However, I must also criticize your spelling. I am from Spain and we have no Altimira caves in the North, but I heard of some ALTAMIRA archaeology sites though, lol!!! just teasing. Thanks a lot for your videos.
Thanks for that correction Ramon. I have fixed it on the master copy, but I guess I'm stuck with it in this video. I was worried for a minute there that you were going to tell me I'd spelled Color wrong, or something.
Thanks Master. Anyhow, your sense of humor is worth a million pardons. Keep it up!
Transparent Iron Oxide Red, not just iron oxide red is the basis of the chart. I've never used that color much, only iron oxide red. Gotta try it.
LOL, those cave people! Curious to know if you will do a vid on painting like Bouguereau?
Thanks for your comment, Don. Bouguereau painted like most of the academic painters of his day--he was just one of the best, if not the best. If you watch my TH-cam video on glazing, you'll see how I think he added shadows to his skin colors. I plan to do a video on portrait painting that will probably show techniques similar to Bouguereau's, although he was secretive about how he painted, so no one knows for sure how he did things.
I plan to do color charts - as a teacher a the Savannah College of Art and Design, I am always seeking ways to improve. I going to take a look at your glazing vid. I look forward to purchasing your dvd on the color charts.
Do you live in the US?
Don Rogers I'm in New Mexico, USA.
oh, nice! well I just watched the glazing vid, very good. I guess we all want to paint like Bouguereau. I have seen only 2 of his paintings in my life and was blown away. Fred is an expert from the art Renewal site? I need to take a second look there. D you know if Bouguereau used raw umber or burnt umber to under paint his paintings?
All the best to you!
Don
Don Rogers Fred is an art collector and owns several Bouguereaus, and he may be the guy who knows most about him. On Fred's ARC website is some info about how Bouguereau did things, so far as is known, because B. was secretive about his methods--he seems to have mixed glazes and things from secret formulas. David Parkhurst, a student of Bouguereau, wrote a book titled "The Painter in Oil," which may contain some of the info that B. taught him. Other than that, no one really knows how Bouguereau painted. He may not have underpainted at all (I don't either).
Thomas
I hope I am wrong here but I suspect you may have given yourself a bit of extra work while creating your colour charts. You used each colour in turn as the basic one for each chart then proceeded to mix that colour with the others. But I think you over-egged the pudding, to use a baking expression.
Let me explain what I mean using just three colours, red, yellow and blue.
Starting with base colour red, you mix it with yellow, then you mix it with blue.So now you have red-yellow & red-blue mixes.
The next base colour is yellow. You mix it with red, then you mix it with blue. But hang on a second. You already have a yellow-red mix. Only you called it red-yellow.
Now, yellow mixed with red is surely the same as red mixed with yellow.
Bear with me, my head is spinning, too.
What you need to do is mix each base colour with the colours that come AFTER it in your list of colours: the colours that precede it have already been mixed.
Redoing your charts this way means you create precisely half as many mixes as before.
You alluded to this yourself when you observed that each mixed colour can be found at two places on the charts. Of course they can, you mixed each pair of colours twice.
Am I wrong?
By the way, you are one superb artist and I love your sense of humour.
bwriter bob Hello Bob. Thanks for the compliments. Yes, there are repetitions on the charts. But each chart is meant to be an independent demonstration of the color mixes possible with that particular color and all the others on your palette, and as such can be studied alone, without reference to any other charts. When you play practice chords on the piano, you are also repeating notes, but each one in a different context. Same with the charts.
LOL, the end is like a Carol Kane routine
That's a great system for finding just the right hue and value. But I wished I could apply it to pastels...but, unfortunately, it's impossible. I want to know which pastels will create just the right color I need, but pastels (without wrappers) have NO COLOR NAMES!
So how to proceed??? Trial and error I suppose... which is not only tiresome, but also not very accurate.
just started watching No 2 vid ,i realize now how to make charts!!...haha
And if you watch #3, you'll see how to do it step by step.
thank you ever so much
Genius!
"This bison has been out in the sun all day! He's sun burned!" - I'll use that excuse from now.
This is great!!!
Fantastic!
Tom, you would make one hell of a forger. I have no doubt you could paint a completely new Rembrandt, Vermeer, Sargent, etc. A touch of unconventional thinking could make you a fortune. Of course it's not without some risk, but courts are usually very lenient to talented forgers.
Not sure if you could do a Picasso, though. LOL
bugisami Oh, I think anyone could forge a Picasso, Bugisami. Not much skill went into their creation, nor was much expected (see the TH-cam video . It would be more difficult to fake a Rembrandt, or any Old Master, because you'd have to have the correct canvas or wooden panel for the era, to try to fool the experts. Good forgers even rub the correct dirt onto their forgeries. Have you ever seen the 1966 movie "How To Steal A Million," with Audrey Hepburn? . It's hilarious, and it also shows you the lengths forgers go to, to make their work appear authentic. For the story of a real forger, who fooled Herman Goering and other Nazis when they were snapping up art all over Europe during WWII, read "The Forger's Spell" by Edward Dolnick. His forgeries were not even very good, but he had a convincing way of selling them. Anyway, thanks for your compliment!
Thomas Baker Tom, on second thoughts, maybe you could manage a Picasso, but only after more than a few drinks.
bugisami It looks to me like Picasso himself probably had more than a few drinks before he painted his portraits. In other words, he didn't just use his imagination to add those extra eyes and noses, he actually saw them.
Hahahaha thank you for an amazing video!
I CAN TESTIFY THAT HAVING THESE CHARTS TO REFER TO "DOES" WORK AND REALLY SAVES A TREMENDOUS AMOUNT OF TIME, NOT TO MENTION ELIMINATING GUESSWORK. IT'S WORTH THE TIME TO CREATE THE CHARTS.
Your so funny....love you
Hey this guy is really funny. 🤣🤣🤣
Loved it................haha
Great exercise, except your chart looks perfect compared to mine. Am jealous.
Photography makes everything look good. You are looking at photos of my charts, not the real charts. My charts aren't perfect. Take a picture of your chart and see how much better it looks in the photo. Odd how that works, but it does.
Ansel Adams couldn't make mine look like yours. haha
@@tinfoil777 Doesn't the photography and the printer alter the colors? Seems like it would be better to have the actual charts to refer to?
👍🏻 great / wait a minute come here 😂😂😂😂
I didn't know that Singer Sargent had quinacridone paints.
Two minutes in before any "teaching" begins.
1000 Likes !! :)
the mussel system
rotfl, good humor :)