#cadmium red medium hue

[brynhildr13]

I'm sorry I'm so freaking bad at posting on here. I always forget cuz tagging doesn't work the same when I just post right from Instagram, even tho that would be easiest for me.

Anyways, I finished two more art pieces the last few days, doing color studies like I did in quarantine with my oil paints. I can't wait to see where it takes me cuz once I get these photographed I'm going to gloss varnish the Garnet piece! First time I ever used a varnish so we'll see how that goes!

Blooming Rose

Acrylics on Canvas

8" x 10" , 2024

$130

Garnet

Acrylics on Canvas

10" x 10"

$150

[shelandsorcery]

I'm going to start teaching my nephews some basic colour theory; they're 9 and 10 and really passionate artists, and I think a little knowledge now will help them push themselves a lot further.

I'm going to start with colour mixing. I really think that color mixing using paint is a valuable metaphor even if you are working digitally 99% of the time. who knows what my nephews will end up focusing on as they get older, but having the metaphor of mixing paint to achieve different colors and understand how colors relate to each other visually should be a really useful ground level structure in any ongoing learning they do with color theory.

so I've put together a watercolor palette using student grade non-toxic paints. we've got two reds, two yellows, two blues, and burnt sienna.

I'm going to include white gouache as well, so we can talk about tinting colors, and how colors appear different when they are diluted versus tinted. also, honestly when I was their age I think watercolor was really punishing, and just bringing in some white gouache gives them a chance to rework areas if they want to. I'm hoping this makes stuff a little less frustrating and helps them feel more empowered to keep fixing and pushing their work instead of just giving up.

I don't currently have a plan to have black paint in there right now, because I want us to focus on color mixing, but I wouldn't on principal prevent them from having a pan of black paint in future for their own time with the paint. I just think it might be distracting or confusing when I'd rather we focus on mixing neutrals with these colorful pigments.

I've got five Windsor and Newton Cotman brand pans - phthalo blue, lemon yellow, cadmium yellow hue, cadmium red medium hue, and burnt sienna; and the other two pans i filled with van Gogh brand tube paint - ultramarine deep and madder lake deep.

This gets me a decent spread of secondaries without confusing anything by introducing the CMY approach.

I think learning the CMY palette will be valuable too! but it made sense to me to start with palette that most resembled what they are likely to be learning in school in terms of subtractive color mixing. if they do learn about additive color mixing, they'll be working with the cmy palette with light, so I figure I'll let this be different at the moment.

I've included burnt sienna after weighing my options, because I think it's important for them to learn how to neutralize colors in a few different ways. burnt sienna and ultramarine blue are such a classic neutral formula, and such a great way to mix something that's nearly black, that it felt important to include. the fact that when you mix it with the phthalo blue you get a green instead of a neutral, I think that's a really great example of how color mixing can be surprising as well.

I'm working on a couple little example paintings to help them see the range that is possible with this palette, so here's one with greens and purples; I'll do one in neutrals overall and another maybe in oranges and teals.

I think for exercises we might want to work up to the colour wheel - maybe starting first with the basics of mxing using different rations to get different colours, and go from there.

If anyone has any advice on teaching this to 9 and 10 year olds, I'd love to hear it! I think they'll be excited to try something new and open up more possibilities for themselves as artists right now; beyond that I won't be particularly intense about it.

Also, do you remember when you learned paint mixing and basic colour theory? What were some moments that stood out to you or stuck in your mind forever?

[paintinginsomnia]

#97. Making Sense of a Complicated Cloud Formation. The Big Book of Painting Nature in Oil. June 17, 2024.

One up: Very simple, layered in the clouds.

One improve: I underestimated this one. The blue sky needed to be stronger to contrast with the clouds. The cloud shadows a bit darker with more color variation (more pinkish towards the horizon). I kept the foreground simple, but the wet on wet blended more than I wanted.

Colors: Titanium white, cadmium yellow light and red medium, yellow ochre, raw umber, cobalt blue, cerulean blue hue, and pthalo green.

[pityroadart]

What are the most important colours in a watercolour case? (Feel free to infodump beyond this question, please)

Hello, that all depends on your subject matter and how you like to paint! Are you going to be painting portraits so need some easy ways to mix a wide range of skin tones? Are you a landscape painter who enjoys having a few convenience greens and browns on their palette? Do you like your paints to granulate, or be easily liftable, or be excellent at glazing/staining? And when will you be using the palette - is it a small travel-sized one where you've got to be quite economical with the paints you choose, or is it a larger palette for use at the studio or at home? Is lightfastness a concern for you?

When I'm building a palette though, I base it around a split-primary palette — so a warm and cool version of each colour. This plus at least one earth colour (burnt sienna or burnt umber) and one convenience neutral (paynes gray or neutral tint) are probably the most important things to have in your watercolour collection in my opinion, especially if you're wanting to focus on colour mixing!

So my basic 8-colour palette would be something like:

cool (greenish) yellow: maybe hansa yellow light, or if like me you're not a big fan of regular yellows, a PY129 (often called green gold or rich green gold) is almost green in masstone but diluted to a lovely and functional cool yellow

warm (orangey) yellow: my favourite would be a quinacridone gold hue - either Schmincke (PR101 + PY150) or Daniel Smith or Roman Szmal (both PY150 + PO48) since they're a slightly earthier but vibrant orangey-yellow, but any warm yellow will do! Other common alternatives are new gamboge, hansa yellow medium, etc

warm (orangey) red: my absolute favourite currently is a PR255 (Daniel Smith pyrrol scarlet or Schmincke vermillion), but other common alternatives include cadmium red light (or cad red light hue), or any slightly orange-leaning red you can get your hands on

cool (purpley) red: a common choice here is a quinacridone rose PR122 or PV19, particularly if you'd be doing botanical painting, but my favourite is a PR254 pyrrol red - a postbox or fire engine red, so not particularly cool, but I really enjoy it with the quin gold in skintone mixes. Another option could be to have a middle red such as this AND a cool pinky-red on your palette.

warm (purpley) blue: the obvious choice for this one is an ultramarine PB29, a colour I think pretty much every watercolourist owns. This is a granulating pigment, but some brands such as Schmincke also offer a less-granulating version (Schmincke ultramarine finest) if you're wanting a smoother colour, or a French ultramarine for heavy granulation. I have both on my palette for different purposes.

cool (greenish) blue: the most common choice is a phthalo blue green shade PB15:3, but I much prefer the slightly cooler phthalo turquoise PB16 (Schmincke helio turquoise) - partly because I enjoy the colour and partly because it neutralises with my warm red PR255 beautifully. If you've gone for a cadmium red light as your warm red, try a cerulean as your cool blue to neutralise and match the cadmium's softness.

brown earth colour: I use this to neutralise with ultramarine and make a beautiful soft black, so my choice would be burnt umber, but burnt sienna works just as well (and is possibly more versatile)! Try and get either of these as a PBr7 pigment if you haven't already, as they tend to have the richest colours and cleanest mixes. Other options could be a quinacridone burnt orange PO48 (which I also have on my palette) , or an Indian/Venetian/English Red PR101, but see which neutralises best with your warm blue. A brown earth is also very useful for mixing darker skin tones, so bear that in mind when choosing.

neutral colour: this is a convenience (multiple-pigment, ready mixed) dark neutral colour that can be used to darken other mixes and in place of black. It's also great for monochromatic studies! Sure you can mix your own with ultramarine and burnt sienna/umber, but I get through a Lot of it so it makes sense for me to have a ready mixed version. Common options are paynes grey (a blue-leaning dark grey), or neutral tint (more neutral of course), but on my main palette I just mixed ultramarine finest and burnt umber together in one well to get my own custom mix. A thing to decide here is if you'd like your neutral dark colour to granulate or not!

These are my personal palette essentials, but everyone is different, so the best thing is to test things out and see what works.

Other resources:

I have a short (but continually growing) YouTube playlist on palette building that could be useful too, and Kim Crick has a great feature on essential colours on her pigment database here which I find very useful.

I hope this is of at least a little use!

[calebwittebane]

CMYK are primaries but in the additive sense, meaning that this applies to inks, like in printers or markers, or otherwise in transparent highly-tinting homogenous stains. you will get red from applying yellow ink on top of magenta ink. you will NOT get red from mixing magenta paint and yellow paint. really, depending on the pigments involved, you might not even get orange from mixing yellow and red paints.

there are many different variables at play when it comes to paint. indeed, in some cases, depending on the type of medium, opacity, tinting strength, and method of applying, they may be following the additive rules, but other than that we are dealing with a secret third thing.

for example there is no one Blue Paint. there are different blue pigments with different hues and opacity and way of interacting with other pigments. prussian blue also known as paris blue is transparent, deep and intensely tinting, has a very wide saturation range depending on dilution, and its hue can be described as cool temperature-wise. cobalt blue is much lighter and with a narrower saturation range, more opaque and stable, and can be successfully combined with some red pigments to obtain deep purple tones. ultramarine is The blue pigment, originally obtained from lapis lazuli but nowadays usually synthetic, and it is intensely tinting, luminous, transparent or semi-transparent with a wide saturation range, neutral to red-toned; it mixes well with reds and browns. and so on and so forth. mixing prussian blue with yellow pigments will yield you a wide variety of luminous intense greens, but you wont get bright vivid purples from prussian blue combinations. cobalt blue and ultramarine on the other hand wont give you vivid greens when mixed with yellow, although you might find the neutral and subdued tones you end up with to be nonetheless appealing. in my personal experience both ultramarine and prussian blue mix quite well with cadmium orange & red and titanium white to obtain various shades and hues of neutral browns greys and medium-to-cool beiges, which do a great job framing more vivid parts of your image to make them pop, as well as perform well as an easy basic palette for shaded areas in daylight snowy landscapes, giving you a nice variety of light temperature and refraction.

my point is, paint isnt ink. and youll need more than just the primaries. if you do half tones, color mixing, subdued but complex palettes etc, youll want single-pigment paints--check the label. the more different pigments youve got in a single tube the more likely it is youll get some muddy bullshit when mixing. look at tint and transparency. get into siennas, umbras, and ochres, and youll understand that earth tones can be just as vivid and velvety and luminous as jewel tones. when working with paint you have to keep in mind that youre dealing with a physical substance with physical and chemical properties, and those also vary brand to brand, with quality and method of production also influencing the rich nuances of their performance.

hey paul!!!

i still get legit mad sometimes, years later, thinking about that big post that used to be going around that was like "art classes lied to you, CMYK are the real primary colors for pigments, not yellow red and blue, so get paints as similar to cyan magenta and yellow as your primaries" ouuuuuuouuurghhggg ggghgrr.

[jannekebooister]

Zoete Zaligheid / Sweet Bliss - white on black by Janneke Booister Via Flickr: Gouache and watercolour on heavy black cardboard. 

Colours used are Zinc White; Winsor&Newton Designer's Gouache and Raw Umber, Cadmium Yellow Hue, Cadmium Red Deep Hue, Alizarin Crimson Hue, Cobalt Blue, Mauve; all Winsor&Newton Cotman and Winsor&Newton Iridescent Medium. 

My own reference 

For a challenge 

Paper size 20 x 30 cm, available 

Het verhaal van dit werk is te vinden in mijn blog / The story of this work can be found in my blog jannekesatelier.blogspot.com/

[ayushpaper]

Unveiling the Best Acrylic Paint Colors for Beginners: Essential Choices and Tips

Step into the vibrant world of acrylic paints, where creativity knows no limits! For novice artists, the task of selecting the perfect palette can be both thrilling and slightly daunting. But fret not! In this blog post, we embark on an incredible adventure to explore the best acrylic paint colors for beginners. Brace yourself for a dazzling array of hues, accompanied by essential tips and tricks, as we unveil the secrets of color selection.

Before delving into the basics of fundamentals of acrylic paint colors, you must have hands on the finest options. Ayush paper serves as your ultimate source for high-quality stationery supplies. Whether you are an aspiring artist or an experienced creative professional, we take pride in offering a wide range of artistic tools to fuel your imagination. From vivid acrylic paints, and watercolor sets to meticulously crafted drawing pencil sets, we are your go-to online platform to buy watercolors online and find the perfect drawing tools for your artistic endeavors. Now let’s redirect our focus back to why we are here.

Unleashing the Magic of Acrylic Paint: 

Imagine yourself holding a brush, poised to transform a blank canvas into a work of art. Acrylic paints, akin to captivating magic, possess boundless versatility. Their water-based composition facilitates swift drying, allowing you to unleash your creativity through translucent washes or indulgent, texture-laden applications. For beginners, the gateway to artistic wonder lies in the realm of acrylic paints.

The Palette Odyssey: Essential Acrylic Paint Colors

Titanium White: 

Resembling a radiant celestial body, titanium white holds an irreplaceable place in every artist’s palette.   Its rich opaqueness makes it ideal for highlighting, blending lighter shades, and conjuring delicate pastel tints.

Cadmium Yellow Medium:

Like a sunlit treasure, cadmium yellow medium adds a touch of warmth to your artistic pursuits. It gracefully dances across canvases, imbuing landscapes with radiance, while also playing a crucial role in creating vibrant greens and zesty oranges.

Cadmium Red Medium: 

Allow the fiery passion of cadmium red medium to seep into your artwork. This radiant hue sets ablaze the canvas, bringing flowers to life, igniting magnificent sunsets, and unlocking a realm of captivating oranges and majestic purples.

Ultramarine Blue: 

Encounter the allure of this deep, midnight charm reminiscent of the vast ocean. With every stroke of the brush, it paints celestial wonders, orchestrates expansive seas, and conducts a symphony of velvety purples. A vital companion for landscapes and seascapes, it adds depth and enchantment to your artistic creations.

Burnt Sienna: 

Step into the comforting embrace of burnt sienna, an earthly reddish-brown delight. Evoking the natural hues of the world, it caresses your artwork with a touch of authenticity, from crafting lifelike skin tones to infusing warmth to landscapes and bestowing a rustic texture upon your creations.

Raw Umber: 

The shade of rich soil, raw umber, holds a captivating allure. It casts shadows with grace, breathing depth into your work. Partnered with other colors, it weaves a tapestry of complexity, enriching landscapes and still-life paintings with its raw elegant presence.

The Art of Color Alchemy: Mixing and Beyond

In the artist’s realm, the mysteries of color mixing and theory unfold, beckoning you to partake in the dance of hues. Explore the alchemical transformations that arise when primary colors intertwine, giving birth to an infinite spectrum of hues, shades, and tones. Embrace the marvels of color mixing, for it is the gateway to unlocking your distinctive artistic voice and expanding the horizons of your creative universe.

A Journey of Limitless Exploration: Begin with a Limited Palette

To traverse the vast expanse of colors, it is prudent to embark upon your artistic voyage with a limited palette. Begin with the primary colors, embrace their harmonious symphony, and grant wings to your creative spirit. As you venture deeper into the realm of artistry, expand your palette, and let your imagination paint the cosmos.

Embrace the Canvas, Unleash the Imagination

Bear in mind, dear beginner artist, that your voyage is not confined to a mere selection of colors. It is a wondrous odyssey where you wield the brush as your wand, conjuring art that springs from the depths of your imagination. Let your creativity flourish as you experiment, play, and embrace the mysteries of the unknown. Paint beyond the confines of traditional lines, blur the boundaries, and fearlessly explore uncharted territories.

The Symphony of Success: Practice and Persevere

Just like any artistic endeavor, mastery comes with practice. Set aside time to hone your skills, experiment with color combinations, and refine your techniques. Embrace the inherent beauty of imperfection, for it is through trial and error that true growth takes place. Keep the flame of your passion burning brightly, and let the canvas become a vessel for self-expression and self-discovery.

The Ever-Evolving Palette: An Artist’s Journey: 

Much like a painter’s brush gracefully dances upon the canvas, so too does the artist’s palette evolve. As you progress on your artistic journey, embrace the expansion of your palette, welcoming new colors into your artistic repertoire. Embrace the delightful serendipity of discovering unexpected shades, blending them with your trusted companions to create a symphony of harmonious hues.

A World of Inspiration

 Explore, Learn, and Share: Immerse yourself in the limitless reservoir of inspiration that surrounds you. Seek out art galleries, explore the works of master painters, and forge connections with fellow artists. Engage in workshops and online communities, where knowledge flows freely, igniting the flame of creativity within you. Remember, your artistic journey is a tapestry woven by the collective wisdom of countless souls who have gracefully danced with colors before you.

Conclusion

May your artistic pursuits be abundant with wonder, joy, and the endless pursuit of self-expression. Embrace the magic of colors, for they are the whispers of your soul manifested on the canvas. Now, dear artist, go forth and paint your dreams into reality.

[aru-yikesb3rg]

(week 7) colour workshop

In this week I experimented with acrylic paints:

Cadmium red, Alizarin crimson Ultramarine, Cerulean Cadmium yellow, lemon yellow Titanium white

I firstly constructed the colour wheel with twelve colours- primary, secondary and tertiary. It was tricky to identify the warm/cold colours in the primary paints at first.

Then, after understanding the biased primary colours, I mixed warm and cool tones to create different secondary colours. For example, mixing cadmium yellow with cerulean, lemon yellow with ultramarine, camium with ultramarine and lemon yellow with cerulean.

For the tertiary colours, I used the purest secondary colours and mixed them with the two primary colours on either side of it on the colour wheel. For example, mixing the purest orange with a warm yellow to make a tertiary orange/yellow and some with a warm red to make a orange/red. 

After completing the colour wheel I focused on complimentary colours- yellow and purple, blue and orange, red and green. I used yellow and purple. For tint, I added white and placed the newly mixed colour underneath, and placed the muddy neutral colour in the middle of the scale (mix of purple and yellow).

Using the scale, I created my own palette with more saturated and lighter colours to make simultaneous contrast.

Here, I made a colour wheel where all the colours are tonally equal to the lightest colour on the wheel (yellow). To make a colour lighter/ desaturated, I added white to each other until the greyscale would be the same as the referenced yellow.

Next, I created analogous colour palettes with colours that lie next to each other on the colour wheel. For example, yellow, green and blue or orange, red and yellow. Additionally, I tried creating colour discords- when two or more hues are juxtaposed which results in a negative reaction or a feeling of vibration. For example, red green and a lilac would be a colour discord. This one was the hardest, as it was more of a trial and error before finding the perfect discord colours.

Despite acrylics being a messy medium, I did enjoy playing around with colours to find what I liked the most and what didn’t work out as well. Practicing creating colour palettes with complimentary and analogous colours is very useful to me, as I like character designing and using hues to create tonal atmosphere in my drawings.

[knightotoc]

tag game :3

Rules: Tag people you want to know better. tagged by @hotbreastedmilf

favourite color(s): Red has always been my favorite color. As a kid I loved ketchup, or did I just love red? My middle name is Rose, and I always loved that more than my first name. I'm bad at making decisions, but loving red means I can always pick the red one. Red in a character's design makes me relate to them (Wakko, Lloyd Irving, Maul, Q-taro Burgerberg), or relate to the guy who's in love with them (Daisuke Motomiya, MJ Watson). Some of these characters have nothing in common with me except red. I don't actually wear red that much since I always think it'll make my skin look bad (it doesn't really). When I worked at an art store, all the paint makers decided one by one that cadmium pigments are unsafe and issued "cad-free" hues. This is bullshit, but I always thought that was very sexy of cadmium pigments to become unfairly outlawed. Golden's Cadmium Red Medium (Chemically Pure) Heavy Body Artist Acrylic Paint is my favorite red.

currently reading: I'm such a slow reader, but I'm going to get started on Sword Stone Table: Old Legends, New Voices. I also have a pile of Star Wars comics of course. Someone needs to kick me in the butt and make me read...not just listen to The Silmarillion audiobook over and over...

last song: "Chasing Rockets" from the 1978 Superman soundtrack

sweet, savory, or spicy: sweet and spicy at the SAME TIME

last movie: I can't remember movie, but last show was Fullmetal Alchemist Brotherhood, which I've never seen before

currently working on: one last illustration for this story I've been illustrating since like February. Then my mom wants me to draw the cover for her book and I need to make something for little sister's birthday.

i tag @cathrynemoon @duckula @permian-tropos @piermanwalter @nervousspacerobot but no pressure

[paintinginsomnia]

#105. Working with Fading Light. The Big Book of Painting Nature in Oil. September 28, 2024.

One up. Happy with this one. I picked up somewhere that you step back and look for things that stand out. Here, the rocks really stood out, but ain’t the focus. I broke up their edges and planes so they don’t look solid. Worked.

One improve: Again, I’m working from a small photo, in a book, printed in 1991. So dark and lacking. Early on I couldn’t care less. Now that I’m getting experience, I’m feeling it.

Colors: Titanium white, cadmium yellow light, yellow ochre, cadmium red medium, alizarin crimson, india red, cobalt blue, cerulean blue hue, pthalo green. Lesson called for more, but didn’t use them.

[canceraquariuscancer]

Types of Aesthetics

*from Aesthetics Wiki

How to create your own aesthetic

Aesthetics 101: Create Your Own Aesthetic

Reminder: It IS possible to mix aesthetics and create your own. 

1. Color Theory 

The color wheel:

The color wheel is a starting concept of color theory. Primary colors are colors needed to create other colors. 

For paint, primary colors are red, yellow, and blue. 

For light, it’s red, blue, and green.

For printing, the colors are cayan, magenta, and yellow. They use subtractive color model, using the secondaries from light. 

We’ll be focusing on the RYB (red, yellow, blue) model. These colors are mixed to create secondary colors-red+yellow=orange, yellow+blue=green, blue+red=violet.

Complimentary colors:

Colors opposite on the color wheel-red & green, orange & blue, yellow & purple. These colors contrast with each other. 

An aesthetic using complimentary colors with full saturation would be Slimepunk. The main colors used are black, green, red, and purples. 

An aesthetic using complementary colors at low saturation would be Warriorcore. The main colors used are brown, red, green, and grays. It’s a common aesthetic on tumblr right now.

Full saturation can be an eye strain while low saturation can make certain images pop.

Split complementary colors:

Split complementary colors take two colors on one side of the color wheel (ex: red+orange) and pairing it with a color on the opposite side of the wheel (in this example, blue). This creates a sense of unity and a sense of energy. 

An example would be Fallencore. 

Analogous colors:

Analogous colors are colors beside each other on the color wheel (ex: red, orange, yellow). These go together harmoniously, creating a sense of unity.

Some aesthetics would be 

Light Academia. It’s main colors are beige, off-white, white, plaid, dim shades.

Red. It’s main colors are shades of red.

YamiKawaii. It’s main colors are black, red, pink, purples. 

Triads:

Triads are colors equally spaced on the color wheel; red, yellow, and blue or orange, green, and purple. 

Some aesthetics would be

Halloweencore. It’s main colors are orange, green, and purple, black, and red.

The Art Hoe aesthetic mainly uses triads-red, yellow, and red. 

Hatchimitsu Core also uses some triads in it’s color scheme. It’s main colors are cadmium yellow, navy blue, white, beige, and warm earth tones. 

          a. Saturation

Saturation uses a high to low scale, where 1 is gray and 10 is the brightest version of the color. This can make something look light or dark, but it doesn’t mean that is is. Saturation is great for focal point, but high amounts of saturation can worsen headaches and seem chaotic. Desaturation can seem tired or old.

 Neon/Florescent Colors:

Neons are highly saturated colors, causing a sense of chaos, disquiet, discomfort, and eye strain. 

An aesthetic using neons are Psychadelica

Scene uses neon colors, which separates it from emo, which main colors are blacks. 

Cyberpunk and Vapor Wave use desaturated colors to prevent too much discomfort. Vapor Wave’s main colors are blue, pink, and purple neons.

Pastels

Pastels are colors that have white added to them, making them tints, and have high value (closer to white than black). Pastels are often baby blue, baby pink, mint, lavender, and lilac. 

Some aesthetics using pastels are

Bubble Goth. It’s main colors are silver, blue, white, black, and pastel pink. 

Pastel Goth, using black and pastel colors. 

Soft Grunge

Pastel Punk, using pastel colors. 

Pastel aesthetics can also show femininity. Some examples are

Lolita and Mori Kei (Miri Kei’s main colors are green, brown, white, pink, and yellows).

It can also be used to convey sweetness and happiness, as used in 

Cottagecore. Cottagecore uses green, brown, yellow, cram, and off-white colors.

Candycore. 

Light Academia can also be put in patels.

Can be used to show child-like qualities like Kid Core, which main colors are pastels, neons, and bright colors.

And innocence and purity, as used in Angelcore and Fairycore. 

Earthtones 

Earthtones are desaturated colors made to look like nature. It includes browns, greens, blues, and yellows. It can symbolize life, nature, adventure, and the woods. 

Some examples of Earthtone Aesthetics are,

Naturecore, Adventurecore (also uses whites/off-whites), and Art Nouveau. 

Bright Colors 

Bright colors have high saturation, but of any hue. They seem childish and hard to style together or bold and by themselves in a single person or group. These are associated with the 70s and 80s, and 90s-early 2000s. 

Some exaples are,

Vintage/Retro

Nostalgiacore. Main colors are magenta, neon greens, bright reds, bright yellows, bright blues, and animal print. 

Art Hoe

Hypebeast 

Wormcore 

          b. Value 

Value is how much white or black is added to a color. If black is added, its a shade and if white is added its a tint. Value is about how light or dark something is. 

Tint=closer to white

Shade=closer to black

Darker colors are more serious, but not more masculine (the “little black dress”), however, tints are seen as purity (white is also seen as pure) and femininity. 

Muted Tones

Desaturated colors and low value. 

Closer to black. 

Used to make things old and official, like in,

Dark Academia. Dark Academia mostly uses earth tones.

Dolly Kei. 

Can be used to fit certain eras such as cryptidcore. 

Can also be used to seem dull and lifeless such as Lovely Darkness.

Gray Scale and Monochromatic Colors

They’re not actually colors, but are colors with different variations in values. 

Examples are

Poolcore, which mainly uses variations in blues.

You can see it in other colors like Purple. 

High Contrast

High contrast is a limited color scheme that relies on the contrast of black, dark gray, and white to achieve it’s effect. Many goths use this color scheme. 

Examples:

Vampire, mainly uses black and red.

Cybergoth. 

          c. Others

Jewel Tones

It was originally based off of crystals and precious stones. It’s main colors are medium to low contrasting purples, turquoise, aqua, emerald green, yellow, and red. It’s seen more in fall/autumn. 

Some examples are,

(obviously) Autumn; main colors being red, orange, brown, yellow, gold, turquoise, violet, and indigo.

Fractal Art

Ethereal 

Crystalcore 

Metallic

Metallic rely on metals. They can be silver, gold, bronze, chrome, steel, and copper.

Some examples are

Y2K, using silver and bright and vivid colors. 

Kinstugi, main color gold.

Crowcore, using rustic silvers, copper tones, white, green, and black.

Cyberprep, using chrome and leather. 

And, arguably, Holosexual, using holographic colors and metallics. 

Cool Colors

It can be cool colors like crimson red and ultramarine blue, and make a different feeling than warm toned reds and blues and make better purples and blacks in paintings, or colors associated with winter or water. 

Examples:

Sea Punk. Main colors are blue, green, purple, and blue.

Ice Punk. Main colors are white, pale blue, and muted pastels. 

Warm Colors

Warm colors are warmed toned, such as Cadimun Red, Cerulean Blue, and Cadimun Yellow. These colors will make better oranges. They’re associated with warmth, summer, or food. 

Examples: 

Coffee House. It’s main colors are dark brown, black, mustard, forest green, and maroon. 

Warmcore. Main colors are soft/pale yellows, warm white, and light grays. 

Golden Hour which is about sunsets, sunrises, and the color gold. 

No Color Pallet or Scheme

Examples:

Cleancore, main colors being pale blue, white, and mint green. 

Goblincore, main colors are earth tones.

2. Suffix Meaning

Academia focuses on academic styles. It doesn’t just focus on studyblr, it can go with other styles like Librarian Chic. It’s not limited to western academics, it can include academics from anywhere in the world.

Core N/A

Goth is a subculture that branches out of 80s punk. Dark clothes, Victorian, and Edwardian era fashion, makeup, and decorations are inspirations, but it has many branches to the aesthetic. Here is more information on goth subculture.

Kei is a Japanese suffix mainly used in the sense of “type”, and can range from theme to personality type. 

Punk is referred to as a time rejecting social norms or a subgenre of speculative fiction. It originated with Cyberpunk, born in a new wave science fiction in the 70s. It can involve anything that would fit into the fictional high tech dystopia, including fashion, architecture, music, products, vehicles, etc. Some exceptions are Pastel Punk and Sea Punk. 

List of aesthetics are posted seperately

[sarahpeach-art]

Textile, using glazed crosshatching -- pt 1 and 2. Pt one allowed to dry before pt 2 applied.

glaze a mix of cadmium red hue + painting medium.

[mysticsparklewings]

Fire Flower

Note: I originally made this painting and typed most of the description towards the end of March. I meant to upload this sooner, but things happened it obviously got pushed way back. Oh gee, would you look at that. It has somehow been 8-9 months since I last made a full acrylic painting... But! I have a video for this one to make up for it! Link: youtu.be/8IgVvgTiZjM I promise I've been trying (and failing) to come up with ideas to do more with this medium. Acrylic paint just isn't my thing. I swear I said this somewhere before, but I have no idea where; It's just hard for me to commit to an acrylic painting when I know I can get the look I want usually much faster and much more easily with other supplies. Acrylic painting just takes so much more time, set up, and patience. This very painting I know I probably could've had done in half the time using primarily watercolor instead, for example. So why is this an acrylic painting instead of something quicker and easier? Because my dear Sparklers, I made this painting and filmed it as a bit of a blending demo for a friend. They tried their hand at an acrylic painting with a sky going from red to yellow...except they lost most of the yellow in the process, and even they weren't really sure how it happened. So since I'm in sort of an art teaching/mentoring position to them, I decided I'd pull out my paints and take a shot at a similar look. Now, to be fair, my end result is very different from their's intentionally. They painted a boat on the water during sunset, I wanted something different and more me, so after some browsing around on Pinterest, I settled on this flower silhouette. I made my own job harder because the reference image had a blue and orange background with lots of black, almost like a vignette, so once I got past the stage of putting the base background colors down, I had a lot more work cut out for myself in trying to replicate that. Speaking of which, you can see most of my process in the video, but a recap just in case: I started by picking out my paint colors, and to be fair I could've gotten away with less or slightly different colors, but I got extravagant and picked a total of nine colors from my Liquitex Basics set (also known as currently the only decent acrylic paints I have):

• Mars Black • Ivory Black • Titanium White • Cadmium Red Deep Hue • Cadmium Red Light Hue • Portrait Pink • Naples Yellow Hue • Cadmium Yellow Medium Hue • Primary Yellow Why the two blacks? Mars Black is a "denser" black so to speak, it's more opaque (less transparent/see-through). The Ivory Black is less opaque, and it's a bit warmer in color than the Mars black. I used the Mars black in areas where I wanted a total and complete black and the Ivory black where I wanted some of the colors from the background to leak through a bit. It's subtle, more of a "feeling" to the eye than something you can clearly see. Also, I used the Portrait Pink, which like the name implies is a very pink flesh tone, and the Naples Yellow Hue (think a shade similar to Yellow Ochre...or fancy Mustard if "yellow ochre" doesn't help you visualize) primarily for blending and not so much for the colors themselves. And the Cadmium Red Light Hue is much more of a reddish-orange in person than it is red, which is why I picked it. It's also pretty transparent (yellows and oranges often are in acrylic paints, especially more student grade ones like the Liquitex Basics) so it also got lost in the mix fairly easily and I had to build it up a lot. In the video, you can definitely see as I start that I do indeed do a lot of back and forth with the paints, blending and layering to my heart's content to try and get the right color balance while also getting a smooth transition. And this goes on for quite a while; the background was definitely the part that took the longest. Initially, I did sketch in a couple of lines as markers for roughly where I needed certain parts of the gradient to begin and end, and with the paints, I went in and got down the base of red and yellows so I could then start working on marrying the two together. And I have to admit, even I let my yellows get a bit lost/pushed down more so than I would've liked. It's a difficult balance to strike; red is already a strong color that easily overpowers yellow. It's even easier when the yellow and your transition colors are more transparent while the red is more opaque. And even more so when your painting has a vignette feel to it. But once I finally had something I was comfortable with and blocked in most of the black (which was a pain in the butt to blend out, by the way, as I'm sure is obvious by how much I go back and forth with it in the video, misusing a fluffy watercolor brush as a mop brush to blend), I then took my outline for the silhouette that I'd already prepared on another piece of paper and used a Faber Castell Gelato (first a gray, then later I'd use a black) on the back to be able to transfer it on the canvas by tracing it with a mechanical pencil with the point pushed in. Personally, I really do think the Gelatos are the best method I've tried for making faux-transfer paper. They're soft so they transfer the color without much fuss without making a powder smudge-y mess (like charcoal, chalk, or pastels might), and they're also water-soluble so they play nicely with the wetness of the acrylic paints, especially if you've thinned them with a bit of water. Then I got the lovely challenge of trying to paint and blend out a nice bright setting sun on top of the blackish mess I'd made.  (It actually wasn't that bad; the Titanium White is pretty opaque so once it mixed with the yellow and I got a couple of layers on it really didn't have any problem covering the darkness that it had to.) After that, I transferred again some of my lines I'd covered up and then got to work on the black silhouette parts. I did have to alter the look slightly because I wasn't quite as careful with lining up the placement of my "transfer paper" that second time and also because the brush had different ideas about how much black should be in some places than I did, but it wasn't too much of a hassle. And then, of course, the real challenge of blending the black up to meet the silhouettes without completely covering up my sun or messing up my other blending. Although, this also wasn't as tricky as I had thought it would be. Ironically, I think by the time I got this far I was finally starting to get a handle on the acrylics after having been away from them for so long.   Believe it or not, this tiny 4"x6"  painting took well over two hours to complete. I had at least two hours of footage that I trimmed down and sped up like four times, and that doesn't include the dry time in between two background layers, the background and the sun, and then the sun and the silhouette. I'd say it was probably closer to 3 and 1/2 hours total, although technically longer because I kept getting interrupted by things and I had to figure out how to set up the camera and everything before I actually started painting. Once I was done with the painting, I also had to actually edit the thing together, which took many more hours than I bothered to document or care to admit. (P.S. Whoever decided all free video editors that don't come pre-installed on a computer either must have stupidly low export limits and/or super obnoxious watermarks, I hate you.) Yeah, there's a reason it's been almost a year since I last posted an actual video of me making art... It just takes so long to edit everything together and I also have to make an extra effort to get stuff set up before and after for filming...Like, maybe it would be different if I had the space and resources to have an area where I could just leave everything and have a camera set up that doesn't move, but right now when my space is limited and my phone is my camera it's just so much easier to...well, to not. At any rate, here's one. One acrylic painting, and one video. A two-for-one special! Sort of! And I think both turned out pretty okay in the end, at least for someone that 1. Doesn't acrylic paint and 2. Doesn't make videos regularly. I call that a win, wouldn't you? Although, I have a few canvases stockpiled. I really should work on trying to squeeze more acrylic paintings into my art regimen somewhere to use those up, if nothing else... ____ Artwork © me, MysticSparkleWings ____ Where to find me & my artwork: My Website | Commission Info + Prices | Ko-Fi | dA Print Shop | RedBubble |   Twitter | Tumblr | Instagram

[eddypaintings]

Quick self portrait

I didn't like the cadmium red version I had , it came out too purple, so I brought a medium hue version ^^

[cammiluna]

Cammi’s Blog Series on Watercolor #1

Due to several requests from many of my twitter mutuals, I’m going to talk about watercolor for a few posts.

This is everything based on my own experiences and my suggestions or methods are in no way “the right way to watercolor.” There’s pros on youtube that can teach you how to watercolor like a champ.

I just draw silly characters!

in THIS post, I will list my suggestions on watercolor supplies to purchase for getting started. Later posts during the week/month of February, I will go into defails on specific kinds of paints, paper, brushes, palettes, and then some.  A table of Contents will be added to this original post as more posts are added to this series.

All price estimates are in US dollars

1: My Personal Favorite:

Daniel Smith Essentials Set of 6 ($30 on Amazon)

Daniel Smith Primatek Introductory Set of 6 ($25-30 on Amazon) 

Meeden Empty Watercolor tin with 12 half pans ($11 on Amazon)

Interestingly enough, now Daniel Smith has a 15-color pan set for about the same price as this setup, and it has all the essential colors except for New Gamboge, but it doesn’’t include any of the gorgeous Primatek colors, and the lid isn’t made for mixing color (the water spills onto your lap) so you’ll have to buy an additional palette anyway. Still, iif the colors in that set are up your alley, go for it! 

Daniel Smith has been my dominant paint choice for almost a year now; getting them last February and taking a few months to get used to them after using cotmans for two years and artist loft for the 10 years prior. I didn’t think artist grade paint would be worthwhile for the likes of ME because I just draw character doodles and not landscapes or textures that rely on high-pigment paint to really shine, but I was wrong.  The colors lay down so much better and you use less paint per drawing because of the high pigment load. I’ve painted a lot more in 2008 than I have in previous years and none of my tubes are close to running out!  The Plague Knight and Mona drawing posted above was done with artist grade paint.

I’ve expanded since then, buying another tube of Daniel Smith when I was able to go to Blick with a small wad of cash, or get a Winsor & Newton Artist grade tube for $5 with a Michaels coupon.I also repurposed my Cotman box for my current paint set. I can’t remember how much this whole palette is worth together, but the initial 12-color+metal case setup was about $70 (the primateks gifted to me), and then I added a new color every several weeks or when I felt like I really needed something else.

2: The Simple Budget Grab-n-Go

You are very new to watercolor, not sure if you are willing to commit, or you’re just plain not in a situation where you can be spendy.

Maybe you’ve used those $5 watercolor cake sets and you’re tired of the chalky powder rubbing onto adjacent pages when the paintings dry in your nice Moleskine book

Winsor & Newton Cotman: Sketchers Pocket Box. These days, you can get it for around $13 on Amazon.

There are LOTS of different cotman sets, but this one has two kinds of reds, two blues, two yellows, two greens, and 3 neutrals, which, if you’re a beginner, is a great way to learn about color mixing. It also has some of the most popularly-used colors in the world of paint, such as burnt sienna, french ultramarine, cadmium yellow [hue], alizarin crimson, sap green, and the pthalos, so you can develop familiarity with these and easily find tips and tricks on using them online. Any color you don’t like later on can get tossed in the garbage and replaced with another color (I’ve replaced black with Paynes Grey, white with Cerulean Blue Hue, and Burnt Umber with Van Dyke Brown).

You can make all sorts of colors with this, and you won’t get overwhelmed with having too many colors to glance over.

Refills and additional colors are available for $5+ each

It comes with a small brush. You may not like it. 

Cotman Brush Pen Set, $17 on Amazon.

I’m not a fan of color setup except for the inclusion of Paynes Grey, Turquoise, and a really nice purple, but I LOVE this box!  It comes with more mixing space on the lid and a waterbrush that I think works really well. It’s a very thin tipped brush, so if you want something to more easily paint over larger areas, I suggest getting a medium size waterbrush listed below.

If you don’t like waterbrushes, a foldable pocket paintbrush can fit in the slot just fine.I’ll have a separate post on paintbrush details.

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The main issue with cotmans is that they carry less pigment than more expensive pants as these are student grade. Many of the colors are still vivid and wonderful, and you’ll just have to layer some colors a few times to get some really bold color application on the paper. Many people use cotmans just fine.

avoid Van Dyke Brown at all costs. Look at this Banjo!

3: More Colors for your Buck!

You don’t care about mixing or portability, You love color. you want to explore all that’s available in paint or want to build a collection that’s as big as your copics.

You have options, my friend!

Kuretake Gansai Tambi, $30 on Amazon, $40 on JetPens. I do not recommend these if you like to mix colors or complex layering because these don’t handle that well. I’ve tried layering color on commissions and it would just lift the bottom later of paint after it dried a week prior, and this nearly destroyed two commissions. HOWEVER, if your watercolor style is simple shading, bold, flat colors, using the white of the paper for highlights, this set will be a terrific friend of yours. The pinks, greens, and blues are absolutely fantastic and I use it for my Superstar Saga art whenever I’m home. 

The paint is really opague unless you water it down a ton. It’s still going to look great regardless.

Smaller sets of this are availablle, but since mixing more than two colors at a time doesn’t work out very well, you might as well go with the largest set.

There’s also the option of larger cotman sets with a half pan set of up to 45 colors for $55 on Amazon.

Paintbrushes

For this post, I’m going to briefly list some travel brushes. a more detailed post about bushes will come in the near future.

The main points are:

You would want a water brush if you like to paint with water in the brush, or paint on the go with no real opportunities to put a water cup down anywhere.

You would want a synthetic paintbrush if the stiffness works with your painting style and you want the brush to hold more pigment than water You can get these in assorted price ranges, but the super cheap ones  will wear down and need frequent replacement.

You go for a natural hair paintbrush if you want to make really long paint strokes or paint large areas without having to re-add paint and water to the brush so frequently.  Most of these are pretty expensive.

Anyone may tell you “natural hair brushes are the best brushes” but this is completely up to preference and painting habits Any small brush over $10 will last you a long time if you take care of it. Unless maybe it’s from Artist’s Loft.

A good size main brush (particularly if you do A5-sized paintings like me) is a 6 round. if you could only afford one brush, make it this one. This would be your go-to brush that can do thick fills, tight corners and thin lines as you need. Other size and shape brushes can be added to your set as you feel you need or could afford them later on.

Pentel Aquash waterbrush: $10 on Amazon. You simply fill the barrel with water, and the brush will drip water from the bristles and let you paint without needing to dip the brush into a jar of water. You won’t need a jar of water at all!  Some people love the convenience, some people hate how out-of-control the water flow gets.

I recommend the medium for a main brush. If you need a finer point for details, you could get one as a secondary brush, but if you feel you don’t need it, then just the medium is fine.

I just started using the Pentel brand a couple of months ago and can’t give judgement on them yet. Other brands I’ve tried before needed replacing at least twice a year with regular use.

I love travel brushes because I like the bristles to be protected when I take them places.  Normal handle bushes can be cheaper or longer.  Personally, I don’t look for brand names when picking brushes, I look for the material of the hair.

Both Escoda and DaVinci make great Red Sable brushes, and they have been my mains for two years. Expensive as they were, they are still working great and have perfect sharp points 18 months later. Not to mention, I’ve made the money back through watercolor commissions, in which these brushes allowed me to complete more commissions in less time.

White Taklon has worked well for me for synthetic brushes. Princeton has been my regular brand in late 2008 since I was able to snag those at Michaels in the mixed media brush section.

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That’s it for now! Next post I’ll cover watercolor paper.

[akuainks]

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Cadmium Red Medium Hue -- a deep, strong, mid-range red. We offer a hue as traditional cadmium contains heavy metals. #akuainks #printmaking #whatsonyourpalette https://www.instagram.com/p/BxcPi35FNGC/?utm_source=ig_tumblr_share&igshid=18ottcvg7rokx