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not sure if that was the one that used arsenic, maybe that was emerald green
of the past.
anyway, viridian green is probably one that is good, either hue(pthalo) or the
real stuff .
if u are trying to master that may be good to read my post about old master
"bs".
parrish used photography a lot. and looks like he dabbed in tree texture with
a rag or
something. anyway if u use a limited palette of just a few colors may be better,
as the
pure ones only get mixed anyway. unless u are using viridian for a glaze, or
any color
for a glaze, i would use a limited palette of like cad red light, cad or chrome
yellow lt.
ultramarine blue or prussian, burnt umber, flake white or titanium, and ivory
black.
i have some info at this site under the funny stuff link.
http://24.8.1193.129
parrish knew the broken tone and color trick hehe. And simple strong color
scheme,
with Rembrandt/titian light. looks good.
i know that he was kind of like a human printer the way he would do the dark
tonal
patterns and then rest later. i think he did a lot of dabbing too, or dragging.
i think parrish was the best guy ever who tried to use photos to paint like
this. I just
gave that up after trying it out instead of from life.. The resulting images
are flat because the photos
do not exaggerate the anatomy
for u, so u can only depict what the photo shows. master paintings are like
a good play,
everything is exaggerated, so using a photo just doesnt cut it unless u use
the photo first,
then work from life, but the prob with that is that then u are tense not to
ruin the photo
underdrawing/painting hehe.anyway any colors departing from the basics
are pretty much for their transparent qualities for glazing in special applications.
if people actually looked at the colors in the finished painting, and make a
palette from
that, they'd be surprised at how few there are, but lots of changes in them
kind of like
a few chords, with lots of minors and majors in between hehe.
well thats just my opinion tho.
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