Re: Lamp black - is it the Devil or not?

From: Katharine Thayer ^lt;[email protected]>
Date: 05/26/05-11:00:18 AM Z
Message-id: <>

Kate M wrote:
> I don't either, but when I do use ivory black by itself, I add blue to
> it to counteract the warmness.
> Me too - Payne's Grey is a good blue/black compromise at high
> concentrations.

Hi Kate,

Above, I was referring only to adding enough blue to the black to
neutralize the brownish cast and make it a neutral black. But I do
sometimes add more color to make a blue-black, or blue-green black.

If you will indulge me in another aside: "Payne's greys" like "neutral
tints" "sepias" and "van dyke browns" (except for the Holbein van dyke
brown) are all mixtures that have no unifying hue or pigment combination
to distinguish them as one recognizable thing. (I touched on this wide
variability when mentioning yesterday that the "sepias" and the "van
dyke browns" are made from the same various combinations of pigments and
cover exactly the same range of hues as a result).

 Some examples of the different formulations of Payne's grey: The Daniel
Smith Payne's grey and the Maimeri payne's grey are ultramarine and
ivory black; the Blockx payne's grey is lamp black, ultramarine, and
pthalo. The Winsor & Newton Payne's grey is pthalo, lamp black and
quinacridone violet. The M. Graham Payne's grey is lamp black and
ultramarine. The Holbein Payne's grey is PR 83 (a fugitive pigment) with
ultramarine, prussian blue, and carbon black. And so forth. I prefer to
mix my own blue-blacks, but this is not to say that I think everyone
should feel that way.
Received on Thu May 26 17:56:00 2005

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