RE: First steps into tri-colour gum
Yes, that is a good book. Wilcox's "Yellow and Blue Doesn't Make Green" is good too. Painters use slightly different terminologies and they describe hue slightly differently too, but you can still get concept out of the books. The main idea is if we have pigments with pure hue, then you can mix any desire hue theoretically, but our pigments are not pure in hues, so if you know what the impurity is (by that I mean the hue impurity although the pigment itself might be pure in composition), you can use that to your advantage. Just a quick example, if we have pure red and pure yellow (I am using painter's term now), then mixing pure red and pure yellow will give you pure orange. But we have a wide varieties of red. Cadmium Red leans a little bit toward orange (which means it has some yellow impurity as far as hue is concerned). Alizarin Crimson leans a little bit toward purple (which means it has some blue impurity). If you want good orange, then use Cadmium Red + yellow; if you want slightly unsaturated orange, use Alizarin Crimson + yellow. Of course we have different hues of "yellow" too. And blue has different impurities too. Even thalo blue can have a green tone or purple tone. So you can mix up good green to emphasize your leaves if you want to, or mix differently to de-emphasize your leaves but emphasize your flowers..... Dave > -----Original Message----- > From: Henry Rattle [mailto:henry.rattle@ntlworld.com] > Sent: Saturday, February 09, 2008 3:26 PM > To: alt-photo-process-l@usask.ca > Subject: Re: First steps into tri-colour gum > > You might be interested in Nita Leland's book "Exploring > Color" which was recommended on the list some years ago. It's > really for painters but has a lot to say to gummists. Her Old > Masters palette is raw sienna, burnt sienna and Payne's grey. > I've done some prints with yellow ochre and burnt sienna over > cyanotype which have a nice old-world feel to them. > > Best > > Henry > > > On 9/2/08 18:34, "Keith Gerling" <keith.gerling@gmail.com> wrote: > > > My favorite pallete: paynes grey for the blue, raw umber for the > > yellow, and burnt umber for the red. Sounds pretty bland > but you'll > > be surprised. > > > > On Feb 9, 2008 12:07 PM, Christina Z. Anderson > <zphoto@montana.net> wrote: > >> Hi John, > >> More natural pastel? Raw Sienna for the yellow (quite > weak), Daniel > >> Smith > >> PR209 Quinacridone coral for the red, and ultramarine blue for the > >> blue and/or cut pigment load way down on any color combo. > More pop? > >> Rowney Permanent Yellow PY 138, Perylene Red PR178 DS and > thalo blue. > >> Or increase pigment load. The Rowney Yellow is soooo yellow it is > >> very easy to overdo it, a good thing if you want to do > Pop. However, > >> Pop usually has some form of hot pink in it and you might > be better > >> served with a quinacridone magenta > >> PR19 like M. Graham Quinacridone Rose. > >> Chris > >> > >> > >> ----- Original Message ----- > >> From: <john@johnbrewerphotography.com> > >> To: <alt-photo-process-l@usask.ca> > >> Sent: Saturday, February 09, 2008 6:49 AM > >> Subject: First steps into tri-colour gum > >> > >> > >>> Hi list > >>> > >>> > >>> > >>> Those of you that print tri-colour gum, (with or with out > >>> cyanotype), can you suggest two palates for me to try? > One, I want a > >>> pop art type of feel and the other a more natural perhaps > verging towards a pastel feel. > >>> > >>> > >>> > >>> Additionally I remember seeing a 'fake' way of gum printing that > >>> gave the illusion of a full colour print but can't find any info. > >>> Can anyone point me in the right direction there please? > >>> > >>> > >>> > >>> Many thanks > >>> > >>> > >>> > >>> John > >>> > >>> > >>> > >>> www.johnbrewerphotography.com > >>> > >>> > >> > >> > >> > > > >
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