{"id":140399,"date":"2018-05-16T01:42:22","date_gmt":"2018-05-16T01:42:22","guid":{"rendered":"https:\/\/www.artistsnetwork.com\/?p=140399"},"modified":"2023-04-21T14:02:59","modified_gmt":"2023-04-21T20:02:59","slug":"color-seven-masters","status":"publish","type":"post","link":"https:\/\/www.artistsnetwork.com\/product-recommendation\/color-seven-masters\/","title":{"rendered":"Must-Have Colors of 7 Master Painters"},"content":{"rendered":"\n

Many artists turn to certain colors time and time again when painting. Whether your signature color is ultramarine blue, or you prefer an array of paint colors but only by a certain brand, finding those pigments that just seem to fit perfectly with your paint aesthetic can be like winning the lottery.<\/p>\n\n\n\n

Below, seven watercolor artists share their favorite paint colors to work with. Maybe one of these following selections will spark a new favorite addition to your own painting palette<\/a>. Enjoy!<\/p>\n\n\n\n

Jonathan Frank<\/h2>\n\n\n\n
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Daniel Smith | Rose of Ultramarine<\/h4>\n\n\n\n

“Rose of Ultramarine from Daniel Smith is versatile<\/strong>, lightfast<\/strong> and gorgeous<\/strong>. Therefore, I quickly discovered its multitasking abilities. It\u2019s particularly useful as a layering color in that it can increase the depth and complexity of cool and dark areas, as well as add texture and rich tonal ranges to warmer areas. I feel that it greatly contributes to the overall richness<\/strong> and luminosity<\/strong> that I strive for in my work.” \u2014 Jonathan Frank<\/p>\n\n\n\n

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Birgit O’Connor<\/h2>\n\n\n\n
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Winsor & Newton | French Ultramarine Blue<\/h4>\n\n\n\n

“French ultra\u00admarine blue is one of my go-to paint colors when mixing greens, deep purples or when I want a nice brown- to blue-gray. Because of its granulating properties<\/strong>, mixing it creates a static-like charge called flocculation. I personally like the effect it gives, but if you personally don’t, hit the drying color with a hairdryer to flatten it. I particularly like the blue-gray combinations of French ultramarine blue when mixed with burnt umber or burnt sienna. As the mixes dry, they leave nice textured transitions<\/strong>, especially in white flowers.” \u2014 Birgit O’Connor<\/p>\n\n\n\n

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Carolyn Lord<\/h2>\n\n\n\n
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Winsor & Newton | Cobalts<\/h4>\n\n\n\n

“The non-staining<\/strong> qualities of Winsor & Newton\u2019s cobalt watercolor paints \u2014cobalt blue, cobalt green, aureolin (cobalt yellow) and cobalt violet \u2014 are perfect for establishing the composition and forms that undergird the fluid application of paint. After mixing the desired color and value on my palette, I apply it to the paper. Then, the pigments suspended in water will settle into the divots of the watercolor paper as it dries. These divots create the impressionistic<\/strong> flecks of color that are characteristic of my work and are especially visible in the lighter value passages of my paintings.” \u2014 Carolyn Lord<\/p>\n\n\n\n

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Betsy Dillard Stroud<\/h2>\n\n\n\n
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Holbein | Grey of Grey<\/h4>\n\n\n\n

“Although Holbein\u2019s Grey of Grey is a watercolor, it has opaque qualities and comes in handy when I want to contrast the lovely transparency of watercolor with a flat opacity<\/strong>. In La Danse<\/em> (below), for example, the background is a soft, beautiful mixture of all the transparent colors used in the painting. Still, it didn\u2019t provide enough contrast. Grey of Grey came to my rescue as I used it to connect a vase with the background. It can be mixed with other paints as well, both transparent and opaque, for elusive colors that make a subtle<\/strong> rather than a bold statement.” \u2014 Betsy Dillard Stroud<\/p>\n\n\n\n

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Jean Grastorf<\/h2>\n\n\n\n
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Phthalo Blue<\/h4>\n\n\n\n

“The color that I rely on is phthalo blue. When I pour my paints (my usual technique), it\u2019s the strongest<\/strong> and coolest<\/strong> color of my triad. I combine it with a yellow, such as Hansa, and the red is red rose deep. Phthalo blue can be thinned to make beautiful transparent hues<\/strong> in a variety of colors. When it\u2019s used thickly, almost out of the tube, it\u2019s the source of my darkest values<\/strong>. Always dependable, it combines well with alizarin crimson, phthalo green and indigo for a range of colorful darks. It goes into suspension well and pours easily. In Reflections<\/em> (below), even the warms have phthalo blue in them but in a weaker mixture. The dark details are partially phthalo with an added warm pigment (alizarin crimson and phthalo green).” \u2014 Jean Grastorf<\/p>\n\n\n\n

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Taylor Ikin<\/h2>\n\n\n\n
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American Journey | Taylor’s Flamingo Pink<\/h4>\n\n\n\n

“Almost every painting I create gets a fling of Taylor\u2019s Flamingo Pink before I sign it. I created this color<\/strong> quite by accident, when I was teaching my adult class. I dragged my 2-inch flat brush through my large, heavily loaded palette, tossed it on the surface and there was a new color: pink! I had the sense to make marks on a clean sheet of YUPO to preserve the integrity of the paint. Then I set about working backward to find the makeup of this yummy color.<\/p>\n\n\n\n

“I use American Journey Paints by Cheap Joe\u2019s; so naturally, I contacted them and sent a sample color. The rest is history. When it was time to name the color, Cheap Joe\u2019s decided to introduce it as Taylor\u2019s Flamingo Pink! I\u2019m forever amazed how a few snaps of a brush loaded with this color can produce that finishing touch that contributes life and energy to my work.” \u2014 Taylor Ilkin<\/p>\n\n\n\n

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Stephen Quiller<\/h2>\n\n\n\n
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Jack Richeson | Naples Yellow<\/h4>\n\n\n\n

“Wherever I’m painting (Ireland, Italy, the mountains of Colorado), I cannot do without Naples yellow. I can add a touch of cadmium red-orange to it and make a soft, fresh yellow-orange. I can add a touch of permanent green light and make a soft, fresh yellow-green. In my painting, View From My Studio, A Soft Day<\/em>, Naples yellow has been used by itself in the central water area. In the upper distant range and sky, I neutralized it with its complement, ultramarine violet. This created the soft hazy atmosphere.<\/p>\n\n\n\n

“In the warm orange snag (the dead standing tree), I added the yellow to cadmium red-orange and cadmium orange to give the tree substance and body. Using Naples yellow not only allows me to get the color I\u2019m after but, more importantly, it also helps me capture the mood<\/strong>, atmosphere and substance<\/strong> that I feel in nature.” \u2014 Stephen Quiller<\/p>\n\n\n\n

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\"must-have
Earthly Remains by Jonathan Frank, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"Oota
Oota by Birgit O’Connor, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"China
China Cove by Carolyn Lord, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"La
La Danse by Betsy Dillard Stroud, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"Reflections
Reflections by Jean Grastorf, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"Morning
Morning Hike by Taylor Ikin, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\n\t\t\t
\"View
View From My Studio, A Soft Day by Stephen Quiller, watercolor painting<\/figcaption><\/figure>\n<\/div>\n\n\t\t\t<\/div>\n<\/div>\n