Is Raw Sienna a "Shortcut"?
The
list of artists' pigments, evolving over centuries,
includes 530 entries, with some 44 achieving the
status of "standard" pigments. By what
criteria are colors added to the list?
(The second of three articles on this subject.)
By John Howard
Sanden
arlier
this year, I was present at an artists' gathering
at which a speaker condemned the use of certain
pigment combinations in portrait painting as
"crutches" and "shortcuts."
Before a large audience of portrait artists
which included me (I had addressed the group
the day before), the speaker opened his two-hour
presentation by specifically condemningby
namethe use of my Pro Mix Color System.
What follows here are a few observations in
response.
Each
color beyond the three pri-
maries
found its place in the list-
ing
(of 530 artists pigments) as
a
direct response to a perceived
need.
That perceived need,
more
often than not, was for a
starting
point closer to a desired
destination
than that afforded
by
any existing pigment.
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The famous Ralph Mayer treatise entitled The
Artist's Handbook of Materials and Techniques,
in its Revised Edition (The Viking Press,
New York, 1985) includes a definitive listing
(beginning on page 36) of 530 pigments that,
over the years, have been used by artists. Of
these 530, approximately 44 pigments have earned,
by consensus agreement, a permanent place on
the palette. Most artists settle on a list of
twelve or fifteen. But the allure of new pigments
has persisted, as painters have sought to achieve
specialized effects, or to achieve desired results
with less mixing time.
Mayer notes that, over the centuries, pigments
have entered the listing bearing the name of
its formulator (Van Dyck Brown, Casali's Green,
etc.), the national group from which a color
concept emerged (English Vermilion, French Blue,
Venetian Red, etc.), or the name of the manufacturer
who introduced a particular pigment, such as
cerulean blue, first marketed as Rowney's Cerulean
by the English manufacturer G. Rowney in 1870.
Artists enjoy claiming that, given the three
primary colors in a "pure" form (red,
yellow and blue), every visible shade can be
mixed. Why, then, do we find 530 colors on the
complete list? The answer is, of course, that
each color beyond the three primaries found
its own place in the listing as a direct response
to a perceived need. That perceived need, more
often than not, was for a starting point closer
to a desired destination than that afforded
by any existing pigment.
Is It, Then, a "Shortcut"
to Use Any of These 530 "Unnecessary"
Colors?
A painter, setting out to mix the color observed
on the forehead of a sitting model, begins the
mix using, say, raw sienna as the point of departure,
rather than pure cadmium yellow. The artist
selects raw sienna as his starting point for
the simple reason that this color is closer
to the observed flesh color than would be the
brilliant cadmium yellow. To select raw sienna
as a starting point, rather than cadmium yellow,
is a "shortcut" in the sense that
the starting point is thus closer to the destination.
But using such a shortcut is only common sense,
not a sign of some weakness of character on
the part of the artist, as the speaker at the
conference seemed to suggest.
To imply that to use raw sienna to begin the
mix for a flesh tone is to use a "formula
shortcut," or worse, a "crutch,"
is simply nonsense.
To postulate another example: if a painter,
at work on a landscape, were to begin the mix
for a particular sky color by dipping into cerulean
blue rather than the more 'basic" ultramarine,
and if the reason for selecting cerulean over
ultramarine was simply that the artist thus
began his journey to the desired shade closer
to his destination than ultramarine would place
himto condemn this painter for a weakness
in favoring "shortcuts" is absurd.
In the previous article of this three-part
series, I described how my mentor at the Art
Students League, Samuel Edmund Oppenheim, originally
formulated the seven pigment combinations which
form the basis for the Pro Mix system, basing
his formulations on a life-long study of Velázquez
work. I described how the system works:
Putting
the Oppenheim/Velázquez Pigment Combinations
Into Practice.
The Pro Mix Color System palette consists of
two rows of colors. The top row consists of
twelve standard colors (from left): Ultramarine
Blue, Cerulean Blue, Viridian, Chromium Oxide
Green, Alizarin Crimson, Burnt Umber, Burnt
Sienna, Cadmium Orange, Venetian Red, Cadmium
Red Light, Yellow Ochre and Cadmium Yellow Light.
The lower row consists of (from left): Ivory
Black, Pro Mix Neutral 7, Neutral 5, Neutral
3, Dark 2, Dark I, Halftone 2, Halftone 1, Light
3, Light 2, Light 1 and White. The Pro Mix colors
are adjusted for hue, value and intensity by
mixing with other Pro Mix colors, or with colors
from the upper row of standard colors.
The ten Pro Mix colors are thus not "crutches"
or a "paint-by-number" shortcut. The
ten Pro Mix colors are, in fact, simple traditional
flesh color combinations used by all portrait
artists since the introduction of oil painting.
The artist modifies and adjusts each of the
Pro Mix colorsbased on observation of
the subjectin exactly the same way he
would a color from the standard palette. 78
such modifications are demonstrated in the Pro
Mix mixing chart, included with each boxed set
of the colors.
I would like to summarize my case in this way:
Over the six centuries that oil painting has
been practiced, 530 colors have been considered
by artists for inclusion on their palettes.
In each case, someone perceived that the color's
addition to the palette would solve some particular
need or problem. Most often the purpose was
to make color-mixing quicker and simpler.
From this vast array of hues, consensus has
been found for the inclusion of some forty to
fifty pigments that comprise the list from most
manufacturers. The newest entry in this field
are the very excellent Daniel E. Greene Oil
Colors, manufacturered by Jack Richeson and
Company, with a list of 46 pigments.
My Pro Mix colors, comprised of only seven
shades, began manufacture in 1974. In the 32
years since, 50,000 artists around the world
have experimented with their inclusion on their
palettes. In many cases the Pro Mix colors have
found a permanent place on the artists' palettes.
Let us remember that only three colors - the
"primaries" are actually essential.
Is it, therefore fair to charge that the use
of any of these other pigments (other than the
three primaries) constitutes using "shortcuts"
and "formulas"? Why is it unethical
to use Pro Mix Light 1, and proper to use raw
sienna?
In the case of the speaker at the artists'
gathering in Floridaafter knocking the
Pro Mix colorshe proceeded to demonstrate
for the group using raw sienna, yellow ochre
and other standard "convenient" colors.
Why not just the three primaries?
John Howard Sanden
Next time, I'll go further into color-mixing
procedure, describing how the Pro Mix colors
work in actual painting practice.
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