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With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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NB - most of that is about oil - Zinc is no problem in acrylics, and I'd be quite happy painting on stretched canvas in acrylics too.  I do enjoy painting on stretched canvas in oil, but sooner or later, even after one has been laid beneath the hungry turf, oil paintings on stretched canvas are highly likely to crack.  

Linda Drury

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Thanks for that advice Robert, I will leave it for now and come back to it with fresh eyes. I don't use Zinc white its Titanium white I use. Had a look at Barry Fitzgerald photo's and I see what you mean, they are full of atmosphere. My daughter also does photography a lot in black and white and I quite often use her photo's in my work. She is really very good but I suppose I am biased lol. 

Alan Bickley

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I also appreciate black and white artwork, one of the reasons that I have two etching presses in my studio. One’s a monster that really does need to go! Drypoint and acid etching are among my favourites, the latter being fairly dangerous if you don’t know what you’re doing. I learnt the trade at college so I know what precautions are needed. And not forgetting simple monoprinting, the impact of black and white can rarely be surpassed with colour in my opinion!

Peter Davison

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I use Ivory Black for its' transparency and Blue Black for its' semi transparency but avoid Mars Black which I find to be a deadening pigment. Like Alan and most others I know I start by blocking in darks and then semi tones before applying colour and working up to lighter colours and tones. The best advice I was ever given was 'remember tone does all the work and colour gets all the credit'! Get the tones set right in the painting from the outset orit will always struggle.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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Ken Howard uses Blue-black, so you're in good company.  I can't get on with Ivory Black at all - I agree it has transparency, and perhaps that's where I'm going wrong with it - experiment is called for.  Mars Black is very matte - and that's about all I know about it.

Alan Bickley

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He does indeed Robert, and I do have some in my armoury. There are occasions when it does come in useful. The only brand I’ve found that makes blue-black, is W&N Artists quality, that’s it I think!

Peter Davison

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I should perhaps have added that I rarely use any black on its own, if I want a low number dark I more often mix using Ultramarine and burnt Umber or Burnt Sienna so the dark is not a true black.

Peter Davison

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I should perhaps have added that I rarely use any black on its own, if I want a low number dark I more often mix using Ultramarine and burnt Umber or Burnt Sienna so the dark is not a true black.

Linda Drury

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After taking a break from my painting and after taking Alan's advice and ditching my ref. photo I started working again on my painting this afternoon. Trying to keep to my original colours, the sea has yet to be finished. 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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Like it - it looks rugged, as that coastline indeed does.
IMG_3630

Paul (Dixie) Dean

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That’s looking  great Linda.

Linda Drury

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Oh thanks Robert and Paul, that's really encouraging!!, you were right about leaving it for a while and then go back and look at it with fresh eyes. I always take photos as i'm painting so I can go back and see how I need to improve on it.
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