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Syd Edward

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Lets asume that we all know that most trees dont have brown trunks. Alwyn Crawshaw paints wonderful trees using a mix of ultramarine,alizaron crimson,hookers green no. 1 and yellow ochre. This produces a general colour of a greenish grey varying from a dark trunk to a lighter one and with practice does the goods for my trees and I always try the mix out on a bit of the margin of my.sheet of paper. ....What do other artists here use in their mixes for trunks and I dont mean " shades " of black ?......Syd

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by SydEdward

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

Robert Jones, Napa

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A variety, but it's amazing how often it turns to brahn, despite my best efforts. However - here's a few: viridian and burnt sienna; ultramarine or cobalt blue and burnt sienna; pthalo blue or Prussian blue and burnt umber. Those work in oil or watercolour. Depending on make/intensity, I might substitute raw under for burnt. Also Brown Madder Alizarin plus a blue; and probably all sorts of other mixes I don't even think about but just go for instinctively.

Peter Davison

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When using watercolour, which I do infrequently these days, I use a variety of greys slanted to green, blue, yellow or reddish depending on what I want, the actual mixes vary The key is to remember what Constable replied to a fellow artist on a painting trip in Suffolk when his companion looked at the scene and asked 'Where are you going to position the brown tree'. Constable is reputed to have replied 'Never in my life have I painted a brown tree!'

Phil Kendall

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Posted
Try this with acrylic inks...both wet on dry & wet in wet.
michael

Michael Edwards

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In watercolour whatever colours are to hand - greens, light red, ultramarine, burnt sienna, raw sienna etc. the trick is not to mix them together but to put them on in graded washes and allow to intermingle of the paper so that the original colours sparkle through.