Animal And Wildlife Challenge Dec 2025/Jan 2026
- Thread starter pcj
- Start date
Oh my, l like those greens. 
now with oils and a couple more surprises so I better hurry up. Still one week to go.
Joy
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I am working on the lion, and hope to be done in a day or so.
The last few days got rather hectic, as we were trying to do what was necessary before the half meter plus of snow that is coming tomorrow. It is to stay about -12 to -20 C or lower the next week or so. Our old snow blower finally stopped working late last year, and we were extremely fortunate to be able to get the one we wanted (electric - so much easier to use) before they sold out a week later. A lot of places were sold out in November.
The last few days got rather hectic, as we were trying to do what was necessary before the half meter plus of snow that is coming tomorrow. It is to stay about -12 to -20 C or lower the next week or so. Our old snow blower finally stopped working late last year, and we were extremely fortunate to be able to get the one we wanted (electric - so much easier to use) before they sold out a week later. A lot of places were sold out in November.
Grapes
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Anne & Jade, thank you!
The bg color is burnt umber so it sets a little bit to the orange side. I used ivory black (from rembrant) to the squirrel so it got quite black but I mostly mixed it with blue and where I saw reddish tone I mixed with cad red. This was a test and result is: I can't see as much difference in the different mixes as I had hoped. Should there be visible difference? To the dark accents I used ivory black directly.
The bg color is burnt umber so it sets a little bit to the orange side. I used ivory black (from rembrant) to the squirrel so it got quite black but I mostly mixed it with blue and where I saw reddish tone I mixed with cad red. This was a test and result is: I can't see as much difference in the different mixes as I had hoped. Should there be visible difference? To the dark accents I used ivory black directly.
ams
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You make not always see a noticeable difference but the brain will see the different blacks as more lively and not as dull and flat as they would be with plain black. It makes a difference even though you may not see it. The same goes for white, you can put very light tints in it that someone might not notice but they will still help keep the painting interesting.
Grapes
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Anne, that's a good point! Thanks for sharing! 
I might do more testing with the blacks by bringing Marsh black to this etc.
I was just thinking if other approach could be glazing but that's a long process and I'm more favor of alla prima with the challenges.
I might do more testing with the blacks by bringing Marsh black to this etc.
I was just thinking if other approach could be glazing but that's a long process and I'm more favor of alla prima with the challenges.
Enyaw
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.. if I can join the conversation .. make your own blacks will work much better .. example I use is .. hooker green, Ultra blue, and crimson makes a nice rich black and you can shade it to the crimson, green, or blue all dependent on your mixtures .. lots of colors make nice rich blacks .. phtalo blue and burnt umber and on and on
here is AI .. take on the matter
Mixing your own black paint produces a much deeper, more "luminous" and complex black than using a single tube of black paint. These mixtures, often called chromatic blacks, allow you to create warm or cool blacks that harmonize with your painting's lighting.
Here are five, effective, and rich paint mixtures to produce great blacks:
here is AI .. take on the matter
Mixing your own black paint produces a much deeper, more "luminous" and complex black than using a single tube of black paint. These mixtures, often called chromatic blacks, allow you to create warm or cool blacks that harmonize with your painting's lighting.
Here are five, effective, and rich paint mixtures to produce great blacks:
- Ultramarine Blue + Burnt Umber (Rich, Natural Black): This is perhaps the most popular, reliable, and straightforward mixture for a deep black, often referred to as a "chromatic black". Using equal parts generally results in a very dark, neutral to warmish black that looks more natural than tube black.
- Phthalo Green + Alizarin Crimson (Deep, Cool Black): This combination produces a rich, deep, and slightly cool-toned black, especially when using a high-quality Phthalo green, which is quite powerful. It is excellent for deep shadows or dark, moody backgrounds.
- Prussian Blue + Burnt Sienna (Inky/Cool Black): Mixing a deep, cold blue like Prussian Blue with a warm, transparent orange-brown like Burnt Sienna creates an intense, "inky" black. This is ideal for adding depth, as it can be easily adjusted to be more blue or more brown.
- Dioxazine Purple + Yellow Ochre (Warm, Deep Black): This pair of complementary colors (purple/yellow) creates a very intense, deep, and warm black. It works best when you use a higher proportion of purple to yellow (around 60/40).
- Ultramarine Blue + Permanent Rose (Purple-Black): Combining these two produces a vibrant, cool-toned black with a purple undertone. It is particularly effective for creating subtle, complex shadows in portraiture or in areas where a neutral black would look too dead or "ashy".
- Use transparent colors: Using transparent pigments creates a deeper, more luminous black than opaque ones, as light can penetrate the layers.
- Adjust for temperature: If you want a warmer black, add more brown or red (e.g., more Burnt Umber). If you want a cooler black, add more blue or green.
- Test with white: To check if your black is balanced, add a small dab of white paint; a true chromatic black will turn into a neutral gray, rather than a colored grey.
