Another 2fer

Enyaw

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97.jpg

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Both are 11 x 14 inches .. acrylic on aper .. alla prima .. painted Oct 18 and 19 of 2025
On the second one, on the blockin, I started with 3 blacks and yellow for light
.. blueblack, brownblack, and red black. Blueaberries = blueblack, Plumbs = Red Black, and the foreground a mixture of all three ..
 
Both are lovely.. beautiful flowers and reflective vase.
and it's interesting how many types of black you need for 2...
 
These are gorgeous but we’ve come to expect that. The blue vase is as beautiful as the flowers. So you used three different blacks for the second painting? If you have time could you explain that a bit more please? Did you test the blacks first to find out which way they lean? I think you got some very natural colors - and maybe it’s good to include black on a palette if it’s the right black. Super work, Wayne.
 
Thank you Jade. You don’t need them but they help make it better. It’s like the bandaid Mon put on your scrapes as a kid. All for looks.

Thank you Donna.
Blue=black .. Umber and Ultramarine …. blue and brown mixed blue dominant so if you put a tad in white it’s blue tainted. Then the opposite letting brown be dominant. For red I used crimson and hooker green with red dominant. You have to get it on each side. Each black is different in hue with red and brown being warm and blue cold. I heard it was not all that noticeable but it helps things stay in their own zone. They are not really black but black for all appearances and as they contain no black they are colorful and reflect. Yes, you must know which way they lean. It’s an easy mix. My block ins I keep to a max of 5 values. I have a five value scale under the glass of my palette for quick reference. ONCE I HAVE FIVE VALUES I then shift to color keeping to the values but changing them slightly when I get to detail.
 
Thank you Grapes ... I did a minor tweak by darkening behind the blueberries and adding a dark line on the big bowl and then connected both bowls with a little glaze. I've never done glazing but I like it.
 
Thank you so much for explaining that, Wayne. When you said different blacks I thought you meant black from a tube. Your mixed "near" blacks are so natural looking. I will have to try it out with the colors I have. Five values for block-ins ... now we know your secret. Thanks again for sharing the info.
 
Yes, I remember our professor’s teaching us never to use straight black if you can help it. Better to make your black. It’s just richer and is not flat or “dead” to the eye. This will avoid that. I like putting some reds in my black or l phthalo green. Or just mix paint together so you’re not using black from a tube to mix at all.
 
Donna. I have no secrets.sometimes I use three or four but as a rule not over five. The rest of the values will call for their space when you put it back together.

Christine. I used to do that to make a blue black ie blue and black but it’s not as effective as blue and brown. Pynalo for cool Ultra for warm.

Thank you Bethany.
 

🎨 Chromatic Blacks Mixing Chart


Base ColorsTone / TemperatureNotes & Uses
Ultramarine Blue + Burnt UmberNeutral-Warm BlackClassic mix. Deep, slightly warm. Excellent for general shadows and natural light. Add more Ultramarine → cooler. Add more Umber → warmer.
Prussian Blue + Burnt SiennaWarm BlackRich, transparent dark. Excellent for wood, interiors, and warm-shadowed environments.
Phthalo Blue + Transparent Oxide RedStrong Neutral BlackPowerful, staining. Produces a high-chroma dark perfect for glazing or modern palettes.
Alizarin Crimson + Viridian (or Phthalo Green)Cool BlackBeautiful bluish-black; transparent. Ideal for reflective darks, water, night scenes.
Ultramarine Blue + Transparent Oxide Red + a touch of Yellow OchreNaturalistic Earth BlackBalanced three-way mix (R, Y, B). Feels “earth-made,” perfect for skin shadows, still life.
Phthalo Green + Quinacridone MagentaCool-Violet BlackDeep violet bias, extremely dark. Excellent for grapes, plums, rich fabrics.
Cobalt Blue + Burnt SiennaMedium Neutral Black (light-valued)Softer, grayer dark; great for atmospheric passages, not heavy shadows.
Ultramarine + Raw UmberCool Brownish BlackSubtle, subdued; ideal for old wood, aged paper, or interiors.
Phthalo Blue + Cadmium OrangeCool Neutral BlackClean, modern neutral; intense in tinting strength — best used thinly or with white to explore undertones.


💡 Notes on Use

  • To test neutrality, add a touch of white — the undertone tells you what’s dominant:
    • Blue undertone → cool
    • Red/purple → warm
    • Green → needs red correction
  • For consistency across the painting, keep one “black family” (like blue-brown) and shift bias slightly for local temperature.
  • For glazing, use transparent pairs (like Alizarin + Viridian or Phthalo Blue + Transparent Oxide Red).
  • For opaque passages, use earths (Burnt Umber, Burnt Sienna) and Ultramarine or Cobalt

I got this from AI. There is a wealth of information there if you pose the question. Of course it’s a computer so garbage in equals garbage out so it’s not perfect but it sure can help resolve some issues.

I used Hookers Green and Crimson for red or green blacks so the chart is by no means full and complete but it’s a starting point
 
Thanks for the chart, Wayne. My tube of Gamblin chromatic black is made up of quinacridone red and phthalo emerald. I don’t own many of the colors on the chart but maybe someday I can collect them.
 
actually I think you can get by with Ultramarine Blue, Pthalo Blue, Raw or Burnt umber, Burnt Sienna, Crimson or Perm Rose or similar, and a Green .. Vird, Hookers, or Pthalo .. either or of the greens and reds ... You can also use Cad Red and Green .. I'm sure you have most of those
 
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