Unison dark set

Shari · #1 03-06-2001, 01:25 PM

Has anyone tried the Unison dark sets? I am at the point where I could use some more darks. I would appreciate any feedback.

Shari

DFGray · #2 03-06-2001, 03:49 PM

I buy my unison pastels individually and keep the darkest blue, red and umber in my studio for finishing touches on the work I do in the field, I use them sparingly, but depend on them. I had a set of the pale yellow unisons alas they were stolden, I can only afford them individually as budget allows.
regards
Dan

LDianeJohnson · #3 03-06-2001, 04:15 PM

Shari,

This is a great subject. I hope many will contribute to this topic. Dark pastels are always an issue. Those who make their own pastels could give some insights here too.

Here is what I do using only available sets and open stock sticks...

1. Depending on what color the dark is you are trying to achieve...if it is green or blue, there are great dark sticks to use...please post in a message the actual darks you are trying to reach.

2. Whatever dark you need (and at the risk of being attacked here

, black can be your friend. If you have a good, rich black, lay this in the area you want to be dark. But don't leave it black, this is just a base. Overlay lightly applied strokes of the next color you have in it's lowest value. Then go from there. You may have to work back and forth, black to color, color to black, to achieve your desired look.

I experienced this for the first time 20 years ago when in a famous artist's workshop. I had to render a black leather coat. There is no black in a leather coat, just blackish COLOR, shadows and highlights. The artist made me create the coat from available pastel colors I had plus black. It was a challenge, but a wonderful one. Frustrated to this day seeking color in the darks rather than black, there are ways to do it.

It may be that you need to broaden your palette. Since I am not familiar with what you have it is more difficult to give suggestions. But hope this helps

Diane

Roan · #4 03-06-2001, 07:55 PM

Great subject, Diane!

Quote:

Originally posted by Artistry:
1. Depending on what color the dark is you are trying to achieve...if it is green or blue, there are great dark sticks to use...please post in a message the actual darks you are trying to reach.[/b]

For the background in "In Memory of Casey" I used Sennelier black brown -- Sennelier #002 and in places I added actual Sennelier black underneath, then the black brown. I've found that this particular color also works well for darkening reddish browns that you don't want to use black on -- sienna, burnt umber, etc.,. I used it plain for the dark areas on Casey's eyes, nose etc.,. and it's nice and dark :P

2. Whatever dark you need (and at the risk of being attacked here , black can be your friend. If you have a good, rich black, lay this in the area you want to be dark. But don't leave it black, this is just a base. Overlay lightly applied strokes of the next color you have in it's lowest value. Then go from there. You may have to work back and forth, black to color, color to black, to achieve your desired look.

Bah! Anyone who attacks you for this isn't using their noodle :P Black is how most manufacturers make their shades so it only makes sense to use this technique! It works wonderfully, too :P

Anyone have suggestions for greens? I'm not a landscape painter and when I add grass and stuff to my paintings they always look too "bright" to me and overshadow my subject. I have greens in Rembrandt, Schmincke and Winsor & Newton, but I find them all too overpowering. Suggestions, don't care about brand, for dark, dark greens that have several shades?

Would adding a complimentary color, such as red, underneath and then overpainting with green tone them down sufficiently? I know it works to tone down red, just want opinions on going the other way.

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Roan
Call caraid tadhal tric, 's call caraid tadhal ainmig.
-- Friends are lost by calling often, and by calling seldom.
RoanStudio.com <-- pastel open stock vendor sources & reviews!

Shari · #5 03-06-2001, 08:15 PM

Thanks for the reply Diane. I have some very good dark blues from my Unison landscape set, but the dark dark greens and browns are what I am after. I hadn't thought of using the black though, I think I will try it. What I have so far are a lot of Schmincke and Unison landscape set. I also bought the 80 half stick set of sennelier and I like them alot. They have a couple dark colors in there. I am working on a landscape right now that has a lot of distant foliage and I am trying to find the right greens and some different dark blues for mountain ranges.

Shari

Terry · #6 03-08-2001, 08:34 PM

Darks are always in demand. I get requests for them all the time. They take the most pigment when making them, of course. I like to make my darks as dark as possible, then after making them into sticks make lighter versions to off white so I can see the true color in that value also.
Terry Ludwig

cliffwilson · #7 03-12-2001, 01:52 PM

Roan, I keep a few sticks of Sennilier #177 for my dark greens. It's the best I've found for the pine tree shadows up here in New England. I'm always on the lookout for more dark greens though

Cliff

LDianeJohnson · #8 03-15-2001, 03:35 PM

Just catching up here...

Yes, the Senellier #177 is one of the best I've found. Also, if you can get ahold of the old Girault #177, as well as Unison #A43, and Loden #150, and a bit lighter greener dark green, Senellier #211.

And yes, Roan, do use the complimentary colors in the same values to "break" the intensity of your greens without dulling them. In fact, grazing over green using reds, oranges and gold tones can enliven greens or achieve more depth.

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L. Diane Johnson NAPA, PSA
Plein Air Workshops

bk7251 · #9 03-16-2001, 09:44 AM

Diane Townsend recently sent me samples of a few new colors she is adding to her line. One of them was a Dioxazine purple that is almost indistinguishable from black - until you start to blend it with something else. It's so intense, I'm still not sure how I will use it - but I have a feeling it will be extremely useful.

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Barry Katz

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