A lot of painters seem to like the burnt umber/ultramarine black, but my favorite black mix is alizarin crimson and phthalo green. It results in a very lively black, especially when not completely mixed.
This is the most-cogent explanation of paint mixing I have yet encountered. I've tried explaining this before but never managed to do so with such clarity.
Loved how informative these eight instructional videos were. Very helpful. I was discouraged with the water soluble oils because the results weren't the same as traditional oils.
Thanks Don, I tried W&N water mixable oils over a decade ago and hated them. Nothing dried. I stopped oil painting for a few years and just started again. Found your Cobra series invaluable. I tried a small set of cobra oils and the difference was night and day, these feel like real oils, not oddly tacky like W&N and they dried within a reasonable time. I learned a lot about the products and how to use them properly. You did a fantastic job and were quite engaging making the series not only informative but also enjoyable to watch. Ordered a assortment of colors that I like to use and each of the mediums to try. Looking forwards to some solvent free painting.
Adrian Tyson I have no idea why your WN wmo paints wouldn't dry. I have been using them for a few years now with no problems. I tone/tint my canvas with raw sienna or other earth tones and in a day or two they are dry enough to begin layering. Final paintings are generally dry within a month depending upon the thickness of the paint layers. Compared to the six months or more drying time of unmodified oil paint I don't find WN wmo paints to be an inconvenience Happy painting.
Thankyou very much Don, for a splendid walk through what used to ( seem to be ) a complex subject- all made very easy to follow & simple to undersand by your eXcellent narration. As an aside, ( I have only just stumbled on your site) I also use an airbrush, & I am now thinking,.. this water additive process will be better than acrylic & allow multi-layers of fine glazes to be built up into glorious luminous colours. Can I be so bold as to ask your advice on this. I personally do prefer 'Oils' over other mediums. Thankyou again & Kind Regards.
Hi, thanks for your comments. Although we have no experience of using watermixable paints with airbrush I suspect that the pigment particles will be too big to use and will clog up your airbrush....but it might well be worth trying so long as you thin down with a lot of water to get the right paint consistency; although, to get the paint thin enough for airbrushing may require thinning so much that the structure of the paint would be undermined and because it will run more easily as a result of the slower drying time, it may just be that acrylic airbrush paints are the better option all round.
Don, Thank you so much for this series. You clarified the use of water based oils in a very articulate and understandable manner. You have a gift for teaching. Now I know how to best use my medium. Gina Wood
Two Qs this series did not answer: 1. Can Cobra water mixable oil paints be reactivated with water or other medium once they have dried on the palette? The way watercolour or interactive acrylics can. 2. What kind of brushes should we use with these paints, i.e. can I use the same brushes I use for my watercolours (as I am using water to thin and blend both media)? Or do I need to buy 'suitable for oil paints' brushes? Please can you explain these two points? Thank you.
No, you can’t re-activate them, after they’ve dried on your palette. I’ve found it then becomes loose, but like just bits of color. It’s not like watercolor or gouache. I use (among other brushes meant for oil, also some cheap watercolor brushes. Mainly for fine details, just wash them after use. And I read elsewhere not to use real hair brushes.
Common mistake about mixing all colors with split primary palette. Not possible to mix really saturated oranges and greens, and, depending on actual color choices, violets too. Suggestion to read color theory on handprint.com.
I want to try Cobra after using W&N Artisan ,but notice there is no Alizarin Crimson in the Cobra. Pity Has anyone any tips for using another closest red?
@@JacksonsArtSupplies thanks. now I know I can get as good a purple with this if mixed with ultramarine as with alizarin BTW It would be useful if there is a guide which relates to the how much towards other colours of the spectrum each colour relates e.g. which red or reds lean towards blue or yellows towards blue etc. Thank you
Some of the explanation towards the end is wrong. We absolutely cannot make every saturation that we want. The saturation of two (or more) mixed colors will only be as strong as the saturation of the weaker of the two and no matter what two we use it will never be as strong as the most saturated single pigment color, assuming one is available, for the hue produced.
In the illusion of a painting it is true. True color theory is not how saturated a color is scientifically but how colors relate to other colors in the image. Therefore what he said is true. What you also say is true in a scientific sense. However it does not really matter, this understanding will give you a deeper knowledge of colors and is therefore the correct learning to give.
Love all eight videos, much appreciated! They did clarify all my questions. Can't wait to grab my Cobra paints and work with them. Cheers!
Absolutely brilliant. One of the most thorough and clear explanations about oil paint I have watched. Thank you 👏👏👏
A lot of painters seem to like the burnt umber/ultramarine black, but my favorite black mix is alizarin crimson and phthalo green. It results in a very lively black, especially when not completely mixed.
Fugitive alizarin?
This is the most-cogent explanation of paint mixing I have yet encountered. I've tried explaining this before but never managed to do so with such clarity.
This was an excellent 8 part class. Thank you!
This is really a great series, very instructional and to the point. Highly recommended.
Wonderful series by Don! LEarned a lot on all the lessons
Very interesting but as a beginner I would have loved to see a close up of the canvas as you applied the colors. Thank you.
I have been curious about water-mixable oils! Good information - I love a review!
Loved how informative these eight instructional videos were. Very helpful. I was discouraged with the water soluble oils because the results weren't the same as traditional oils.
Fantastic, so pleased the series had helped you see the merits of water mixable oils!
Thanks Don, I tried W&N water mixable oils over a decade ago and hated them. Nothing dried. I stopped oil painting for a few years and just started again. Found your Cobra series invaluable. I tried a small set of cobra oils and the difference was night and day, these feel like real oils, not oddly tacky like W&N and they dried within a reasonable time.
I learned a lot about the products and how to use them properly. You did a fantastic job and were quite engaging making the series not only informative but also enjoyable to watch. Ordered a assortment of colors that I like to use and each of the mediums to try. Looking forwards to some solvent free painting.
Adrian Tyson I have no idea why your WN wmo paints wouldn't dry. I have been using them for a few years now with no problems. I tone/tint my canvas with raw sienna or other earth tones and in a day or two they are dry enough to begin layering. Final paintings are generally dry within a month depending upon the thickness of the paint layers. Compared to the six months or more drying time of unmodified oil paint I don't find WN wmo paints to be an inconvenience Happy painting.
Many Thanks you Guys at Jackson's Art for courteous reply. I'll try a small tube, & experiment. Cheers.
Thankyou very much Don, for a splendid walk through what used to ( seem to be ) a complex subject- all made very easy to follow & simple to undersand by your eXcellent narration.
As an aside, ( I have only just stumbled on your site) I also use an airbrush, & I am now thinking,.. this water additive process will be better than acrylic & allow multi-layers of fine glazes to be built up into glorious luminous colours.
Can I be so bold as to ask your advice on this. I personally do prefer 'Oils' over other mediums.
Thankyou again & Kind Regards.
Hi, thanks for your comments. Although we have no experience of using watermixable paints with airbrush I suspect that the pigment particles will be too big to use and will clog up your airbrush....but it might well be worth trying so long as you thin down with a lot of water to get the right paint consistency; although, to get the paint thin enough for airbrushing may require thinning so much that the structure of the paint would be undermined and because it will run more easily as a result of the slower drying time, it may just be that acrylic airbrush paints are the better option all round.
Don, Thank you so much for this series. You clarified the use of water based oils in a very articulate and understandable manner. You have a gift for teaching. Now I know how to best use my medium.
Gina Wood
I know Im kind of off topic but do anyone know of a good website to watch newly released tv shows online ?
@Nelson Briar Flixportal :P
@Maddux Hayden Thanks, I went there and it seems to work :D I appreciate it !!
@Nelson Briar No problem xD
Terrific series. Full of useful information and well communicated.
Great series. Learned a lot.
Wonderful series, thank you so much!
Going to watch again so much info thank you
Very informative. Thank you.
Really informative have wetted my appetite to try these oils thank you🇬🇧🙋
Thank you for the technical information!
Two Qs this series did not answer:
1. Can Cobra water mixable oil paints be reactivated with water or other medium once they have dried on the palette? The way watercolour or interactive acrylics can.
2. What kind of brushes should we use with these paints, i.e. can I use the same brushes I use for my watercolours (as I am using water to thin and blend both media)? Or do I need to buy 'suitable for oil paints' brushes?
Please can you explain these two points? Thank you.
No, you can’t re-activate them, after they’ve dried on your palette. I’ve found it then becomes loose, but like just bits of color. It’s not like watercolor or gouache.
I use (among other brushes meant for oil, also some cheap watercolor brushes. Mainly for fine details, just wash them after use. And I read elsewhere not to use real hair brushes.
A neat series, but for this particular video, there should've been more close-ups of the canvas during the applications.
Really helpful and explained clearly.
Great Series, thanks.
+ShotDownInFlames2 Thanks for watching :)
super good !
In your opinion what would you substitute for "alizarin crimson"? Would you use Madder Lake, Carmine, or primary magenta?
Thanks
Wonderful series. My only question is: is there anyway to "seal" the finished work without waiting a year for it to dry????
perhaps the quick dry medium might help all the layers to dry faster? Ask Don, the expert
Learned a lot from watching this series. Where can I get an English version of the Kleur booklet?
Found it: www.royaltalens.com/contentassets/115e96e16ba54cb49025837cce4f2411/booklet-colour-eng-88800154_lr.pdf
Oh no, I just Google Mr, Nederhand to see if he also gave workshops, but he already passed away in may 2015. 😢
Common mistake about mixing all colors with split primary palette. Not possible to mix really saturated oranges and greens, and, depending on actual color choices, violets too. Suggestion to read color theory on handprint.com.
I want to try Cobra after using W&N Artisan ,but notice there is no Alizarin Crimson in the Cobra. Pity Has anyone any tips for using another closest red?
Hi, you could try using Cobra's Madder Lake. This should be a close likeness. Thanks for watching!
@@JacksonsArtSupplies thanks. now I know I can get as good a purple with this if mixed with ultramarine as with alizarin BTW It would be useful if there is a guide which relates to the how much towards other colours of the spectrum each colour relates e.g. which red or reds lean towards blue or yellows towards blue etc. Thank you
Some of the explanation towards the end is wrong. We absolutely cannot make every saturation that we want. The saturation of two (or more) mixed colors will only be as strong as the saturation of the weaker of the two and no matter what two we use it will never be as strong as the most saturated single pigment color, assuming one is available, for the hue produced.
In the illusion of a painting it is true. True color theory is not how saturated a color is scientifically but how colors relate to other colors in the image. Therefore what he said is true. What you also say is true in a scientific sense. However it does not really matter, this understanding will give you a deeper knowledge of colors and is therefore the correct learning to give.
Set up of canvas and easel is horrible. It is impossible to see colors on canvas
I am very grateful for your videos I just wish your cameraman would zoom in when you're painting on the canvas. 🙏
7
Excellent tutorial but awful camera work. The camera man couldnt be bothered to zoom into the canvas for 98% of the time.
This is the most boring set of videos I have ever come across. Sorry nut true