Artist's Color Manual

194 Pages·2012·51.41 MB·English

by  Simon Jennings

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Practical, inspiring and informative, this
book is the artist's bible on color. Aimed
at painters in particular and visually
creative people in general, Artist's Color
Manual is an important resource for
artists, designers, art students and educators
alike. It looks at all the crucial aspects of
color in four absorbing sections:
Information on
paints and pigments, plus some straight-
forward science and a concise buyer's
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guide to materials. *&-
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A guide to mixing jj^j^^^^AIflfef'-^c. !V^~~1"!
and working with the various color groups. ^
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Creative mMguMi I
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ideas for color usage, as well as interviews
with and first-hand tips and techniques
from practicing artists.
A reference to and
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visual synopsis of over 450 colors in \aHEL !
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THE COMPLETE GUIDE TO WORKING WITH COLOR
SIMON JENNINGS
FirstPublishedintheUnitedStates in
2003byChronicleBooksLLC
©
Copyright 2003by
HarperCollinsPublishers.
©
Photographsand illustrations 2003
SimonJennings/BenJennings
©
Paintingsandartworks the
individualartists.
All rightsreserved. Nopartofthis
publicationmaybereproduced, stored
inaretrieval system, ortransmitted in
anyformorbyanymeans,electronic,
mechanical, photocopying,recording,
orotherwisewithoutpriorwritten
permissionofthecopyrightholders
andpublisher.
Pages8-9constituteacontinuationof
thecopyrightpage.
LibraryofCongressCataloging-in-
Publication Dataavailable.
ISBN: 0-8118-4143-X
CoverdesignbyJulieVermeer.
Distributed inCanadaby
RamcoastBooks
9050ShaughnessyStreet
Vancouver, BritishColumbiaV6P6E5
1098765432
ChronicleBooks LLC
85Second Street
San Francisco, California94105
www.chroniclebooks.com
Thisbookwasconceived,edited,
anddesignedatHillTopStudio,
EastSussex, UK
ResearchandText,
DesignandArt Direction
SimonJennings
TextEditor
GeraldineChristy
TechnicalConsultant
EmmaPearce
Winsor&Newton
ArtEducational Consultant
CarolynnCooke
Impington VillageCollege
Cambridge. UK
ConsultantEditor
SallyBulgin
Publisher. TheArtistand
LeisurePainterMagazines
oPhotography
lennings
pagemake-upassistant
:
Amat
Color ,rch
ChrisPerry ;ngs
Index
MaryMorton
Manufacturedin
Artist's Color Manual
x#ontGilts
Chapter 1 Chapter2 Chapter3
&
What Is Color? Color by Color Creative Directions Color Index
10^45 46*~93 94^153 Reference Section
154^192
Pigments in history 12 Color by color 48 Creative directions 96
Color index 156
Pigment standards 16 Blue 50 Watercolor:
Optical illusions 20 Turquoise 54 straight and mixed 98 Guide to main suppliers 180
Glossary ofterms 82
The four-color process 21 Violet 55 Subdued colors 102 1
Optical color mixing 23 Red 56 Working Bibliography
and further reading 187
Colors ofthe spectrum 24 Orange 60 without black 104
Index 188
Additive and Yellow 62 Fast color for flesh 106
subtractive color 25 Yellow Ochre 66 A
seven-color palette 110
The basic color wheel 26 Green Earth 67 Renaissance skin tones 112
Color in action 29 Green 68 Massive color in oils 114
Choosing media 30 Brown and Red Earth 72
Rich color
Oil colors 30 Black and darks 76 from acrylics 118
Watercolors 32 Gray 84
Transparency
Acrylic colors 33 White 86 and luminosity 124
Gouache & Metallic and special- Colorcontained 128
egg tempera 34 effect colors 88 Broken color 132
Pastels & Flesh colors 90 Painting with
colored pencils 35 nonart colors 136
Mediums 36
Colors from the mail 140
Media in action 38 Colors for free 144
Choosing palettes 40 Traveling color 146
Color language 42
Color on cloth 148
Interpreting color 44 Smooth color 150
Dry color and line 152
The Artist's Color Manual
Sketchbooks 12/x8'/in (31 x 21cm)
Simon Jennings
Examples oforiginal manuscript, research notes
and colorexperimentation forthe
Artist'sColorManual, 2001-03
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"Color possesses me.
1 don't have to pursue it.
It will possess me always,
know
I it.
Color and I are one,
am
I a painter."
PaulKlee (1879-1940)
COLOR
><...1S,U'/-/^wA<.<-'')
is essentially such a
visual subject that perhaps
it is rather strange that
so man,/ millions oi words
have been written about it.
But that is no bad thing -
and to add to them here are
a few more, along with some
... stunning pictures as well.
I^»-.<•*"<**—*' -Vf-- luany thanks to all who have
-?- contributed to the Artist 's
SC Color Manual, especially
.-: the eleven participating
Sc manufacturers who supplied
invaluable technical
information and scores
of colors with which to
experiment. I am also
deeply grateful to the
galleries that pointed me
toward artists whose work
demonstrates a unique
relationship with color,
and finally to the
individuals themselves who
opened up their studios and
provided me with firsthand
information and access to
their fabulous imagery.
Their inspiration and
enthusiasm demonstrated to
me that "hands-on, eyes-
open" is the one and only
way when it comes to
understanding
COLOR
•
Simon Jennings, hill top studio (mmiiij
8
)
A hook such as this is made I am particularly grateful to the Sally Bulgin The following Galleries assisted
possible h\ the goodwill and following individuals and Publisher of TheArtist&Leisure in contacting artists forpartici-
cooperation ofmany people companies fortheir support in PainterMagazines, for pation in this project,and I am
and represents the work of organizing and obtaining enthusiastically supporting the grateful fortheirhelp:
many hands and minds. am materials and images for use in projectand ratifying the content.
I the Artist's Color Manual: Len Hodds (Gallery Manager)
indebted to the following for
Dr Francis Duck and Robin Prewerof
their generous contributions, Andrew Long, Winsor & Newton ofThe Royal United Hospital, Bath, The Buckenham Gallery
enthusiasm and support. George Frangeskou, Liquitex UK UK, for reading and corroborating 81 High Street
Neil Hamer, Daler-Rowney thetechnical and scientific content Soufhwold, Suffolk, UK
Main contributing artists Arjan Knegt, Royal Talens ofthe physics ofcolorand the colors Telephone: [phone]
inalphabeticalorder: Ben Woolfitt, Tri-Art ofthe spectrum information. Email:
Guenda Burgheim, Maimeri [email protected]
Ray Balkwill. page98
Ute Hallerbach, Lukas Geraldine Christy www.buckenham-galleries.co.uk
Joan Elliott Bates, page 102 Christine Wiegold, Schmincke forediting my manuscriptand
Nick Bowering. page 104 Andrew Street, Schmincke UK research notes, and contributing to Michael Richardson
Paul Schulz, Golden thewriting, and looking afterthe (MichaelRichardsonContemporaryArt)
Jessie Carr. page 136
details oftext, type and language Art Space Gallery
Judith Chestnutt. page 140 Jason Mackie, Global Arts and preparing thetextfor press. 84 St Peter's Street
Lucy Dunsterville. page 136 Unit8, Leeds Place, Tollington Park London N1 8JS, UK
Sue Fitzgerald, page 118 London N4 3QW, UK Chris Perry Telephone: [phone]
Telephone: [phone] forenthusiasm and general all-round Email: [email protected]
Peter Graham, page28 Email: [email protected] supportand particularlyfordiligent www.artspacegallery.co.uk
Desmond Haughton, page 110 Forfacilitating the cooperation of: work in the preparation ofcolor
Daphne Jo Lowrie, page 128 Old Holland in the Netherlands, samples and pigment declarations Bourne Gallery
Sennelier in France and forthe color index. 33 Lesbourne Road
Chris Perry, page 148 Golden in the USA. Reigate, Surrey, UK
John Reay, page 132 Additional contributions Telephone: [phone]
Tim Riddihough, page 106 James Stock, GreatArt Additional research, writing and Email:[email protected]
(Gerstaecker UK Ltd) editing contributions: Emma Pearce www.bournegallery.com
George Rowlett. page 114
Normandy House, 1 Nether Street (Pigments general), Brenda Howley
George Underwood, page 113 Alton, Hants, GU341EAUK (Choosing media), Rose Jennings The Alresford Gallery
Marina Yedigaroff. page 124 Telephone: [phone] (Blue and general research), Sally- 36West Street
Email: [email protected] Anne Schilling (Blue), Kate Gwynn Alresford, Nr.Winchester
www.greatart.co.uk (Red), Susanne Haynes (Yellow), Hampshire S0249AU.UK
Additional contributing artists
malphabeticalorder Chris Perry(general research), and Telephone: [phone]
Fortechnical and editorial Ashley Howard (additional editing).
Helen Banzhaf, page 148 support, advice and encourage-
Carolynn Cooke, page 152 ment, my particular thanks to: Color samples and swatches
Helen Dougall, page 148 All the colorsamples and swatches
Jackie Simmonds, page39 Emma Pearce were created specificallyforthis
Douglas Wilson, page 39 ofWinsor & Newton, for reading the book bySimon Jennings, Rose
manuscript, corroborating the Color Jennings and Chris Perry, with the
Index International listings and exception ofthe diagonal colorchart
Artmaterials suppliers
Thefollowingmanufacturersgenerously writing the Pigment Historyand samples used in Chapter 2, "Color by
donatedmaterialsandequipmentforreview Pigment standards information at Color." These samples, on pages 48,
andsampling,andforuseincolorchartsand the beginning ofthe book. 49, 50, 54, 55, 60, 62, 66, 67, 68, 72,
photographythroughoutthisbook (EmmaPearce'squotationp.12,isreproduced 84and 85, were kindly supplied by
Inalphabeticalorder bykindpermissionofDavidPyle Schmincke and showcolors from
Daler-Rowney Sarah Miller their Mussini resin-oil range. The
color swatches on page 98,
Golden UK Education ManageratWinsor &
"Watercolorstraightand mixed,"
Newton, forcheerfullyanswering
Liquitex are by Ray Balkwill.
questions and promptly dealing with
I.ukas mytechnical and general enquiries.
Special photography
Maimeri
All special photography,studio set-
Carolynn Cooke
Holland ups and rostrum photography by
of ImpingtonVillage College,
Ben Jennings. Thankyou.
Cambridge, UK, for supporting the
project, reading the manuscript and Page make-up
commenting on art-educational and
Thanks toAmanda Allchin
curriculum issues.
Tri
American text translation
Ml (\ iM
Thanks to Theresa Bebbmgton.
(Seepagesl80-8i
7
.
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artists/successors, photographers, followed, in italics, byeitherdescription detail)/Philadelphia MuseumofArt; col. col.4, fromfop/TimRiddihough, Desmond
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permission.The producersofthe p.12AbbeBreuil, YoungBison/t\\ia\on RoyalTichelaarMakkum. p.52 LucyDunsterville; col.3, fromthe
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tocontactall copyrightholdersof Museum; Michelangelo, Madonna, Child col.4,pigment/SenneWei SimonJennings; col.4, fromtop/Chris
imagesshown inthis book. Incase andStJohnwith,4nge/s/National p.53 col.I,p/gme/?f/Sennelier; Perry, SimonJennings,SimonJennings,
ofanyerrorsoromissions please Gallery, London, p.13pigment col.3, fube/Schmincke; col.4, //C/3/Simon p.98col.I,artistatwork/PayBalkwill,
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exception ofthediagonal colorchart Artimages/Wmsor& Newton, p.16 Padua, p.58col.2,preparing Co/dsfream/SimonJenningsArchive,
samplesused in Chapter2, "Color by watercolorpans/Sennelier. pp.16-1 madder/Winsor& Newton; col.3, dried p.103paintinganddetail/Joan Elliott
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Schmincke.Theantique product yars/Sennelier. pp.20—21 dot /acfo/y/Maimeri, Giovanni Manzoni; sfand/ng/TimRiddihough.p.107 Check
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photography imagesfrom "The GeorgeRomney,William Hayley,1809; Jennings; col.3, bof./SimonJennings London, p.113 all/mages/George
Science ofArt," are reproduced by DarkSideoftheMoonAlbum Archive, p.66 col.4, fop/SimonJennings Underwood, p.115SunlitWalmerBeach,
kind permission ofWinsor& Newton. Coi/er/GeorgeHardie, StormThorgeson; Archive; col.4, bot.p/gmenfs/Maimeri, DealPier, BathersandCrabBoat/George
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Orangejug/SimonJennings, pp.28-29 (Gerstaecker). p.71 Greensketch/Simon Fitzgerald, p.122 col.7, detail/Sue
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(photograph Richard Heeps); Morning SimonJenningsArchive. p79 Kasimir Tulips/MamaYedigaroff(photoRichard
Mist/HayBalkwill; S/?ore//ne/Judith Malevich, BlackSupremacist Heeps). p.129 S/Mngs/DaphneJoLowrie.
Chestnutt. p.39 Carnevaledi Sguare/Tretyakov, Moscow; Rembrandt, p.130allimages/DaphneJo Lowrie.
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fop/Winsor& Newton, col.4, oof./Daler- Board, p.85 HomagetoGray Annison). p.131 preparatorysketch/'Jessie
Rowney; col.5, mid. andbot./VM'msor& (facsimile)/SimonJennings, p.86col.1, CarrandLucyDunsterville. p.140col.1,
Newton, p.41 col.7, fop/Winsor& Whiteleadstacking/G. Dodd, British Colorsample/JudithChestnutt. p.141
Newton; col.2,pa/effes/fromArt Manufacturers 1844; Shoreline/Jud'WhChestnutt.p 142 col.4,
C/ass/HarperCollins; col.4, fop/Winsor& col.7 bof./Winsor& Newton; topandmiddle/'JudithChestnutt.p.143
Newton, col. 4, bof./Schmincke. p.42 co/J/Winsor&Newton; co/4/Daler- col.7, Colorsamples/JudithChestnutt,
col.4, colorsketches/SimonJennings. Rowney. p.87 col.2, Resists/Simon cols.3-4, H/asfepapefco//ages/Simon
p.43 Hymn,photograph/Science, Onthe Jennings, p.88AntiqueBronze/S\mon Jennings, pp.144—145allimages/S\mor\
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