Greetings, you are receiving this newsletter because you are registered for our Artist Round Table Bi-Monthly Zoom Sessions. We will be sending a follow-up newsletter like this after each session to highlight the key points discussed during the roundtable.
Jamie Lindholm is on a roll this week! Let’s start out by congratulation her for taking first place in the Boulder Art Association’s National Juried Exhibition. Her painting The Interconnectedness of Life and Environment (18x18", Oil on Panel) is on display at the R Gallery, Boulder, CO.
The next stop for Jamie is the American Women Artists society! Her painting Sunshine and Smiles was juried into the 2022 Spring Online Juried Exhibition. 136 finalists were chosen from 979 entries submitted, to view the online exhibition, please follow the LINK.
Please take a moment to check out an article about Jamie’s new work and journey, written by Louise Hafesh and published in the May/June Issue of Artists Magazine. There is also an accompanying demo of her making the Sunshine and Smiles on their Artists Network website.
There is still time to sign up for Color Bootcamp - A Practical Guide to Dynamic Color Workshop with Julie Beck. This three-day in-person workshop will dive into the complex world of color mixing, perception and relationships. While color mixing can seem overwhelming or complicated, this approach is all about being logical, and easy to understand. The start date is July 29, 2022. Location: Academy of Realist Art Boston, MA.
Natalie Featherston has five artists’ tips in a new book, Studio Tips , published by the Providence Art Club. The book has more than 50 tips submitted by all types of artists, across all disciplines. Should be an interesting read 
This week’s discussion began with the topic of black paints, drying times, and potential varnish issues. To learn a bit more about the different black paints that are available today there is a cool article on www.jacksonart.com. To read the article, please click HERE.
In addition, Anthony came across this Wetcanvas forum entry from 2011 that seemed to echo the same general solution he often uses—the addition of raw umber. It read, “It’s an issue with carbon-blacks being slow-drying. The simplest solution to this is to add a little raw umber into the black and mix it well on the palette. The other factor which affects the drying speed of oils is environmental temperature.” -wetcanvas
ChromaMagic Munsell Color Tool by Michele Clamp.
What is ChromaMagic?
Have you ever looked at a scene or a photo reference and thought ‘What is that color?’ As artists our color perception is crucial in knowing what we see and how we translate it onto canvas or paper. ChromaMagic was developed to help us quickly sharpen our skills in color perception and improve our paintings. It can show you the three Munsell components of color for any color in a photo reference and display them in the relevant color chart.
Two-color websites referenced this past week:
Handprint by Bruce MacEvoy
Dimensions of Color by David Briggs
This week, we also saw the topic of palette organization arise. One of the aspects of this organization mentioned was the employ of “strings”. The following explanation of strings and the relation to the “Reilly Palette” that was mentioned is from the article" - No Strings Attached , by Anthony Waichulis.
“The “color string”, a premixed gradation or evolution along a particular axis of hue, value, or chroma, has become a fairly common palette configuration device for many of today’s painters. One of the most well-known proponents of color strings was American Illustrator and celebrated educator, Frank Reilly (1906–1967). Mr. Reilly taught drawing and painting at the Grand Central School of Art, and illustration at the Pratt Institute and Moore College of Art. However, he is best known for his twenty-eight years of instructing at the Art Students League of New York and establishing the Frank J. Reilly School of Art in the early sixties, where he taught until his death in 1967.
Among his many contributions to art education, Reilly is noted for developing a means of organizing the painter’s palette, based partially on the work of 19th-century colorist Albert H. Munsell. Following Munsell’s view of separating color into hue, value, and chroma, Reilly organized the figure-painting palette in this manner, creating nine values of neutral grey as a control.
Reilly’s palette “consisted of nine equidistant values of neutral gray mixed at the top of a glass palette. Below that row were 9 equidistant values of YR in the same order (cadmium orange out of the tube, being V7), reduced in value by adding burnt umber, white being added to create values 8 and 9. Below the YR came red in the same order (cadmium red light out of the tube, being V5). The final row showed the actual flesh tones used for painting. Again, they consisted of 9 equidistant values of the same hue. In this case, each hue was created by adding the same value red-orange-gray in various proportions depending on things such as complexion, light source, and time or type of day. If the subject was ruddy complected, more red could be added to the base mixture of the red-orange-gray. This base flesh tone is reduced in chroma and has the appearance of make-up or rouge. It is used in blocking the mass shapes for a portrait or figure painting. Where purer color is required, as in a rosy cheek for a portrait or in the middle tones where it is more appropriate (high light and shade reduce color chromatically), one only needed to identify the correct value to be painted, then locate the desired hue and chroma on the palette. This was employing the Munsell system to its fullest potential. It gave artists more flexibility and control of their palettes and ultimately the quality of their work.” – Kent Steine
Anthony also asked some of the artists in the zoom group that employs, at least in part, some of the Reilly organization in their palette layout, to share images of their own general layout. And there they are:
Julie Beck also brought up Graydon Parrish’s list of oil colors that would provide the practitioner with the widest possible gamut. They are as follows:
Williamsburg Titanium White in Safflower Oil (for high chroma mixtures)
Lead or Titanium White in Linseed (for general, lower chroma mixes)
Williamsburg Prussian Blue (the darkest pigment I have found)
Michael Harding Ivory Black (for accents)
Mars Black (for general mixing)
Winsor Newton Permanent Alizarin Crimson (transparent)
Winsor Newton Bright Red
Williamsburg Cadmium Red Purple (opaque)
Gamblin Cadmium Red Deep (opaque)
Gamblin Cadmium Red (opaque)
Gamblin Cad Red Light (opaque)
Daniel Smith Quinacridone Coral (transparent)
Williamsburg Pyrrole Orange (or Michael Harding Permanent Orange)
Old Holland Cadmium Orange (opaque)
Gamblin Cadmium Orange (opaque)
Gamblin Cadmium Yellow Deep (opaque)
Gamblin Cadmium Yellow Medium (opaque)
Gamblin Cadmium Yellow Light (opaque)
Vasari Swamp Green (transparent)
Winsor Newton Winsor Green Yellow Shade
Winsor Newton Winsor Green
Vasari Cobalt Bright Turquoise (opaque)
Winsor Newton Winsor Blue Green Shade
Williamsburg Ultramarine Blue
Dioxazine Purple
Holbein Quinacridone Magenta (transparent)
Michael Harding Quinacridone Rose
In between our bi-weekly Artist Round Table Sessions feel free to come and join the discussions on Smartermarx.
I wouldn’t have thought the piece of driftwood I’m currently painting had so much orange in it!!