Exploring Watercolor Pigments: Raw Sienna ✿ Art Studio Vlog

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This week on the vlog, I try out every Raw Sienna in my studio while talking about what makes this color so unique. See if you can guess which one I decide to put on my palette going forward.... :)
Mentioned Paints:
-- Raw Sienna by American Journey
-- Raw Sienna by Daniel Smith
-- Monte Amiata Natural Sienna by Daniel Smith
-- Raw Sienna by Holbein
-- Raw Sienna by MaimeriBlu
-- Raw Sinna by Winsor & Newton
-- French Ultramarine Blue by Winsor Newton
-- Transparent Yellow Oxide by Daniel Smith
Other Art Supplies:
- Robert Simmons #14 Sapphire Round
- Arches 140lb cold press paper, 9 x 12 inches
-- Mjello palette
-- 3M Masking Tape
Artists Mentioned:
-- John Singer Sargent (1856 -- 1925)
Camera: iPhone SE
Edited with iMovie
Anything else you'd like to see? Let me know! I'm trying to post something every week, usually on Wednesdays but sometimes Thursdays.
***
Laura G. Young
Bird & Nature Art
Fort Collins, Colorado
www.lauragyoung.com
Blog: lauragyoung.blo...
Facebook: /laura.g.young
Twitter: @LauraGYoung Instagram: @laura_g_young

Опубликовано:

12 сен 2024

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Комментарии : 8

@LauraGYoung 10 месяцев назад

I'm still looking into why the pigment is "Sienna" while the town is spelled, "Siena". Maybe it's a weird English thing, like how we say "Vienna" instead of, "Wien"...?

@butterpoweredbike6135 3 месяца назад

So helpful to see these with the blues, thank you!

@LauraGYoung 3 месяца назад

You're most certainly welcome! :) I know I certainly benefit from other's swatches posted here, so I thought I'd pay it forward.

@flamingoterracegarden 9 месяцев назад

17..big like. Very interesting...nice pigment...how articulate you are...fantastic and as well as innovative....watched the video with curiosity and interest.....it is a very good video for those who pursue fine arts 🎨..😊😊😊😊...congratulations 😊😊😊

@NatureFilmsByJohnKha 10 месяцев назад

Very diligent! It's a good reminder I need to set aside time to experimenting and practicing more. It's funny that sample was all gobbled up in one stroke, I wonder if it means there's less pigment and if the actual tube wouldn't last as long compared to the others? Or maybe it's just a tiny sample! If you do end up getting green banding, it's a northern lights painting!

@LauraGYoung 10 месяцев назад

G'day, John! :) Haha that would make for a great Northern Lights landscape, wouldn't it? And yeah, I have NO idea why that one sample disappeared like that -- perhaps there's more gum Arabic binder than pigment than usual? Hard to say. I'm definitely going to have to investigate further...

@Anonymoi 10 месяцев назад

This was an interesting comparison. I was particularly interested in the Holbein sample because I have Holbein gouache (not watercolor) in Raw UMBER (yes umber) and it is just PBr7, and unlike any Raw Umber I have ever seen. In my experience Raw Umber is more of a cool brown, but this is a warmer yellow/golden brown color, and I made a note next to my swatch that it was very similar to Raw Sienna, and I think it really could be used in place of Raw Sienna. It is much warmer than it appears in swatches online and I had it swatched next to M. Graham’s Raw Umber and it was like a totally different color (both PBr7, though.) Holbein’s Raw Sienna gouache is just PY43 (not 42.) Meanwhile in watercolor, Raw Sienna is PY42 and PBr7, as you noted, but so is the Raw Umber, but with the pigment codes in a different order, so I think it has more PY42 the the Raw Umber watercolor. The acrylic gouache has even more different mixtures, with the introduction of new pigments and one of the colors has a trio of pigments.. Just an interesting observation. These are all artist grade paints.

@LauraGYoung 10 месяцев назад

Thanks, Anonymoi! (great name, by the way.) Yeah, you're right: gouache might be a different formula again. That's why I stick with transparent watercolors, 'cos that's confusing enough! Haha. From further research, it looks like the earth colors are still playing loose and free with their pigment code index numbers, now that they are almost exclusively man-made. It's crazy-making, for sure. As per Bruce MacAvoy's invaluable website at Handprint.com: "The manufacture of most iron oxide artists' paints, including those with traditional names such as "earth", "sienna", "umber" or "ochre", has changed from the use of natural iron oxide clays - designated by the generic color index names PBr7 or PY43 - to the use of synthetic iron oxide powders. Small supplies of artists' grade natural iron oxides continue to flow from mines in Europe and the Middle East, but by 2002 there were no longer any suppliers of natural iron oxide pigments registered with the Society of Dyer's and Colourists' (UK) Colour Index. Many watercolors now labeled PBr7 or PY43 are actually made of mixed synthetic iron oxide pigments, not natural ores. In fact, iron oxides used in watercolor paints today include pigments formulated for use in wood or leather stains, or as plastic, ceramic or masonry colors, and are available in a very broad range of colors and grades. See for example the page "earth tones dry pigments" at the web site of Kama Art Materials (Montréal, Québec), the mineral and iron oxide pigments available at Sinopia Pigments (San Francisco, CA) or Kremer Pigments (New York, NY), and the pigment information pages at Société des ocres de France or their USA distributor, The Earth Pigments Company (Tucson, AZ). The use of natural oxides has dwindled so much that in 2001 the SDC considered eliminating the color index names PBr7, PR102 and PY43 from the Colour Index, and reassigning these pigments to the color index names for synthetic brown (PBr6), red (PR101) or yellow (PY42) iron oxides. However, manufacturers lobbied to retain these color index names as convenient "color" designations and desirable marketing labels. In 2007, the SDC reaffirmed to me that they were still deliberating on the issue."