![]() For the dark greens in the shadows, I use ultramarine and cadmium yellow. ![]() ![]() Adding white or a touch of red or ocher is often useful to knock the chroma down. For a light, spring green (grass, or light coming through leaves as in the painting shown) I use cerulean and cadmium yellow.With these four colors you can get four different greens: There are two blues and two yellows on the palette I was taught to use: Cerulean blue is a greenish blue, ultramarine is a purplish blue, cadmium yellow light is a pure, bright yellow, and Roman (or golden ocher) is a dirty yellow. I’ve tried putting it down on my palette but I end up never using it. However, it was on Gammell’s recommended landscape painting palette and you can see it in the work of many of the best painters so, if you like it, you’re in excellent company. Secondly, I only mix my greens, so I don’t use viridian. I was always partial to the story of John Constable who, when painting at a time when artists would cover their finished paintings with brown violin varnish to make them look Old Mastery, took a violin and laid it on the bright green grass to show the difference between the accepted pictorial norms of his contemporary artists and the colors of real life. Acidic, garish, too bright, too yellow, etc… That said, I try to honestly paint what I see and I like my greens. So here it is again, written down, my mixes and recommendation for greens.įirst off, I should mention that there are many people whose opinions I highly respect that think my greens are terrible. Three different people have written to ask me to clarify my video on mixing greens for plein air landscape painting lately. 100 x 80 cm (40 x 32 inches), oil on linen.
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