Speak to me about yellow. . . .

[Linda Brandon]

Garth, this is terrific! Thank you!

[Kimberly Dow]

Garth - you are SO dang handy to have around! This is great - thank you!

Would you think about doing this with every other color please? You know - when you get a free month or so?

[Claudemir Bonfim]

Originally Posted by Kimberly Dow

Garth - you are SO dang handy to have around! This is great - thank you!

Would you think about doing this with every other color please? You know - when you get a free month or so?

I make your words mine Kim.

I noticed that variation long ago so I started using the Louvre and Old Holland brands. I'd like to see the same procedure with the other colors too.

[Jean Kelly]

I'd like to add my thanks too, Garth. After seeing these I plan on replacing my current raw umber with one of the more vibrant brands. What a difference!

Jean

[Alexandra Tyng]

I think Linda's use of yellow ochre to lighten shadows is an interesting offshoot of this topic, and I would also like to hear whether other artists do this, and if they use yellow in shadows at all.

I use cadmiums a lot in shadows, especially cad yellow, yellow deep, and orange. I find the cadmiums useful in painting the indirect light which is seen as an object turns away from the direct sunlight, and the continuation of that color as a minor player in the shadow. I mix these colors with their complements, the shadow colors. I find that the addition of cadmium to the shadows makes the shadow deeper and more transparent. If I add yellow, it can lighten a shadow and warm it, but it doesn't take away from the illusion of depth or airy quality. My only problems with cadmiums is that they photograph very bright, and even when I get my paintings photographed professionally, I sometimes get frustrated because they look a lot less subtle than the color of the actual painting.