Lab Book #22: Pigment Black

 

Apparently my laboratory book #22 had a lot of doodles in it! They were done mostly last year when I brought my lab book home and was essentially working out of the kitchen- thanks to Cilei for being so understanding. I've lost count how many paintings were done from the doodles, there are about 10 including this one, and Saturation Costs which I just finished. There are even enough doodles in the book for one more painting. 

In this painting my main goal was to test drive 4 different black pigments including lamp black (PBk6) which is a finely textured carbon black, bone black (PBk9) which is a granulating slightly brownish carbon black, roman black (PBk11) which is a dark chocolatey iron oxide black, and grey ochre a natural black iron oxide with calcium carbonate. Some colours and sparkle paint was added, although the sparkles do not show on the screen. Black paint was one of the taboo paints, most watercolour books would tell you to avoid it without a good reason. Not only was that advice wrong, but it was ignorant because most watercolour books tell you to mix burnt sienna and ultramarine blue, which gives you black paint! Zoltan Szabo made prolific use of indigo, which was a convenience mix of phthalo blue and carbon black. There is no reason to avoid black paint, but for beginners I would recommend using a burnt umber (PBr7) and indothrene blue (PB60) as darks. It takes a bit of practice to figure out the black pigments, which is one reason I did this painting. 

11 x 15" cold press, watercolour, March 2021 ( updated photo)

Some notes

The grey ochre (Stoneground Paint Co.) is fantastic and versatile, one of the best paints I have ever used. It is warm and granulating, can be used at full strength for a dark charcoal, or diluted for fluffy cloud grey. It handling is exceptional on the brush allowing for a full range of techniques, I quickly forget that I am painting when using this paint. 

The roman black (Stoneground Paint Co.)is basically a very dark brown, it is rich and warm. Its handling is difficult, better in solid shapes. Goes well with yellow and orange.

The lamp black (Daniel Smith) made from petrol carbon, it is messy and has to be used sparingly. Dulls upon drying. Good for outlines and simple flat washes. 

The bone black (M. Graham) is actually named ivory black but made from de-greased bones from cows or pigs. It is warm and granulating similar to grey ochre when diluted. At full strength it takes on an awkward shine.