Triple Primary Example

“Highland’s Maple Laced Path”, 24×20 oil on canvas, by Rog Lyngaas, 8feb10, triple primary palette.

Above is a painting painted using my triple primary technique.  Below is an example of how I use this palette and what it is.

Triple Primary Palette
Undertone = Burnt Umber [Graham]
Earth Red = Venetian Red [Permalba]
Earth Yellow = Yellow Ochre [Permalba]
Earth Blue = Prussian Blue [Permalba]
Earth White = Unbleached Titanium [Permalba]
Cool Yellow = Azo Yellow [Graham]
Cool Blue = French Ultramarine Blue [Grumbacher]
Cool Red = Alizarin Crimson [Grumbacher]
Warm Yellow = Cadmium Yellow [Graham]
Warm Blue = Phthalo Green [Graham]
Warm Red = Naphthol Red [Graham]
White = Titanium White [Shiva, PW6, PW4]

The earth and the undertone pigments are used for the “block-in” underpainting. For example, below is the same painting after the block-in stage.

“Highland’s Maple Laced Path [after block-in]”, 24×20 oil on canvas, by Rog Lyngaas, 8feb10, Earth Palette.

As you can see, the block-in stage is used to paint the painting, with the values intact. The warm-cool stage is used to correct the painting. What you may not see, is that I scrape at least part of the painting after block-in, this allows for wet-in-wet painting without getting the paint too muddy. This is similar to what Steven Lee Adams does. The difference is, Mr. Adams scraps in several stages.

This method of using a triple primary palette replaces the “Mud based” value painting technique during the block-in that Fred Choate uses. Although it uses more pigments, it actually simplifies the process [at least for me]. It also allows for the heavy use of very electric pigments like Phthalo Green, Phthalo Blue, Hansa Yellow, and whatever Vermilion Hued Red you choose [naphtol, cad red, or cad red light].

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