Speak to me about yellow. . . .

[Garth Herrick]

Yes Linda, I found seven tubes of "raw umber" handy to compare. They are each unique and special in their own way and will impart different results in mixtures on the palette. I drew these color out with a knife on a sheet of mylar, then made three levels of tints using Robert Doak Flake White + Glass (flake white with ground glass mixed in).

1. Good old Winsor and Newton: not a very interesting raw umber, it is the darkest and most oily out of the tube and by far, the weakest in tinting strength; so there is low pigment content in their formula.

2. Schmincke Mussini Umbra Cypr. Natur: much more interesting color, dramatically more infused with color than the above example; still not all that much in pigment concentration or tinting strength.

3. Schmincke Mussini Umbra Natur Hell: This is truly a rich deep yellow, being somewhere in between a raw umber and a raw sienna. It's the lightest and most colorful of these umbers; same in tint strength as the previous example.

4. Holbein Raw Umber: This is a classic raw umber much like the darker Mussini above. It clearly is a high quality product with significant tinting strength and higher pigment load.

5. Schmincke Norma Umbra Natur Grunlich: This is a fantastic light shade of raw umber with a decidedly greenish cast, and surprisingly, unlike the Mussini tubes, it has incredible tinting strength and pigment load.

6. Vasari Raw Umber: A super high quality product made by one man in his New Jersey shop and sold at one venue in Manhattan, NYC. This is a dark raw umber of incredible tinting strength and the highest in pigment concentration of these tubes. It is what you should be using if you like the color variety of the Winsor and Newton raw umber but hate the low quality.

7. Old Holland Raw Umber: This is a warm and colorful raw umber, similar in tinting strength to the Mussini tubes.

I hope this helps with the accompanying illustrating photo; thanks to Linda for nudging me into action.

Garth

[Alexandra Tyng]

Thanks, Garth And Linda!

I had no idea there was such a difference between brands. It's almost outrageous that they all should be called "raw umber." The Mussini (natur hell) and Old Holland look yellow to me when lightened. A couple more look like a slightly yellowish brown. This is so interesting! I have been using W&N which is probably the most neutral of all, and I assumed there was at least a reasonable consistency between brands.

[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.

[Allan Rahbek]

Garth,
I had no idea that the variations were that many either. The Raw Umber I used was from a Danish firm called Artifix. It is also in the cool end of the scale and does not show the yellow that much. I think that it looks like your # 2 and it is also a heavy tinter. The Umber I have been using the most is from Daler-Rowney, it is more yellow, but I ran out of it.

Alex,
I also use the Raw Umber as a neutral and find it very useful. In the company of reds and bright ochers in the skintones it is a wonderful cool neutral, and I do not disagree with you in that or anything else for that matter. My prime interest, in here, besides of the excelent company, is to learn.

Allan

[Renee Price]

Garth,

I had no idea that there was so much difference in brands of raw umber! The problem is, now you've started something. I am searching for a clean yellow. I've read about and used yellow ochre since day one, but it has a tendency to be muddy (W&N especially), and can dull colors. So in my search for a clean, warm, not glow-in-the-dark yellow, I have tried:
Maimeri Naples Yellow Deep- I love this color and use it for light mixtures, but is too light for lower values
Daniel Smith Yellow Ochre-the closest thing I've found but I'd like something cleaner
Maimeri Golden Lake- great yellow that does not turn blonds into greens but is a bit too orange and strong for flesh--but perfect for blond hair
Old Holland Naples Yellow Deep Extra- again too orange
Cennini Jaune Brilliant- a pretty & high pigment yellow, but still brighter than I'm looking for.

I'm looking for a clean, earthy warm yellow that isn't muddy or overpowering. Suggestions? Does one exist or am I doomed to mixing different yellows for eternity?

Thanks in advance,

Renee

[Julie Deane]

Garth, Renaissance man -

Color maestro, technical maven, and master painter -
how do you have time to do it all?

Thanks for this newest paint brand review! I've learned a lot from the other ones you've done on this forum over the years, and want you to know it's really appreciated.