This figure shows the sequential steps used to lay down the 9 wash levels of the base colors. The 10 th 3- column set, on the extreme right of the figure, represents the finished.3-column set after a test color had been laid down in the reverse sequential order starting from the top, and laying washes towards the bottom using only the middle and right columns of that 3- column set. Pigments and Colors http://www.ron-ray.com & http://www.ronray.us Method of Data Creation For Single-Pigment Paints The first 9, 3-column sets, shown in the figure, show this sequence of wash applications. Of course, in the actual painting of these charts, the step shown in the initial 3-column set grouped above the numeral 1 - was applied to all sheets needed to contain the total of 33 transparent Single- Pigment Paints, or the 28 Opaque-Single Pigment Paints -TSPP, or PSPP respectively making up all comparisons in the total group of test colors. Thus, 7 total test cards were painted for each of the 3 primary base colors. In this example case, that primary was quinacridone rose one of the 3 base primary colors used in this series. In all cases, washes were only done over totally dry surfaces. The 2 nd wash was applied as seen in the 3-column set above numeral 2. Then as shown above 3, then 4. Finally, the 9 th wash resulted in the 9 th 3-column set, in the above figure. At that point, all 7 require cards had all of the first 2 of each 3- column set filed as the 9 th shown in the example. This exact sequence was followed for all the base-color applications in these charts. Each of the comparison colors used the same methodology, except in the reverse order starting at the top and adding washes in the decent to the final single wash of the comparison-color reference, seen in the cell over the numeral 10 and in the lowest cell of the center and right columns. Before attempting these charts, I went through a number of other methods trying to form a duplicatable test. These charts were the best I could devise, which required no special equipment, nor significant expense.
I laid out a table with the grid shown in Figure 18. This occupied the top portion of a sheet and below the grid I placed an area for data entry on the same card, as the paints would later be applied. I placed the total of these graphics within a printable boundary of 9 x 6 inches. For my paper source, I used Arches 12 x 9, 140 Lbs Cold Press pads. To obtain a good straight cut, I used a paper cutter for a clean accurate slicing of each sheet used from the Arches pad. In this way each 12 x 9 inch sheet became 2, 6 x 9 inch sheets. These were then used in my normal PC printer. I did make sure that the black ink cartridge was a water-resistant ink. This example figure is an actual JPG image used to print one sheets used in the 28 Opaque Single-Pigment Paints Series - that series of opaques would follow the series of 33 TSPP (transparent singlepigment paints). At the bottom of the figure, you can see the specifications for each of the 11 paints to be used on this chart. In this way the there could be no question of the intended paints once I started to work on a given test sheet. Notice the grid lines are printed in a light gray to minimize bleed into the watercolor paints during the later application of washes. Anyone wishing to have a copy of such a JPG image - in order to print his or her own test sheets - may obtain one. 1 st check the website for it. Otherwise, simply send me an e-mail requesting a JPG copy of the Base Color Test Sheet. One commonly recommended method for guesstimating the opacity of paint is as follows: Using a waterproof pen, such as a Sharpie, draw a horizontal line. Then apply a full strength band of paint in a bold strip down across that line. Once dry, this permits a rough judgment of the degree of opacity for that specific paint. It has been my experience, that such tests yield little information, when the paint is in less than 10% tubestrength. In designing this chart, I needed some way to: 1/ group the 3-column sets; 2/ clarify which columns had comparison paints applied; 3/ delineate the limits of each of the steps in the 9 wash applications within each set. I felt that these requirements were adequately satisfied, by placing horizontal lines across twoout-of-three columns in each of the 3-column sets. These lines were place across those columns intended for containing the comparison paint applications, and I located the lines at the intervals corresponding to the individual wash boundaries.
If by some lucky chance additional opacity information was incidentally obtain, so much the better. However, very little if any opacity information was ever observed in these tests. This figure presents the 1 st data sheet of the 3 1/3 sheets of data for the quinacridone rose primary color. In this figure the quinacridone rose base is compared with the 1 st 10 transparent singlepigment paints. At the bottom of you will find a detailed listing, including an lf (Light Fast) column. This contains the degree to which the paint resists fading from light exposure. The range is from 0 to 4, with 3 & 4 being satisfactory for use in painting watercolors. No paint with a lf rating of less than 3 has been included in either the 28 opaques, nor in the 33 transparents being present here. The initial tints, which serve as the index to the strength of the comparison paint s washes, can be seen in the box areas under the numerals, 1-10 at the bottom of the grid. The strength of the base primary can be matched from the sample extending across the entire top of the grid. In attempting to determine the strength of a paint, set your mix to be weak enough that 10 consecutive washes still provide a detectable difference with each of the previous layers of wash. Also, make certain you mix a sufficient amount to last through the entire test, which should be kept in a covered container to avoid evaporation changes in the strength. Examination of the data will show that yellows were difficult to make weak enough. The result was that some paints show little eyeball difference between the 7 th and 9 th washes, much less the 8 th and 9 th. However, they generally are measurably different, which while less than optimal was satisfactory for my intended uses. Copyright 2005, Ronald Ray. All rights reserved.
Pigments and Colors http://www.ronray.us Section 012: 01-28 (30) OSPP vs. 3 Bases (355º- 000º) - 1 The table below details the Opaque Single-Pigment Paints (OSPP) seen in the figure below, which appears on the next page down. Note there are paints 29 & 30 set as Extra 1 & 2. No. deg tr st lf paint TUBE name mfg pigment NB: deg = 000 Yellow 01 355 2.3 3.0 4.0 hansa yellow DS PY 97 02 354 1.7 2.7 4.0 nickel titanium yellow WN PY 53 03 349 2.0 3.7 4.0 cadmium yellow MG PY 35 04 339 2.3 2.0 4.0 yellow ochre WN PY 43 05 336 2.0 2.7 3.5 raw sienna MG PBr 7 06 334 1.7 2.7 4.0 raw umber DR PBr 7 07 330 1.0 2.7 4.0 cadmium orange Bx PO 20 08 328 1.7 2.3 3.5 permanent orange MB PO 62 09 311 1.3 2.7 4.0 cadmium red orange Bx PO 20 10 302 2.3 4.0 4.0 winsor red WN PR254 11 302 1.7 4.0 4.0 cadmium red light MG PR108 12 300 0.0 4.0 4.0 indian red WN PR101 13 297 2.0 4.0 4.0 perylene maroon Gr PR179 14 297 0.0 4.0 3.5 caput mortuum violet WN PR101 15 296 1.7 3.7 4.0 cadmium red MG PR108 16 230 2.3 2.7 4.0 cobalt violet MB PV 14 17 196 1.7 1.7 4.0 cobalt blue deep Sc PB 74 18 196 2.3 2.7 4.0 cobalt blue deep WN PB 73 19 185 1.7 2.7 4.0 cobalt blue MG PB 28 20 179 1.3 3.0 4.0 ultramarine deep MG PB 29 21 163 1.7 0.7 4.0 cerulean blue Ho PB 35 22 163 1.0 2.7 4.0 cerulean blue MG PB 36 23 145 2.0 2.0 3.5 cerulean blue WN PB 35 24 144 1.3 1.3 4.0 manganese blue Bx PB 33 25 060 2.0 1.0 4.0 cobalt green light MB PG 50 26 049 0.7 3.7 4.0 chromium oxide grn. DS PG 17 27 002 2.0 3.7 3.0 lemon yellow Gr PY 3 28 000 1.0 4.0 4.0 cadmium yellow light MG PY 35 ------------- Two extra paints that are not counted in the 28 OSPP listings. ------------------ Extra #1: * chinese white is normally zinc oxide; this one made by M.Graham uses titanium oxide 29 000 2.0 1.3 4.0 *chinese white MG PW 6 Extra #2: *payne's gray is multi-pigmented, made from a bit of everything burned animal bone + calcinated kaolin, soda ash, sulfur, + + + 30 185 0.3 4.0 4.0 *payne's gray WN PBk 9+PB29 No. deg tr st lf paint TUBE name mfg pigment The Figure below, and contains the test data for the above paints mixed with each of 3 primary base paints; quinacridone rose, winsor yellow, & phthalocyanine blue. Copyright 2005, Ronald Ray. All rights reserved.