I worked with Oils for this exercise and used a small saucer to mix the colours together. Laid down the intense pure colour then added a little purified linseed oil- laid that colour down and then added in the White. Some colours like the Primary Blue and Crimson Alizarin were very easy to dilute and mix but the white just didn’t work to cool the colour down. I needed to use a lot of white with these colours. The purified Linseed oil was much nicer to use than Turps. The fluidity gained from the linseed oil was extremely good at making the paint go along way. At one point the brush had excessive amount of runny Crimson and accidentally flicked paint onto the painted surface and I like the way this gave texture to flat painted sheets of graded colours. The lighter coloured splattering of paint ontop of the pure colour gives a subtle dimpled effect and the colour spattered on the pure white card sits interestingly beside the flat plain painted colour as it gives the colours their colour definition.
Comparing these colour tests with the last exercise I feel I preferred the diluted pure colours more than the toned down coloureds using white. It’s something about White that makes me feel like I’m using ‘tipex’ to correct something, so the using the white makes me feel like I’m trying to correct a colour. I would normal use White to tone down a colour or if I have done a mistake, I scrape off the paint and use White to paint onto before merging in the colours to correct the texture , tone ect. Subconsciously I feel White is a monochromatic tone that needs replacing with colour like a blank canvase that you have had to primer with White paint or its where something has gone wrong so you have to erase it away and insure that turns back to a white area. So I feel more positive about the diluted down colours, the only problem is that you tend to gain an oil Mark where you have used to much linseed oil or turps.
Transparent= diluted=intense colours and pure colours.
Opaque=white added=mixed colours=pale colourings and tones are more ghostly and less vibrant.
Black and White are not colours so the above process would not work.
To painting a composition where glass and water are objects, then using the above formula would be helpfull. If I was to paint water that had light reflecting within/On it I would use Diluted oil colours to give a transparent impression. If I was to Paint the objects that no light can pass through (opaque) I would use White to mix with colour to help get the correct tones.
I watched this utube video, (which is American ) but they showed a paint tube that was either transparent, translucent or opaque and they demonstrate the colour theory behind layering colours and they called Opaque night time tones and Transparent Jewel like intensity that gives an impression of day light.
Opaque and transparent
Definitions of what is opaque and what is transparent or translucent
Objects vary in how they transmit light.
Transparent objects allow light to travel through them. Materials like air, water, and clear glass are called transparent. When light encounters transparent materials, almost all of it passes directly through them. Glass, for example, is transparent to all visible light. Translucent objects allow some light to travel through them. Materials like frosted glass and some plastics are called translucent. When light strikes translucent materials, only some of the light passes through them. The light does not pass directly through the materials. It changes direction many times and is scattered as it passes through. Therefore, we cannot see clearly through them and objects on the other side of a translucent object appear fuzzy and unclear.
Opaque objects block light from traveling through them. Most of the light is either reflected by the object or absorbed and converted to thermal energy. Materials such as wood, stone, and metals are opaque to visible light.