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  • It's a black matte paint, but not the blackest matte paint:
    https://www.ko-pro.black/190516black30/

    Jet Black in Turner's range is PBk1 - Aniline Black. According to Handprint.com

    Aniline black PBk1 is an impermanent azine pigment, available from about 6 pigment manufacturers worldwide. Holbein peach black, the only commercial source, contains the pigment in mixture with carbon black, which must be the dominant ingredient as the paint is quite lightfast; it produces subtle and active textural effects wet in wet, and has the darkest masstone value of any black paint. Because of the azine pigment, this paint should perhaps not be used in tints or diluted.

    From what I've found online when researching this previously it might be ok in masstone, but not lightfast when tinted at all. It's the blackest matte paint I've ever found, but if you apply gloss medium or varnish over it then it lightens (the opposite to all other matte carbon/mars black/mixed blacks which darker). It actually becomes the same value when glossy as a carbon black like PBk6/7.

     Hope that helps,
    Richard
    tassieguy
  • Does anyone ever use black when painting landscapes? I've always found that it just destroys colour. I think the chromatic blacks such as Mark's are much better for landscape.
  • I use it for the darkest values, so black->dark brown, green, etc..

    If you mix it in with a light value then it quickly reduces chroma, so you have to add in a darker valued colour too to recover some chroma. For example if you want to darken a mix of ultramarine blue & titanium white then you might need to add black and ultramarine blue to darken without losing so much chroma.

    This is described well on the Huevaluechroma website:
    http://www.huevaluechroma.com/101.php


  • Have you tried using a chromatic black, @Richard_P. In landscape I mean. I can go very dark with those but they don't seem to suck the life out of the colour like Carbon Black or Mars black. Maybe I just don't have enough experience with these blacks. I'll try playing around with them again and see what I get.  :)
  • Rob

    When MJS paints the under layer of trees in oil over the mass tone acrylic, he uses an ivory black with a greenish tint to scumble the dark foliage layer and follows with a few lighter green shades for the canopy. 

    I do too, it is a quick and easy illusion creating lots of texture and light detail.
    For still life or figure work I would revert to a chromatic black.

    Denis

  • I have Rob, but they are all less opaque than a carbon or mars black. Also as I build colour strings I don't use it for general mixing, and so I don't have the problem of losing chroma when used as a general mixer.
  • TedBTedB -
    edited February 18
    Typically I avoid using a "black" tube-paint and instead use Burnt Umber and Paynes Gray as my warm and cool "dark" mixing-paints in combination.
  • Only time I use tube black is to mix with yellow to make green 🙂
  • edited February 18
    Thanks, @Dencal, @Richard_P. I've don't have much experience using tube black to mix hues by adding colours to it. Except, like @Roxy, I've occasionally made a green by adding yellow to it.  Obviously, it can be done and I should experiment some more with it. 

    I was thinking more in terms of people using pure black from a tube as their darkest dark and using it with white to create greys instead of mixing coloured greys by neutralizing a colour with its complementary -  adding green to red for example, or orange to blue. These coloured grays look much more lifelike in landscape and don't leave a hole in your picture like grey made by mixing just black and white.   :)
    Roxy
  • I do make greys like this.

    If the grey made with black and white is too dull you just need to add a small amount of another hue to tint it :)

    If you are colour matching, both ways get you the same result.
    tassieguy
  • edited February 18
    Yes, I agree, @Richard, just add colour and you get a coloured grey.  But I think that adding colour would always be necessary with landscape because the greys in landscapes are always coloured. I find it hard to imagine a situation in which I would need a grey made with just black and white. Maybe if I were painting a forest after a forest fire where everything is just ash and charcoal ...  But even then, I imagine I'd see colour in the ashes.  :)
  • tassieguy said:
    Does anyone ever use black when painting landscapes? I've always found that it just destroys colour. I think the chromatic blacks such as Mark's are much better for landscape.
    Sorry @tassieguy I use black. Sometimes that's the only blue that I have. But I never use black on its own. I mix with some other color always. I deliberately added to my palette.
    KingstonFineArt
  • I still have a tube of ivory black that I bought over a year ago and never opened it up.  I afraid if I do I will release a black hole that will suck in all the paintings in the studio.  😀😂
    Joking aside, I think if you do use it and mix it with other colors it would work as well as mixing umber and blue .  Probably provide much darker darks.
    Roxy
  • @KaustavM, like I said above, I think it's fine when mixed with colours.
    kaustavM
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