This is Why It's So Important to Control CHROMA As A Painter!!!

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About me (bio) :
Website :
www.florentfarges.com
I am an artist living and working in France. I learned the techniques of the Atelier of the Nineteenth century and now I try to share some of my knowledge with the rest of the world, because I think that beauty still has an important role to play in artistic creation. I do mostly drawing and oil painting, and my goal is always to provide techniques, thoughts and explanations that can be useful to anyone, from beginners to more advanced artists.
The material I use most of the time (not necessarily in this video) :
Drawing
✓ Kneaded eraser
✓ Plumb line (DIY)
✓ Small mirror
✓ An old synthetic brush
✓ Masking tape
✓ Cutter
✓ Sandpaper or sanding block
✓ Mahlstick or Hand rest (DIY)
✓ Level ruler
Graphite
✓ Pencils 2H, HB and 2B
Charcoal
✓ If available: Nitram charcoals (H, HB and B)
✓ Square charcoals
Black and white chalk
✓ Sketch pencil Conté white
✓ Square Conté noir : HB and 2B
✓ Chalk or pencil holder
✓ Pencil sketch Conté Pierre noire : H and HB
Sanguine
✓ Sketch pencil Conté : Blood and blood Medici
✓ Crayon Polychromos Faber-Castel : sanguine
✓ Sketch pencil Conté white
Oil painting
Palette
(Extra-fine paint, recommended brands depending on availability: Sennelier, Lefranc Bourgeois, Winsor and Newton, Royal Talens Rembrandt, Blockx, Michael Harding, Gamblin)
✓ Titanium White PW6
✓ Flake White (or substitute) PW1
✓ Cadmium Yellow light (or "lemon") PY35
✓ Yellow Ochre PY42
✓ Raw Umber PBr7
✓ Transparent Red Oxyde PR101
✓ Burnt Umber PBr7
✓ Venetian Red PR101
✓ Pyrrole Red PR255
✓ Quinacridone Rose PV19
✓ Quinacridone Magenta PV19
✓ Ultramarine Blue PB29
✓ Mars Black PBk11
✓ Cobalt Teal Blue (turquoise light) PG50
✓ Phthalo green warm PG36
Brushes
✓ Filbert hog bristle and Synthetic sizes n° 4, 6, 8, 10 and 12
✓ Flat Synthetic brushes (same size)
✓ Round sable brush or round Kolinsky sable n° 4, 8, 10, 12 (from the size of the nail (about one inch) or synthetic imitation
Medium
✓ Linseed stand oil
✓ Odorless mineral spirits
✓ Or Alkyd medium (Liquin, Galkyd, Flow'n'Dry etc.)
✓ Safflower oil
Surface
✓ Linen canvas, fine grain universal coating
✓ For studies : Canson oil-acrylic oil paper Figueras
Others
✓ Palette
✓ Sponge and spalter brushes
✓ Palette knife in the shape of a water drop, no souldering
✓ A few small pots, containers, jars...
✓ Paper towels
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#art #painting #inspiration
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Thanks for watching !

[@Foervraengd]

to my fellow digital artists: chroma is the saturation slider

[@ravenhendershott1058]

This is, honestly, why I much prefer quinacridone magentas and violets. They seem to retain life and their vibrancy. The Rose Madder Lake Deep by Rembrandt was my favorite color for a long time and sadly seems to be discontinued now. It was a quinacridone color too, not from the root. It had certain characteristics that were appealing to me over the popular Alizarin Crimson in the 2000s. Plus, it was a color on Renoir's palette and I loved that color in his painting of his friend Claude Monet in his rose garden so much that I decided to try it in my own creative explorations.

[@gerardtoonstra4690]

Amazing! Actually, this was pretty much a masterclass, once you advance in painting enough to understand how it differs. The question becomes: "how much did you experiment with different pigment types to understand the differences"? I've been working a lot with the same palette and getting my stuff done. I know a lot of people whose minds are opened by just trying out a different pigment.

[@gennydavidsonsmith85]

Thank you, Florent, for such a clear explanation. So useful!

[@pedroclaudio3401]

Maybe one could choose both of them as they are acting differently, depending on the situation. As long as the quality of the paint and the lightfastness of the pigment are good, having a low tinting strength pigment can be useful. The cobalt violet can be interesting to have a high chroma color on its own, and if you want to grey down a yellow, or mix with other color without altering it too much, the low tinting strength comes in handy

[@madiko]

Very interesting. Thank you for sharing your insights, Florent 😊

[@luisadebarnot3251]

Wonderful video❤

[@jennylane2498]

I just wing it but I find this interesting 😉

[@patrickmcdaniel8123]

For the person who said this guy died from using old world materials he sounds pretty good.

[@Reb0rta]

This was great! Thank you!!!

[@ignacioneme2186]

very usefull thanks! 😁

[@sylvainst-pierre8725]

Merci M. Farges

[@cynthiamarston2208]

The pv 19 is a very attractive deep color.

[@susanreinersuedahl]

Very interesting video. Merci.

[@TheChameleon2008]

So let me get this correct since chroma kinda looks like value but then without the black and white but just color value?

[@sarahhavillamelooliveira5825]

Interesting

[@socratesthecabdriver]

💛🙏

[@adisaikkonen]

The chroma does not actually necessarily decrease when mixing colours, but only because greens are weird. Phthalo Yellow-Green is a mixture of Phthalo Green Yellow Shade (PG36) and Hansa Yellow Light (PY3), but it has a stronger chroma than either. This is a physiological quirk of the configuration of the rod cells in the human eye, making us have much more precise colour vision in the green range, and the fact that Hansa Yellow Light is actually too light value to achieve the ideal chroma and Phthalo Yellow-Green is too dark.

[@radzirojas]

8:24 but if we look from postmodern side...