#Raw Umber Natural

[doodlewash]

REVIEW: Summer Watercolor Set from Da Vinci Paint Co.

The feel of Summer is easily captured with the Da Vinci Paint Co. Summer set.  This is a curated set of six 15 ml tubes, meaning the colors were chosen with the season in mind. Not just for their colors but for the wide range of characteristics — transparent to opaque, warm to cool, some granulating, some staining. You’ll be able to catch the natural greens, golds, and browns of the summer, as…

[cleolinda]

Okay, I am having an issue I can only attribute to The Autism, and I am curious as to whether anyone else vibes with this:

I have an extreme aversion to wearing brown clothing. Like to the point where I started to wonder if I was persecuted by colonial Puritans or steampunk pilots in another life or some shit. It has only developed since I became an adult; I had a perfectly witchy brown and black maxi dress I wore as a teenager, and a pair of shoes I got compliments on all the time. Brown is fine in nature, in decor, on animals, on other people, on anything that isn't me. Love a good neutral (can lean slightly warm) brown eyeshadow; looks great with my complexion. Brown eyes of all shades are beautiful and I love them (I have green). Don't drink coffee but it's not brown's fault. Buy me a chocolate factory and I'll live in it. No real fight to pick with the mere existence of brown.

I wear black. Accessories, shoes, purses, jewelry, wardrobe staples, whatever: always black for the last 20+ years, never brown. It's like I decided that if I always stuck to black, everything would always coordinate, and it just... spiraled from there?

When I went to pick up my new glasses a couple weeks ago, there was some kind of mix-up, and the frames weren't black; they were a dark, almost-black brown with light amber mottling: tortoiseshell. "I HATE TORTOISESHELL" I blurted out (once the sales associate wasn't present. Nobody is paying him enough to deal with that kind of weirdness). I really did not know that I hated tortoiseshell at all until it came up when I was first browsing frames three weeks prior, and I blurted out, "I HATE TORTOISESHELL." I did not know this about myself! It might not have even been true until that moment! It's not the pattern; it's purely the very yellow/orange-leaning shade of brown, on me. Tortoiseshell is lovely on other people! It's aesthetically cromulent! I reacted like someone had offered me a tarantula. I don't know.

I have now reacted so bizarrely--I've spat out "I HATE BROWN" on previous occasions as well--that I'm trying to unpack what the fuck is going on. My best theory at this point is that it has something to do with a neurodivergent aversion to yellow, which I REALLY REALLY HAVE. (Again, yellow is fine wherever doing its own thing, love a gently yellow flower, but I do not want to wear it and it kind of hurts my eyes a little if it's too much. Like I almost feel queasy.) I keep trying to stress-test this aversion in my mind--what shade of brown would I wear? A sweater that's such a dark and neutral brown that it's almost black? A really pretty "brown sugar" color like the eyeshadow I like so much? "Redwood"? "Raw umber"? "Beaver" (........)?

My secondary theory is that it might come down to some kind of involuntary self-assertion thing. "I SAID I WEAR BLACK, WHY AREN'T YOU LISTENING TO ME??" I think... that's a good bit what happened with the glasses. Although I really do react very strongly to the sight of the amber bits (on me).

Anyway, I am usually a very measured, even stoic person with this kind of thing--to the point where I don't stand up for myself enough--so here we are, trying to figure this out. Do you have any kind of vehement aversion like this? Not to something rational (I can't deal with seafood and I stand by that), but like, "I jump back from this like a vampire from garlic and I have no idea why"?

[sylvctica]

𝟑-𝟓 𝐓𝐇𝐈𝐍𝐆𝐒 𝐘𝐎𝐔𝐑 𝐌𝐔𝐒𝐄 𝐂𝐀𝐍 𝐄𝐀𝐒𝐈𝐋𝐘 𝐁𝐄 𝐈𝐃𝐄𝐍𝐓𝐈𝐅𝐈𝐄𝐃 𝐁𝐘.

𝐂𝐎𝐋𝐎𝐑𝐒:

███  -  hunter green

███  -  tea green

███  -  raw umber

███  -  bronze

𝐒𝐂𝐄𝐍𝐓𝐒:

fresh grass, like the type you have rubbed into your clothing because you were rolling around in it too much, staining your knees green.

floral scents, buried in their shampoos and soaps they often use and make.

clean linen, freshly washed.

𝐅𝐀𝐒𝐇𝐈𝐎𝐍:

low cut blouses, openly showing off skin and chest ... and perhaps even their back, wearing them with confidence and pride in their appearance (even with their scar peeking out).

warm and bright colours, or monochrome to draw the eyes to them—sylvie has no qualms in what colours they wear as long as it is pleasing to the eye.

loud and bold, revealing but without intention to draw people in. look, but do not touch; their fashion is a statement of art and themselves, not something else.

𝐎𝐁𝐉𝐄𝐂𝐓𝐒:

their dendro vision, albeit fake, is something they tend to carry on hand at all times; although they do not need it, it is a symbol of their power, and what they are.

a wedding ring embedded with geo and dendro that sits proudly on their left hand.

a gentle sprig of leaves adorning the side of their head, nowhere near like a wreath that makes a crown.

𝐁𝐎𝐃𝐘 𝐋𝐀𝐍𝐆𝐔𝐀𝐆𝐄:

their ears sometimes speak more than their face if you know them well, quick to shift up and down pending on the conversation.

their hands are almost never still when they talk, often used for gesturing or to fiddle with items on hand or their own hair / clothing.

confident, relaxed, and open; sylvie doesn't hide themselves or make themselves seem closed off when others talk to them, even if they may not be doing the same as they speak.

𝐀𝐄𝐒𝐓𝐇𝐄𝐓𝐈𝐂𝐒:

forests, greenery, sunlight and warmth, and whatever you'd like to think about when you think of nature. sunflowers, tulips, bouquets and such on; they are the very embodiment of it, to the grass under your feet, to the trees towering above. like a warm embrace.

mask of a fool, often on the smiling side. it's not like they are not kind, far from it, but their ditzy, silly personality sometimes is just on the surface ... what's below is harder to see.

smoky makeup and lipsticks in bold colours, 6-inch heels that'd break your ankles, the most slutty dresses you can find.

sharp teeth. they are still an animal, too, after all.

tagged by:   @afacere (MWHA MWAH) tagging:   if you wanna do it, tag me!!!! this is a fond threat!!!

[tzaraat]

Thank you for answering my previous ask. I’m getting into drawing/painting - What would you suggest for someone interested in starting oil painting? Like, videos/books/general tips? Sorry for an annoying big question like that, I’m just a little lost and wary about wasting materials

first of all, good luck, i hope you have fun :)

second of all, this is not authoritative - just what works for me, and i don't have formal training. another disclaimer is that i am not personally too concerned with archivability, which means i am unbothered by the idea of my paintings and drawings warping and degrading over time.

the actual advice is under the cut.

supplies:

oil paints are expensive. if you know someone who used to paint, or still does, and can give you their old stuff - that will be the most economical (and most convenient) way. if you don't have something like that, i recommend going for cheap, but decent-quality materials. get everything at a small-medium size, it will last you a relatively long time - and replace things as needed.

linseed oil and turpentine (mineral spirits also works) are gonne create your medium and let you clean your brushes. go to an art store and get a container of each. i have half-litre containers which i have been using for the past 3 years and are not yet done. you don't need to replace them that often.

paints

if you already paint in another medium (acrylic, gouache, watercolor, etc), and have a base of pigments you're comfortable working with - get the equivalent oil paints. try to narrow down your list - 5-10 pigments.

if you are on a limited budget, get a basic kit - one of those 8-tubes in a cardboard box things. make sure you have a dark blue and a dark brown in there. you don't need black. i would aim for something with two blues, two browns, two yellows, two reds. also get a tube of titanium white.

if you prefer picking individual pigments and don't know where to start, these are basic ones i like:

titanium white, burnt umber, raw umber, yellow ochre, cadmium yellow, cadmium red, magenta, prussian blue, cerulean blue. you don't need all of them, just make sure you have at least one from each color family, and that some of them are dark.

get 37ml tubes at the largest. if you like it and run out, you can replenish your kit. most people use white a lot - get a larger tube of that one, or two small ones.

my main pallette is this one: titanium white, burnt umber, raw umber, burnt sienna, raw sienna, yellow ochre, cadmium yellow, lemon yellow, naples yellow, cadmium red, alizarin crimson, magenta, ultramarine blue, prussian blue, phthalo blue, cerulean blue. if you buy all of these at once, they will cost a fortune. don't do it unless you're super rich or someone else is paying. acquire paints over time.

substrates

the common substrates for oils are canvas or wood. that said, you can paint on other things - paper, glass, metal, whatever - you just need to prepare them first.

i paint a lot in my sketchbook. this isn't necessarily a great idea unless you can predict how long it takes for stuff to dry, and other things of that nature.

regardless of your substrate, if you are just beginning, aim for things around the size of an A3 sheet of paper. this is large enough to give you space, but is not overwhelming. you can go a little smaller, but - at least at the beginning - no smaller than A4.

if you already have a preferred size of work, or once you get the sense that some size is the most comfortable for you, go for that one. i'm usually a large-canvas artist, but those are hard to fit through the door. i know people who rarely if ever paint or draw anything larger than an A4 sheet of paper. your mileage may vary.

because you will be preparing your substrate anyway, this can be the place to cut costs. high quality substrates are nicer to work on, and are better for archival purposes - but you can paint on anything, shitty canvas included. try to get non pre-gessoed canvas, though.

if you get paper, default to something relatively heavy. 300gsm is standard watercolor paper weight - if you're going to be oil painting, and you don't want it to warp, this is the ballpark. don't get high quality watercolor paper if you're gonna paint with oil or acrylic though - get a different heavy paper.

if you want to work on an unprimed substrate, test it before you begin. if you work on a porous one, like wood or paper, the oil will seep in. if you work on a smooth one, like glass or metal, you might have to rough it up so the paint adheres. in any way, this is not great for longevity - but you don't have to care sbout longevity.

gesso

get white acrylic gesso. not a huge container, unless you're gonna be doing it a LOT. also get a large, square brush, like for painting houses - this is your gesso brush. it's ok if it gets kind of shitty over time. if you are bothered by textured substrates, also get some sandpaper.

if gesso is too expensive, or you can't find any, get white acrylic paint. it will do the same job. get something cheap.

brushes:

if you already paint, use those (or buy doubles, if you don't feel like washing brushes all of the time). if you don't, buy some that are sold as a set, they tend to be cheaper. get decent quality - you don't want them shedding on your painting all the time.

clean-up:

get a rag, your turpentine or mineral spirits, and an all-purpose soap bar (the kind that's good for stain removal). don't pour stuff down the drain - you're using toxic materials, and oils clog up pipes.

general:

you'll need rags and a few jars.

get a pallette - can be any flat, smooth surface. i used to use a bath tile i picked up on the street. now i use the surface of my desk. you can use anything, just make sure it's large enough.n

the process of painting

priming and preparation:

if just acrylic gesso: with your big brush, spread gesso to cover the canvas, preferably with your strokes going in one direction. try to create even coverage. i usually do two to five layers, letting the gesso dry in between my second layer has brushstrokes perpendicular to the first. the texture will be somewhat plastic-y.

if ground: mix gesso with modeling paste. spread evenly across the surface with a brush, using the same perpendicular layers as when using just acrylic gesso. smooth between layers with the edge of a razor. the texture should resemble an eggshell.

if you're very traditional, you'll make and use a rabbit skin glue gesso. that is far too expensive for me.

gesso typically dries between 30 minutes and an hour. leave it to dry COMPLETELY before painting - you don't want moisture getting in your paint.

for general preparation, fill a jar about a fourth-or-third of the way with linseed oil. fill another jar with your turpentine. lay the paints on your pallette - i like having them around the edge, with similar pigments grouped together. you do whatever is comfortable for you.

open a window! you're working with toxic materials, and solvents fume. ideally, don't do it in your bedroom. (i paint in my windowless bedroom. do as i say, not as i do).

oil painting- general notes:

most people paint with a mixture of oil and solvents. if you want to create a medium, mix linseed oil with turpentine. use more oil than turpentine (2:1 or 3:1 ratio, usually, depending on many factors, just play with it until you figure it out).

i personally use linseed oil almost exclusively, and reserve turpentine pretty much only for underpainting and cleanup. the downsides are that it dries relatively slowly and that it yellows easily. the upsides are that i'm used to this method and that oil does not fume the way many solvents do.

many people will tell you you should paint fat-over-lean, thick-over-thin, slow-over-fast. all three "rules" serve the same purpose - they try to make sure that, as the painting "dries" (oxidizes) and its surface deforms, it does not lose structural integrity (e.g. by cracking). the main principle is that, if you work in layers, you want your top layers to remain flexible as the bottom layers dry. "fat" paint means paint mixed with oil or medium. "lean" paint means paint with solvent mixed into it. fast-drying pigments include most earth tones, slow-drying pigments include most jewel tones.

oil painting - common techniques:

many people paint alla prima. this means your painting does not dry between layers. your initial layers should be loose, thin and lean - ideally semitransparent washes. the top layers should be the most vivid and opaque, with the most tonal range - highlights and deep shadows go last. working alla prima, you also have the option of taking paint away from your canvas - don't be afraid to experiment with scratching it with the blunt end of your brush or with a pallette knife. account for mixing on the canvas by making the color on your pallette more vivid, and load the brush heavily.

if you let your painting dry between layers, there are many classical techniques. mix and match between those as you see fit. you can use as many or as few layers as you like.

regardless of specific technique, people usually go through these stages:

graphic layer - this is the process of establishing your drawing on your substrate.

underpainting: there are many styles of underpainting, like imprimatura, verdaccio and grisaille. for imprimatura, you apply a wash of colour (in a warm earth tone) to the canvas, then rub out the light areas and darken the shadows. some add white for the highlights for a fuller tonal range. for verdaccio, the monochromatic underpainting is done in a greenish/yellowish grey (mixture of black, white and yellow pigment). in flemish painting, a verdaccio layer is done (usually in tempera) over the imprimatura background, and neutralises it. in grisaille, the painting is fully rendered in a neutral monochrome (unlike the warm imprimatura and greenish verdaccio), including fully developed highlights and shadows, and detail work.

color: color layers may fully cover the underpainting, or be transparent enough to allow it to it show through. usually, more opaque color is applied for highlights, whereas shadow areas reveal the underpainting by being relatively transparent.

glazes: transparent layers that tone the previous, more opaque ones.

in principle, oil paints tend toward some level of transparency. usually, the very surface of the painting will be primarily a transparent film - with the pigment sitting at the bottom. glazes explicitly utilise the transparency in order to create depth and luminosity. the process of glazing is similar to that of watercolor painting.

wait for the painting to be dry to the touch before applying the next layer.

after your painting is completely finished and dry (this can take a very long time), a varnish can seal and protect it.

ON THE USE OF BLACK: some people prefer using a black pigment, like ivory black. personally, i mostly use chromatic black - a mix of dark blue and brown, which creates the effect of black without use of black pigment. i prefer this way because it allows me to easily change the tonality of my black tones, and push them towards blue or red as i see fit. a mix of prussian blue and burnt umber creates a very deep and versatile black tone.

cleanup:

wash your brushes in the linseed oil, then dry them with a rag. wash in turpentine and dry with a rag until they no longer leave a stain. now get a jar with water and your all-purpose soap bar. clean your brushes using soap and water until completely clean. leave them to dry. do not use brushes which are not yet fully dry for oil painting.

close the jars containing your linseed oil and your turpentine (and medium, if you made some). unlike with watercolors, you do not need to replace your oil once it gets dirty. the pigments sink to the bottom, and you can later use them for glazes and washes. do not pour the water down the drain. it is your choice how to dispose of waste - personally, i wait until it gets too dirty, then evaporate it and get rid of the solids alongside any pallette shavings i may have.

if you still have fresh paint on your pallette, and are not going to be using it soon, you can store it in a box in your freezer to keep it fresh. if that is not an option, store it in a cool and dark place, like a cupboard. if you take your paint out of the freezer, make sure there is no condensation on it when you start working, so that you don't introduce moisture into your oils.

it is generally speaking a good idea to try and avoid getting your hands dirty with oils, because some of the pigments are toxic, as is turpentine. it's at your discretion to decide how much you care about that. i work with my hands a lot and don't care. conversely, i have friends who glove up.

resources:

i don't really watch youtube videos on painting, because most of the popular channels annoy me. if you want to learn a specific technique, there are good videos out there - they usually have less than 10000 views.

as for textbooks, i go for ones that get into specific artists' methodologies. alternatively, research papers. there are also useful books from academies, that have exercises in them.

experimentation is crucial for learning a medium. use it a lot. it's ok to waste SOME materials - it's very likely your first pieces will be kind of bad.

if it scares you to work on a designated canvas, say it's a sketch in preparation for a different painting. prime it roughly, and set yourself a time limit. you can always paint over a pre-existing painting. it's fine.

if you want to paint realistic works, you will have to also practice your skills of drawing and of observation. i'm always a proponent of working from real life rather than from an image, though of course it's a legitimate and enjoyable technique. i also like working from video reference and moving models, but that can be hard for some people.

if you want to paint abstract works, experimentation is your friend. familiarise yourself with the intricacies of the paint and its application, and play with it and your substrates. work a lot on your compositional skills. train your eye to decide what you like and dislike by metrics independent of how much a piece visually represents any specific object. express concepts - philosophical, emotional, visual, whatever - through abstract forms. get really into color and light.

if you have any other questions, feel free to ask. i can't currently think of anything else i would go over before starting to paint. just please don't kill your entire paycheck by buying supplies, there is always a good chance that you can get something for cheap or for free by just asking around or experimenting. there might also be programs around where you live in community centres or something where they teach painting, who will let you maybe borrow materials or something. if you can worm your way out of paying, by any means that don't get you in major trouble, that's better.

[shadowedvales-a]

WHEN THE WORLD TURNS ITS BACK ON YOU, YOU TURN YOUR BACK ON THE WORLD, FROM DAMIEN WESTWOOD ;; @chaoslulled

kind nature could still prevail in the end — elle was living proof, not too far gone to be abandoned. stark features fell, mood suddenly shifted from one extreme to the next as his confession expelled. rampant fingers and a bundle of emotions; damien's words somehow energised her. woke the yearning sleep beyond crystallised eyes, killed the strain in her neck that took hours to dwindle. she was an awkward sleeper, constantly paying the price through the need to wake up early, and avoid images which visited behind closed lids. she, a girl who'd never been blessed in holy water. she, a girl shunned by those deemed cathartic. she'd have nothing if he'd continued on driving that fateful eve. they shambled on disobedient limbs, the creatures who were once just like her: human. breathing and thinking beings of individuality. before infected with death's corrosive ichor as it swarmed their veins to make uninvited homes. she might house one this very day if not for him providing a seat in his battered up vehicle.

“ you do not believe that. ” a mundane tone, like claiming something simplistic as the weather outside. there isn't questioning weaved inside speech, but in properly studying him, she realised no assumptions should be forged. light confusion overcasts tremendous desire to ask why he promoted this headspace, this alarming perspective. comprehension ran a thousand miles an hour in that head of hers which, despite growth and time endured, still struggled to make sense of particular situations. she wore worry on her wrist, bleeding among her black canvas and umber hair; elle bared a face tending to smile solely in photographs. though her courage increased in the presence of those she loved most, including damien, and all his strange comfort she has come to appreciate more than words can describe.

she never knew where the arc of belonging stemmed in her surrounding cocoon; whether peace was sought in the arms of others, or if she were better on her lonesome. ensuing all these years, elle finally achieved an answer. “ if you turned your back on me... i would not be alive. ” voice lowered an octave or two as a certain softness broke free. she persisted a hard strength in her response, telling him, opposed to letting him conjure an opinionated reaction. this was how she saw it, and the raw truth shan't sway. end of story. she watched him beneath a furrowed brow, not judging per se, merely watching, trying to read and fathom without prompting any questions. after a moments quietude beat between them, she sighed a long and rattled breath. “ the world is cruel, and... and so scary. but i do not think you will ever turn from it com— compel— ” unwarranted frustration bubbled in the throat, so she quite literally spat the word upon wrestling its pronunciation. “ completely. ”

elle gently picked up his left hand within her own, a sudden change from the slightly stubborn demeanour. perhaps his words were a passing comment, or something deeper burrowing underneath the skin... whatever reason, the child held it rather personally. no further moves attempted, she just held him with an almost lax grasp, thumb unconsciously soothing timid strokes amongst his palm. “ you are too much a good person to do that. even if you do not think it... i do. i know it. ” the index finger on her right hand pointed, jabbed at her heart to add important emphasis to pronounced declaration.

[azuryuu]

twst yuusona profile - yuu h.

« isn’t it funny, how you can live so near and never notice. »

yuu h. is a first-year and the one (out of the two human students in his dorm) who holds the position of dorm head of ramshackle. he is generally well-liked by both peers and professors alike due to his cordial and obliging nature. it is intelligent and mild-mannered, but tends to keep to himself, so it is easily forgettable.

technical information

name: “yuu” 

japanese: ユウ

other names: 

herbivore (leona)

ghostie (moon)

shrimp/y (floyd)

monsieur rusé (rook)

child of man (malleus)

prefect/class pres[ident] (by most students)

dorm leader/dorm leader yuu (kat, only to tease/taunt)

voice claim: vy2 yuuma [sample 1] [sample 2]

biographical information

gender: gender apathetic

pronouns: he refers to itself using he/it pronouns. it doesn’t particularly care what others call him.

sexual orientation: greyromantic asexual

age: 19

birthday: 28th of august (chosen by ace and deuce since he cannot remember his real birthdate)

starsign: virgo

height: 160cm/5′3 (?) [i am not american]

eye colour: umber brown almost black

hair colour: soot black

homeland:  P███, F████

family: unnamed father, unnamed mother, unnamed older step-sister, unnamed older step-brother

professional status

dorm: ramshackle

school year: first

class: 1-A | student no.14

occupation: student | prefect/dorm leader | class president/representative

club: equestrian club

best subject: magic analytics/enigmics | potions/potionology | flying

worst subjects: none 

disability accommodations: modified PE grading due to health reasons

fun facts

dominant hand: right

favourite food: spicy stir-fried octopus (nakji-bokkeum)

least favourite food: raw red onions

dislikes: complacency | oversleeping | going too far behind schedule | being ignored

hobby: playing the piano | reading | learning new things, studying

talents: lockpicking | going unnoticed

appearance

yuu has short straight dark brown hair, with the fringe being parted to the right. the fringe is slanted to the point that the hair on the left side is noticeably much longer than the right, ending just barely past his left eye, only just grazing the bottom of it. because of this, its left eye is usually obscured.

his eyes are a much darker brown than his hair, so dark that it almost appears fully black, the pupil blending in and indistinguishable from the iris, even from up-close. sometimes, they are able to take a lighter quality, glinting almost ivory. it usually wears rimless oval glasses that he removes when appropriate (completely removed during PE uniform & suitor suit, or when wearing goggles in his labwear & beans day outfit).

he has a beauty mark below his lip on the left side of his face and below his right eye on the bottom-left corner. under his typical night raven college uniform wear, yuu has a rather lanky and almost frail-looking body. despite his tan skin, it’s marked with such sickly pallor that he almost looks like he could drop dead at any moment.

its outfit consists of a white short-sleeved dress shirt and grey waistcoat under the typical nrc black suit jacket with golden accents which it leaves unbuttoned, and a striped bow around his neck, which he seems to always tie crooked. tied around his left arm is a white ribbon with a black stripe running down its length, fastened in place by the golden dorm crest. it also wears a pair of black slacks and light grey socks accompanied by black oxfords.

personality

yuu is rather well known on campus, for not only being only one of two magicless student who ended up in a prestigious private school for highly talented magical practitioners, but also for being incredibly highly accomplished despite its lack of magical affinity. its professors enjoy its presence for yuu is very diligent and industrious, excelling in all classes; its peers enjoys its presence for yuu is very pleasant to speak to and overall, very helpful (even if the more opportunistic students ends up trying to take advantage of yuu’s generosity - they quickly learn that yuu can quickly become very unsympathetic and stern, however). 

regardless if it’s about classes, note revisions, tutoring, or even mediating conflict between students or student & professor, yuu proves itself to being a very capable class representative, unfaltering and unintimidated by anything. naturally, he is very polite and composed, but also affable, always speaking demurely with a small smile that makes him look friendly and approachable. it is very clever and always chooses its words so that the person he is speaking to feels as though they are listened to, makes them think that they are smart and are the one controlling the conversation.

but under his surface level geniality, yuu has the emotional range and reactivity of a dead fish. he is someone that is easy to be acquaintances with, but hard to be friends with. he is someone you don’t hate, but you don’t particularly like either. it is very hard to get close to it as it rarely speaks about itself, nor does it start conversations or reach out to others, always passively responding to questions, only speaking when spoken to. it is distant and indifferent to most, and tends to be aloof and keep to itself. because of this, it is very good at being boring and being ignored

in that end, it is very good at being forgettable. all it needs to do is stick its nose in a book, and it is like he has disappeared into thin air; yuu is someone that puts forwards the image of someone dull and unremarkable: ‘he is a good student, but not much else beyond that’. yuu is an uninteresting person and doesn’t try to associate with the other students beyond pleasantries and favours.

yuu is a stranger, and its cordial demeanour and unassuming disposition belies a more cunning streak.

skills and abilities

despite being magicless, yuu is able to thrive by being a jack of all trades.

social butterfly yuu has the ability to adapt to and work with just about anyone, able to endear itself and integrate into any group. not many people can say that they dislike him, and many people can vouch for his convivial and considerate nature. this works to his advantage as people seldom suspect him or believe accusations towards him, even when he is actually the culprit behind something.

↳ “captain of köpenick” yuu is very good at pretending: he can ‘fit in’ in any situation or environment, able to do whatever he wants to achieve by acting as if he already has the authority to do so in the first place; his act is so organic that no one really questions it, despite nrc not being in any shortage of sceptics - even if someone does suspect him, they’re not quite able to tell what yuu’s motives are.

notable example includes the time yuu began regularly attending dorm leader meetings despite never being invited in the first place, due to ramshackle’s (and therefore his title’s) provisionary status.

↳ negotiator owing to his familiarity with psychology and social engineering, along with being raised around his politician father, yuu is adept at navigating social situations, knowing the precise words and phrases to get or hear exactly what he wants, to make others think and feel how he wants them to, to project a specific image of himself that is tailored for the other’s consumption. 

on the flipside, this skill has become very useful in helping him peacefully resolve any conflicts or disagreements, and defusing arguments from becoming fights. talking one’s way out of trouble comes in handy as yuu possesses no magic to defend himself with, and it’s very good for his (and his dorm’s, including the other one student in it) reputation.

↳ grey rock his amiable personality can easily be switched on and off at yuu’s convenience. when it has no need to garner attention, yuu easily shuts himself off and makes itself as dull and boring as possible, becoming uninteresting and unremarkable. indeed, outside of being helpful and being a good student, his peers don’t know much about it as a person.

sometimes, the best defence is simply to be underestimated and unnoticed.

sure-footed despite the usual drag of his feet, it’s really only a habit he enforces when he wants others to hear him. yuu actually has naturally good balance and silent steps, as proven by how agile and light-footed he is, taking full advantage of his smaller stature. ergo, yuu is very good at running away, dodging, and avoiding. its good balance has led to him quickly picking up flying and becoming rather skilled, albeit still green.

↳ regal he has a very prideful, dignified way of carrying himself that almost demands respect and attention, which he tones down unless he’s at a formal function where he needs to appear noble. this was a disposition he had been groomed into from a young age by his parents, and becomes something akin to second nature to him, much like the honeyed empty flattery that he spits out easily.

↳ scrappy when running away and becoming avoidant, his usual m.o., is no longer viable, yuu is capable of holding his own in a fight. landing a hit on him is actually rather difficult as it is a small, nimble target. but due to its lack of formal self-defense or martial arts training, yuu’s way of fighting is erratic and unpredictable, but inefficient. nevertheless, he makes up for his lack of technique with sheer violence and abject refusal at admitting defeat.

quick study yuu has a very strong memory and is naturally clever, able to quickly pick a subject up, whether it be humanities or sciences, even something it has never seen before, very quickly when interested or obliged to. as such, he can learn the essentials of new material he was introduced to in twisted wonderland with remarkable speed and ease. coupled with his passion to learn and irreproachable studiousness, it would be hard to imagine yuu anywhere but at the top of his grade’s ranking board. 

↳ investigative when something has piqued yuu’s interest, it is skilled at sleuthing out clues and can competently gather information from others. on top of having very good memory that allows it to recall minute details that was mentioned months prior, yuu is highly capable of parsing through its thoughts and findings to come to a(n often) correct conclusion.

notably, yuu was capable of deducing fairly early on that scarabia’s vice leader’s UM has to do with manipulation by using the dorm leader’s slip up, and has therefore quickly grown distrusting and wary around him.

↳ artful yuu is someone who can craft a way out of any situation, his perceptive and calculating nature coming together into a fearsome cunning. he is not someone who acts on impulse: he plans and deliberates before speaking, before making his move, and with it, he has already thought of a plan B, and a backup plan for that plan B to go with it. this way, it ensures it will always come out the victor and have the last laugh by outsmarting the other.

it is a facet of yuu that people seldom think he possesses due to his unassuming and guileless disposition, causing others to underestimate him and believe him to be naïve, which works to its favour. 

↳ polyglot yuu is fluent in at least 12 languages, 10 of which are languages spoken in his original world (including french). the rest are the languages he has since picked up in twisted wonderland, which includes the “universal language” spoken in that world and the different tongues he has learnt in animal languages class.

it enjoys learning different languages as a way to challenge itself, but also because the connection between languages fascinates it, loving how the more languages he knows, the easier learning the next one becomes.

lockpicking a skill that yuu actually picked up on a whim. he had started watching videos about lockpicking once on youtube and got hooked, wanting to try his hand at it. after ordering the proper tools and practicing, it came to learn that it was rather talented at the act. it’s now incredibly proficient at the trade, capable of breaking into complex locks within seconds. for the most part, it continues to practice to keep its fingers occupied and dexterous, not to mention that it also enjoys finding out what mechanisms makes up a new lock he hasn’t encountered before, applying past experiences to deduce how to unlock this one.

trivia

yuu is not his real original name. he made it up on the spot when crowley asked for his name;

yuu’s second home is the campus library, almost always found there studying, to the point that yuu has become highly acquainted with the library’s collection. if someone needs to find a certain book or wants a complimentary reading for a class, yuu would be able to provide guidance;

being an avid reader, yuu devours books at a shockingly rapid pace. he can get through 3 books a day and over 100 books a year. his room in ramshackle is a mess of book piles as he has run out of space in his bookshelf and has begun stacking books on the floor, which grim takes great glee in knocking down;

it always wakes up at 5am every morning;

in book 3, yuu reveals he has self-diagnosed thalassophobia - the fear of large bodies of water;

a nautilus shell is tied to his messenger bag for decoration. yuu likes to bring it up to its ear because it can hear the sound of the sea from within;

after the events of book 6, yuu starts wearing a plain silver ring on his right index finger;

if yuu had magic, he would probably be sorted into octavinelle or pomefiore;

[raemissigman]

I love to take color cues from my surroundings. It’s like a little kickstart when I’m painting, that’s why I like to surround myself with colorful objects in the studio. Right now, my favorites seem to be all the different natural reds and browns. Burnt Sienna, Light, Red, Raw Umber, Burnt Umber, Red Brown, Sepia. What colors are you exploring right now? #artstudio #artstudio_post #colorpalettes #studio #studioview #artstudios #raeinthestudio #watercolorpalette #paintwater #studioplants #studioorganization #rainboworder #hiddenrainbow #vintagebox #studiotable #arttable #viewfromwhereistand #mixedmediaartist #watercolor #watercolors https://www.instagram.com/p/CpcygglL7Pb/?igshid=NGJjMDIxMWI=

[paintinginsomnia]

#54. Depicting the Brooding Quality of a Coming Storm. The Big Book of Painting Nature in Oil. Oil. May 4, 2023.

Harder than it looks.

First the block-in

Then per the instructions paint the sky, the ground, then the antelope.

One up: Much better on the clouds this time. Antelope came out better than expected.

One improve: I can see where Schaeffer made improvements to heighten drama. More contrast between sky and ground, darker in the upper layer of clouds, lighter down by the horizon. Little things that make it as a painting; much to learn.

Colors: Dam, lot of colors. Schaeffer called these out: titanium white, raw umber, cobalt blue, yellow ochre, cadmium red (clouds); cerulean blue, phthalo green (sky); yellow ochre, cadmium orange, burnt umber, permanent light green (grasses).

[lothiriel-01]

Reposted from @thegentsjournal In the recent Summer Issue of Gentleman's Journal, we shared one of @twhiddlestone's (very rare) days off in a North London pub, where the British actor kicked back and swapped stories of his year in television, his love for literature and his signature dance move. ​ ​Naturally, Hiddleston wears the finest British brands, including the rather beautiful 'Shanklin' boots by @edwardgreen1890. Made of Raw Umber Suede, the 'Shanklin' boots are a well-crafted, light, comfortable summer shoe. ​ ​#edwardgreen #tomhiddleston #magazine #mensstyle #style #menswear #casual #essentials #timeless #investment #classic #modern #gentlemansjournal https://www.instagram.com/p/CgDC9ofo5_f/?igshid=NGJjMDIxMWI=

[antheavayonitis]

Amy Sillman

Black Doorway, 2011

Oil on canvas

231.1 x 213.4 cm

In buying Amy Sillman’s book I was thrilled to look through her works and observe her use of layers, bold brushstrokes and gestural expressive motion. In attempting to develop a 3D effect I looked at my nature photos that included pathways and depth in the horizons. I found a photo that I had taken in Heide’s gardens which had a pathway which veered into the distance. Sillman’s painting here inspired my under painting for ‘In Play’ as I painted raw umber blocks to create a void that lurks into the background of my painting.

[lymphomalass]

Have you ever considered having a portrait painted of yourself or a loved one…?

This is one I completed last month. Unlike most of my portraiture work, I can show you this one as I painted it from a photo kindly provided publicly copyright-free by Raw Umber Studios in Stroud, who often hire performance artists for their art classes and for artists’ reference photos.

My A4 (21cm x 29.7cm) unframed watercolour portrait of this performer titled “Be Visible” is available for £75 including UK postage. Please just private message me to arrange your purchase. It's also available in a mix of different types and sizes of prints, and printed on all sorts of lovely things (like accessories, apparel, homewares, gift items, etc) at:

And there’s up to 40% off everything at the moment!

Thanks!

Sam aka LymphomaLass xx

[ayushpaper]

Unveiling the Best Acrylic Paint Colors for Beginners: Essential Choices and Tips

Step into the vibrant world of acrylic paints, where creativity knows no limits! For novice artists, the task of selecting the perfect palette can be both thrilling and slightly daunting. But fret not! In this blog post, we embark on an incredible adventure to explore the best acrylic paint colors for beginners. Brace yourself for a dazzling array of hues, accompanied by essential tips and tricks, as we unveil the secrets of color selection.

Before delving into the basics of fundamentals of acrylic paint colors, you must have hands on the finest options. Ayush paper serves as your ultimate source for high-quality stationery supplies. Whether you are an aspiring artist or an experienced creative professional, we take pride in offering a wide range of artistic tools to fuel your imagination. From vivid acrylic paints, and watercolor sets to meticulously crafted drawing pencil sets, we are your go-to online platform to buy watercolors online and find the perfect drawing tools for your artistic endeavors. Now let’s redirect our focus back to why we are here.

Unleashing the Magic of Acrylic Paint: 

Imagine yourself holding a brush, poised to transform a blank canvas into a work of art. Acrylic paints, akin to captivating magic, possess boundless versatility. Their water-based composition facilitates swift drying, allowing you to unleash your creativity through translucent washes or indulgent, texture-laden applications. For beginners, the gateway to artistic wonder lies in the realm of acrylic paints.

The Palette Odyssey: Essential Acrylic Paint Colors

Titanium White: 

Resembling a radiant celestial body, titanium white holds an irreplaceable place in every artist’s palette.   Its rich opaqueness makes it ideal for highlighting, blending lighter shades, and conjuring delicate pastel tints.

Cadmium Yellow Medium:

Like a sunlit treasure, cadmium yellow medium adds a touch of warmth to your artistic pursuits. It gracefully dances across canvases, imbuing landscapes with radiance, while also playing a crucial role in creating vibrant greens and zesty oranges.

Cadmium Red Medium: 

Allow the fiery passion of cadmium red medium to seep into your artwork. This radiant hue sets ablaze the canvas, bringing flowers to life, igniting magnificent sunsets, and unlocking a realm of captivating oranges and majestic purples.

Ultramarine Blue: 

Encounter the allure of this deep, midnight charm reminiscent of the vast ocean. With every stroke of the brush, it paints celestial wonders, orchestrates expansive seas, and conducts a symphony of velvety purples. A vital companion for landscapes and seascapes, it adds depth and enchantment to your artistic creations.

Burnt Sienna: 

Step into the comforting embrace of burnt sienna, an earthly reddish-brown delight. Evoking the natural hues of the world, it caresses your artwork with a touch of authenticity, from crafting lifelike skin tones to infusing warmth to landscapes and bestowing a rustic texture upon your creations.

Raw Umber: 

The shade of rich soil, raw umber, holds a captivating allure. It casts shadows with grace, breathing depth into your work. Partnered with other colors, it weaves a tapestry of complexity, enriching landscapes and still-life paintings with its raw elegant presence.

The Art of Color Alchemy: Mixing and Beyond

In the artist’s realm, the mysteries of color mixing and theory unfold, beckoning you to partake in the dance of hues. Explore the alchemical transformations that arise when primary colors intertwine, giving birth to an infinite spectrum of hues, shades, and tones. Embrace the marvels of color mixing, for it is the gateway to unlocking your distinctive artistic voice and expanding the horizons of your creative universe.

A Journey of Limitless Exploration: Begin with a Limited Palette

To traverse the vast expanse of colors, it is prudent to embark upon your artistic voyage with a limited palette. Begin with the primary colors, embrace their harmonious symphony, and grant wings to your creative spirit. As you venture deeper into the realm of artistry, expand your palette, and let your imagination paint the cosmos.

Embrace the Canvas, Unleash the Imagination

Bear in mind, dear beginner artist, that your voyage is not confined to a mere selection of colors. It is a wondrous odyssey where you wield the brush as your wand, conjuring art that springs from the depths of your imagination. Let your creativity flourish as you experiment, play, and embrace the mysteries of the unknown. Paint beyond the confines of traditional lines, blur the boundaries, and fearlessly explore uncharted territories.

The Symphony of Success: Practice and Persevere

Just like any artistic endeavor, mastery comes with practice. Set aside time to hone your skills, experiment with color combinations, and refine your techniques. Embrace the inherent beauty of imperfection, for it is through trial and error that true growth takes place. Keep the flame of your passion burning brightly, and let the canvas become a vessel for self-expression and self-discovery.

The Ever-Evolving Palette: An Artist’s Journey: 

Much like a painter’s brush gracefully dances upon the canvas, so too does the artist’s palette evolve. As you progress on your artistic journey, embrace the expansion of your palette, welcoming new colors into your artistic repertoire. Embrace the delightful serendipity of discovering unexpected shades, blending them with your trusted companions to create a symphony of harmonious hues.

A World of Inspiration

 Explore, Learn, and Share: Immerse yourself in the limitless reservoir of inspiration that surrounds you. Seek out art galleries, explore the works of master painters, and forge connections with fellow artists. Engage in workshops and online communities, where knowledge flows freely, igniting the flame of creativity within you. Remember, your artistic journey is a tapestry woven by the collective wisdom of countless souls who have gracefully danced with colors before you.

Conclusion

May your artistic pursuits be abundant with wonder, joy, and the endless pursuit of self-expression. Embrace the magic of colors, for they are the whispers of your soul manifested on the canvas. Now, dear artist, go forth and paint your dreams into reality.

[autodaemonium]

əbdtgəæpdrətrbəellun

Pronounced: uhbdtguhapdruhtrbuhellun.

Pantheon of: substantiality, human nature, duality, individuality, impracticability, compulsiveness, seriousness.

Entities

Mnɑərʃiaɪðəmɛsnæɛʒənz

Pronounced: mnahuhrshiaithuhmaysnaayzuhnz Seriousness: sedateness. Impracticability: infeasibility. Compulsiveness: workaholism. Individuality: peculiarity. Prophecies: electrification, runup, restriction. Relations: nnəəwtɑsbtɒhəɪærsmʌr (corundom).

Nnəəwtɑsbtɒhəɪærsmʌr

Pronounced: nnuhuhwtahsbtouhuhiarsmur Seriousness: committedness. Impracticability: infeasibility. Compulsiveness: workaholism. Individuality: peculiarity. Legends: reform, case study. Prophecies: open primary. Relations: rktvɪtikrtrðɑəkbŋægi (frequency), mnɑərʃiaɪðəmɛsnæɛʒənz (siderite), əsʃəsɑltnislvirɛkkɪr (coca cola), əʃklvraɪəɑrpərəstɛzin (eponym).

Rktvɪtikrtrðɑəkbŋægi

Pronounced: rktvitikrtrthahuhkbngagi Seriousness: graveness. Impracticability: infeasibility. Compulsiveness: obsessiveness. Individuality: singularity. Legends: carol.

Tktrnkɪɪnkɪmrwvʃiəoæ

Pronounced: tktrnkiinkimrwvshiuhoa Seriousness: sedateness. Impracticability: infeasibility. Compulsiveness: obsessiveness. Individuality: peculiarity. Legends: imitative electronic deception, wake. Prophecies: carrot. Relations: mnɑərʃiaɪðəmɛsnæɛʒənz (benefit), əsʃəsɑltnislvirɛkkɪr (zanzibar copal), əʃklvraɪəɑrpərəstɛzin (endorphin).

Əsʃəsɑltnislvirɛkkɪr

Pronounced: uhsshuhsahltnislviraykkir Seriousness: committedness. Impracticability: infeasibility. Compulsiveness: workaholism. Individuality: singularity. Prophecies: oil change, hostilities. Relations: mnɑərʃiaɪðəmɛsnæɛʒənz (raw umber), rktvɪtikrtrðɑəkbŋægi (calcium carbide), nnəəwtɑsbtɒhəɪærsmʌr (histidine), əʃklvraɪəɑrpərəstɛzin (wurtzite).

Əʃklvraɪəɑrpərəstɛzin

Pronounced: uhshklvraiuhahrpuhruhstayzin Seriousness: graveness. Impracticability: infeasibility. Compulsiveness: obsessiveness. Individuality: peculiarity. Legends: mudra. Prophecies: combination, deal. Relations: tktrnkɪɪnkɪmrwvʃiəoæ (hidden reserve), əsʃəsɑltnislvirɛkkɪr (hemiacetal), rktvɪtikrtrðɑəkbŋægi (acetic acid).

[theo-set-skills]

SCENIC PAINTING: SANDSTONE

SCENIC PAINTING: SANDSTONE

Though we used colours straight out the pots for this project, when mixing colours make sure you write down the ratios – so you and others can match and recreate the colour.

-          Base coat of blue for the sky, using emulsion paint straight out of the container

-          Cover the whole of the ‘stone texture’ in a watered-down yellow colour as a base. (enamel paint + water)

§  Check the coverage on the side of the bucket – you still need a decent amount of pigment since the plaster will absorb so much of it

§  The plaster we used was in the right colour palette so it can peak through and it won’t be an issue, we also want the plaster to stay absorbent (which is why the base is watered down and not a thick layer) and keep its texture

-          Not heavy coverage, plaster peaking through can add dimensions but we’re going to be doing so many layers and this is just a base

KATO paint: commonly used in workshop, very high pigment, only need a small amount/a teaspoon

-          Work straight from the colour pots so all the paint matches up across the different paintings (roughly)

Raw Sienna – Burnt Umber – yellow ochre (to warm)

-          Raw Sienna: a teaspoon + water, and water it down as you go, can water it down on the board directly

-          Follow the reference

-          Add all over tone

o   Don’t drown out the yellow, keep it light, and let the paint catch in the natural plaster dips you’ve created

-          Because the paint is so watery start at the top to catch the water drips, prod it into gaps, and let it collect in texture.

Variation of tone

-          Start blocking shade with thicker paint

-          Use water to smooth it out

Repeat the technique with the darker brown

Then use a warmer yellow than the base, same technique as the browns but to warm up the stone, can be very splotchy and random

-          We are making a stone base texture; we will add highlights and shadows later so don’t worry too much about trying to add deep shadows or clear high points.

-          Don’t loose the texture of the plaster…

[thelasttimeyoueversawme]

All the colors 😏

anon you’re evil for this but I love you for it. Gonna skip the ones I already answered!

Zinc white. I’m actually feeling really good!! I made my new favorite food for lunch, air fryer cream cheese wontons! And I’m having fun answering these asks and I talked to my best friend for a long time today!

Cadmium yellow. Sunshine

Hansa yellow. High hopes

Yellow ochre. Emeline and Emilie autumn

Raw sienna. My mom!!!

Golden ochre. It’s so deep we often say to each other we could try to murder each other but we’d still like each other. We also often say we are two sides of the same coin

Cadmium orange. Hang around with friends, bake, go to things, just generally have fun

Orange lake. Yes I do

Titans. Slow mornings

Shakhnazaryan red. Harrow

Red ochre. Left brained

Burnt sienna. Hmm I don’t think so!

English red. Panthers

Vermillion. Australian

Cadmium red. Yes I like tall dark and handsome

Scarlet. I think y’all know enough about him already hahaha

Ruby. Some kind of activity that’s not just eating/drinking

Carmine. This one can be food base!

Madder lake red. Yes

Rose. I just got plane tickets to see my best friend!!

Quinacridona rose. The aforementioned trip hehe

Violet rose. Lots and lots of windows with natural light and a nice big comfy bed! Hopefully a turret too.

Violet. No just somewhere close to my friends and fam

Blue lake. Do lots of traveling!

Cobalt blue spectral. Iceland

Ultramarine. Rn bc y’all are being so kind to me

Blue. It was a nightmare where I forgot how to do my entire job

Bright blue. Just me, someone I love and a few kitties I think

Blue cobalt. I love it and get compliments on it a lot

Prussian azure. Lily of the valley

Azure blue. None I don’t like tea

Turquoise blue. Blueberry bushes

Cerulean blue. Absolutely not

Glauconite. Strong. Powerful. Graceful. An object to live in

Yellow green. A meadow. I hear wind rustling and birds chirping and the sun is out

Green light. Yes I am

Emerald green. I’m learning polish

Oxide of chromium. This is hard I think it’s still hp tho

Olive green. I’m reading rivals. It’s pretty okay but not my fav tbh

Mars brown. Pitch perfect

Burnt umber. My skincare !

Umber. I sure have

Voroneshkaya black. My best friend

Paynes gray. All things fun and pink and glam

[nichehouse]

Color of The Month: Most Popular Brown Art

There is art in everything because art comes in many different forms.

I must say, art has come a long way. It’s now more than just a way to record history. Art to me is a form of self-expression. For some people, art could be a symbol of luxury living. You might have heard of artworks being sold at museum auctions. There are several art pieces that have been sold for a huge amount of money. Learning history is one thing, but actually owning a piece of history is quite an experience to have.

The vast majority of art pieces created throughout history have been earth-oriented. This is likely because humans have always had a strong connection to the earth. We depend on the earth for our survival, and it is the only place we have ever known. The earth is also a powerful source of inspiration, with its stunning landscapes and diverse wildlife.

It is no wonder that so many artists have chosen to feature the earth in their work. From sweeping landscapes to intimate portraits of animals, there is an endless supply of subject matter to be found in nature. And as our understanding of the earth has grown, so too has our appreciation for the art that celebrates its beauty.

Why are most art brown in color?

We can all agree that brown is abundant in nature. It has been a readily available color ever since. We see it in rich soil, dark wood, and fair skin.  Paintings from prehistoric times have been examined to contain either raw umber or burnt umber. Umbrian clay, being a natural clay pigment, was widely used for its distinctive earth tone. Artists generally heat this natural clay pigment composed of manganese oxide and iron oxide. Umbrian clay heated turns to a darker shade of brown paint. 

Brown progressed with history. Aside from umber, artists found a way to create other tones of brown. Reddish-brown earth mined from Siena in Italy can be used as raw sienna or burnt sienna. When heated, this reddish brown earth turns into a dark reddish brown color. Dark brown clay mined from Umbria was also used to create luminous brown portraits. Moreover, dark brown clay was one of the popular browns used for classic oil paintings during the Renaissance. Today, artists have a variety of paint mediums to choose from for their art exhibitions.

Many well-known artists have used brown in their work, and brown is still a colour that many people like to use. Rembrandt is one of my favourite artists whose paintings include brown. I love how he uses different shades of brown to make depth and contrast. Brown is a very flexible colour that can be used in many different ways to make different effects.

Vincent Van Gogh is another well-known artist who likes to use brown in his work. He used brown a lot to make his paintings feel warm and inviting. Brown is a colour that I think can be used in a lot of different ways to make a lot of different effects. Brown is a great colour to use if you want to make a painting feel warm and inviting or deep and full of contrast.

What are the most popular brown arts to be created?

This brown coloring is what artists have used to create portraits and landscape paintings. That’s why most art pieces share the same browns in them. But only a few famous painters have managed to use brown to create some of the world’s top fine art. 

Mona Lisa by Leonardo Da Vinci

The Mona Lisa has got to be the most popular brown art of all time. This painting effectively uses the background to highlight how the subject appeared. It is still uncertain where Leonardo da Vinci got the inspiration for the subject of this portrait. Some say it’s his mother while others say it’s a painting of himself. I don’t know for sure which side is correct but we can all agree that this art has brought so much impact around the world.

Nevermore by Paul Gaugin

Arnolfini by Jan Van Eyck

Another painting that you should know is Jan Van Eyck’s Arnolfini. The painter creatively uses different shades of brown to create such a sophisticated oil painting. Despite having brighter colors, its ground layers are still composed of browns. This painting also somehow depicts the grandiose lifestyle that Arnolfini and his wife had. Who knew brown could be used to portray luxury living well?

Nightwatch by Rembrandt Van Rijn

Finally, we have the famous Nightwatch. What makes this art popular like the other paintings of Rembrandt Van Rijn is how he played with brown and other earth tones to create chiaroscuro effects in his work. I admire the contrast that the painter makes between light and darkness. Brown works well with the chiaroscuro effect because it acts as a transition color.

Even in the present time, brown is still widely used. Other artists such as Bob and Roberta Smith create contemporary art that features brown to create signs that address life issues in the community. 

Brown is a color that is often overlooked, but it can be very versatile when used in prints and paintings. Rembrandt was a master of using brown in his work, and his paintings are some of my favorites. Brown can also be used to create a warm and inviting atmosphere in a room, and it is a popular choice for home décor. When used correctly, brown can be a very beautiful and elegant color.