FRANK COVINO, LONG-TIME FRIEND AND MENTOR, HAS PASSED

Covino Portrait1 P1070431 PaintingWorkshopCovinoFrank4-2015

Dear Artists and Friends,

It is with ineffable sadness in our hearts, that I must report this news. Our friend and long-time art teacher and mentor, Maestro Frank Covino, passed away suddenly on Tuesday, February 16, 2016, after being pronounced “cleared of cancer” just last week.

If I may use a bold simile, his loss feels like looking up at the mountains in Sugarbush, where Frank worked hard to build the home he loved, and seeing that the grandest of summits has disappeared from our sight.

Here is a note from his wife, Barbara Covino, that you will all want to read:

Subject: It is with a deep abiding sorrow in my heart that I write this letter…forgive the delay but it has taken time to believe this is true…

Beloved friends and family , one and all,

After two days of profoundest shock, and countless tears I realize I must write you. It is with a heavy, heavy heart that i must inform you that dear Frank has passed away unexpectedly on Tuesday night, February 16th. It was quick and he did not suffer–a death we would all prefer–but he had been progressing so well, it was a gut-wrenching shock that still is unbelievable.

I truly cannot imagine a world, or a life without him…32 years of happiness and adventure. Life was never boring with him!!! What an amazing talent, a brilliant man with a wealth of knowledge, a gentle and sensitive man who had to excel in everything he did, and was thus an inspiration to all who knew him. He encouraged others to strive for excellence and to believe in themselves, giving them the tools to create a positive reality in their lives, whether it be art or health. We all can repeat that golden maxim: IT’S NEVER TOO LATE TO AMELIORATE! Wise encouraging words, those.

But he was more than the sum of his parts; he was a genuine force of nature, a real Renaissance man, but above all else, he had a kind heart and a very great soul. We all loved him so; there will never be another Frank. But I know it is now time for each and every one of us who was touched by his life, to take that spark and pass it on. He gave us wings and it is time for us to fly…Make him proud!!!

I am too choked up to continue writing. God Bless each and every one of you who had a place in his heart…family, friends, students….He loved you all sincerely and without guile….

We are in the process of collaborating with the family and planning both a smaller family funeral as well as a larger set of celebrations of his life and legacy open to all who loved him–one in Vermont and one on Long island. As soon as the Covino south clan and Mark and Jennifer and I hammer out the details, I will email you all, soon as can be done.

We are going to give that wonderful man a send off he won’t soon forget!!!

Love and blessings , Barbara Covino

PS: PLEASE FORWARD THIS to everyone you can think of. It has grown into a cast of hundreds, and forgive the delay but it has taken time to believe this is true.

RAINBOW HUES

Jun7

We have already “hammered away” at the importance of Value, so this is a good time to introduce the set of terms devised by Munsell, that help us discuss and reproduce color:

Hue–the name of a specific color as it appears in the color spectrum.
Value–the specific darkness or lightness of a color.
Chroma–the specific intensity (brightness or dullness) of a color.

Here, we will address “hue.” Although there are many varied color wheel designs, Munsell incorporates ten basic hues that come from the color of light as seen through a prism, or the rainbow spectrum. By shaping them in a circle, they become the color wheel. They are:

red-purple, red, yellow-red, yellow, yellow-green, green, blue-green, blue, blue-purple, purple

Every color falls into one of these ten basic HUE categories, or possibly between two of them, where reside the interhues.

Most artists have had at least one important teacher. Mine was/is Frank Covino. He designated tube names and value numbers for Munsell’s ten hues.

At first, you may be tempted to gloss over this list, but imagine going to the store and selecting the most useful green, red, or yellow, and then assigning its value as you go, all the while keeping in mind how the colors will all interact, and choosing those that work best together in the largest variety of situations–methinks not the easiest of tasks. This work has been done for you, here:

Red-purple is Alizarin Crimson, which is a value 1 tube color.
Red is Cadmium Red Light, which is a value 5 tube color.
Yellow-red is Cadmium Orange, a value 7.
Yellow is Cadmium Yellow Light, a value 9.
Yellow-green is Pthalo Yellow Green, value 8.
Green is Cadmium Green, value 1.
Blue-green is Viridian Green, value 1.
Blue is Cerulean Blue, value 3 or 4 (depending on the brand).
Purple-blue is Ultramarine Blue, value 1.
Purple is Cobalt Violet, value 1.

These tube colors should visually disappear when placed on corresponding value numbers in the value chart (Don’t forget to squint, as discussed in the last post.). If they look like freckles instead of disappearing, you know you either have them in the wrong place, or your value chart is not correct. That’s why we use the Covino Palette–those values are already prepared for you to start using at once, without a lot of fumbling about.

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All the best,

Marsha

PIGMENTS AND ASTM STANDARDS

Mar10

ASTM Certification of 1947 (Photo credit: Wikipedia)

I am rather obsessed by the quality of the materials I put into my paintings from the surface, up, for a number of reasons–not the least of which is I want them to be around l-o-o-o-ong after I’m gone. Also, when someone hires me to do a job, I want to make sure it is the best I can give–I feel I owe that to people placing their trust in me.

ASTM stands for the American Society for Testing and Materials and it is the organization that helps to internationally standardize a very large number of materials including paint. The “P” stands for “pigment” and the letter(s) stand for R-red, Y-yellow, B-blue, Br-brown, and so on. The numbers after the letters indicate the specific pigment. This is why you will find that the “PR83” (a very impermanent but much-loved pigment) on your paint tubes means “Pigment Red Alizarin Crimson” in the ASTM standard, no matter what brand of paint.

But you can’t go by the name companies put on the face of their tubes–that is just a label and an oftentimes misleading one. For example, Utrecht has an oil paint labeled “Titanium White” but in checking the label closely, we find it is NOT just titanium white (PW6), but has zinc white (PW4) in it as well. PW4 has undergone extensive study at the Smithsonian Institute and they have determined it will make your paintings crack over time. When I learned this, I checked all the tubes in my paintbox and got rid of the ones that had zinc white in them.

Here is what I’ve gathered in my research:

PIGMENT LIST

(* Do Not Use)

REDS:

Cadmium Red PR 108 ASTM l (ranges scarlet to maroon, slow drier, hard, flexible, use CP)

Pyrrole Red PR 254 ASTM l (equal to Cads for permanence. Recommend replacing more poorly performing Napthols, Perylenes, and Anthraquinones with Pyrroles where similar shades exist. Pyrroles are pigments to trust. From auto industry research.)

Pyrrole Alizarin PR 264 ASTM l (BEST replacement for alizarin crimson; gorgeous undertone)

*Alizarin Crimson PR 83 ASTM l l l (brittle, cracks, darkens, too impermanent for enduring art)

*Rose Madder NR 9 ASTM l l (textile dye, weak color)

Venetian Red PR 101 ASTM l aka English Red, Light Red, Red Oxide, Indian Red, Mars Red, Mars Violet, Caput Mortuum (Genuine Venetian Red from the quarry where Titian obtained his supplies is still available from Blockx.)

Quinacridone Magenta PR 122 ASTM l (bright blue-red, transparent, strong, very recommended)

Quinacridone Red, Quinacridone Violet PV 19 ASTM l (true reds to lipstick pinks, deep rose to red-violets)

Quinacridone Red Y PR 192 ASTM l (bright, clean color, high lightfastness & tinting strength)

Quinacridone Scarlet PR 207 ASTM l (high performance pigment due to lightfastness)

Napthols fade in tints. Even those classed as ASTM 1 barely scrape in. Noticeably less light fast. There are other reds that are far superior.

*Napthol Red F4HR PR 7 aka Napthol AS-TR ASTM l (beautiful bluish-red but fades)

*Napthol Red FG PR 119 ASTM l (clean, bright yellowish-red)

*Napthol Red HF3S PR 188 ASTM l (very pure yellowish-red)

*Napthol ITR PR 5 aka Napthol Carmine FB ASTM l l (deep crimson red)

*Napthatol AS-OL PR 9 aka Permanent Red FRLL ASTM l l (Poor light fastness esp. in tints)

*Napthol AS-OL PR 14 aka Napthol Bordeaux FGR ASTM l l (very dark red)

*Napthol Red AS-D PR 112 aka Permanent Red FGR, Permanent Carmine ASTM l l

*Napthol Red F5RK PR 170 aka Napthol Carbamide ASTM l l (bright strong bluish-red)

*Napthol Red AS-D PR 17 aka Napthol Red ASTM l l l (too impermanent for serious artwork)

*Napthol Red PR 146 aka Napthol Carmine FBB ASTM l l l (notice how fading pigments get labeled “permanent”)

Light Red PR 102 ASTM l (a beautiful, transparent red earth; Cenini gathered it w/his father)

Transparent Red Oxide PR 101 ASTM l (Beautiful! transparent, redder than burnt sienna)

*Vermillion PR 106 (Poisonous!)

Perinone Red Deep PR 194 ASTM 1 (high performance deep red, recommended)

*Perylene Vermilion PR 123 ASTM l (bright transparent red; ALL perylenes fade in tints)

*Perylene Red BL PR 149 ASTM l (excellent brightness)

*Perylene Red PR 178 ASTM l (excellent lightfastness)

*Perylene Maroon PR 179 ASTM l (excellent lightfastness but lacks brightness)

*Perylene Scarlet PR 190 ASTM l (very good light fastness)

*Anthraquinoid Red PR 177 ASTM l (very transparent, fades in tints)

*Brominated Anthranthrone PR 168 ASTM l l (dull, low-strength tints)

Benzimidazolone Red HFT, aka Benzimidazolone Maroon PR 175 ASTM l (lacks brightness)

*Ultramarine Red PV 15 ASTM l (too pale and weak to be useful)

Permanent Red, aka Thioindigoid Red. PR 88 ASTM l (excellent lightfastness, recommended)

ORANGES:

Cadmium Orange PO 20 ASTM l (get CP grade, otherwise has 15% Barium Sulfate)

Perinone Orange PO 43 ASTM l (perfect alt. to Cadmium Orange if more transparency needed)

Quinacridone Burnt Orange PO 206 ASTM l (beautiful dark reddish, similar to burnt sienna)

Quinacridone Gold PO 48 ASTM l (lacks brightness in tints but excellent light fastness)

YELLOWS:

Mars Yellow aka Yellow Oxide PY 42 ASTM l (a more pure yellow than the natural ochre)
Yellow Ochre aka Brown Ochre PY 43 ASTM l (used since the dawn of time, esp. fleshtones)

Cadmium Yellow PY 37 ASTM l (Although industry accepts up to 15% Barium and/or Lithopone as normal, the Chemically pure Cadmium Sulfide has a cleaner color and is noticeably stronger in tinting strength. The description 99.9% Cadmium Sulfide or the initials CP seen on the label of a few of the best grades of artist’s paint refers to the Chemically Pure Cadmiums.)

*Cadmium Yellow Light PY 35 ASTM l (Zinc in cadmium zinc sulfide may not be not as stable as the Cadmium component and so the palest lemons are not regarded as light fast as the less light versions. The color is close to being the perfect mixing yellow as it is very close to “primary yellow.” If you use, Chemically Pure—CP— pigment is recommended.)

*Aureolin PY 40 ASTM l l
Nickel Titanate aka Nickel Yellow or Nickel Titanium Yellow PY 53 ASTM l (recommended)
*Arylide Yellow PY 65 ASTM l

*Arylide Yellow GX PY 73 ASTM l

*Arylide Yellow 5GX PY 74 ASTM l

*Diarylide Yellow HR70 PY 83 ASTM l

*Arylide Yellow FGL PY 97 ASTM l

Nickel Azo Yellow PY 150 ASTM l (very greenish yellow, excellent light fastness)

Benzimidazolone Yellow H4G PY 151 ASTM l (green-yellow, excellent lightfastness, dull tints)

Nickel Dioxine Yellow PY 153 ASTM l (a bright yellow, makes dull tints)

Benzimidazolone Yellow H3G PY 154 ASTM l (excellent light fastness, makes dull tints)

Benzimidazolone Yellow HLR PY 156 ASTM l (transparent, excellent light fastness, dull tints)

Benzimidazolone Yellow H6G PY 175 ASTM l (excellent light fastness, dull tints)

*Hansa Yellow Medium aka Arylide Yellow G, Azo Yellow PY 1 ASTM l l (Fades in tints.

PY 73 is virtually same color but has better light resistance. Being used less and less. Can bleed.)

*Hansa Yellow Light PY 3 ASTM l l (transparent, greenish, fades in tints)

*Arylide Yellow 10GX. PY 98 ASTM l l (bright, greenish, stronger than PY 3)

Anthrapyrimidine Yellow PY 108 ASTM l (transparent,bright,excellent lightfastness, avr.drying)

Flavanthrone Yellow PY 112 ASTM l (transparent, reddish, excellent light fastness, avr.drying)

*Zinc Yellow aka Zinc Chromate PY 36 ASTM l l (Smithsonian says don’t use—it cracks!)

*Strontium Yellow aka Barium Chromate, Lemon Yellow PY 32 ASTM l l

*Chrome Yellow PY 34 ASTM l l (quickly discolors, darkens, poisonous, impermanent, avoid)

Naples Yellow aka Antimony Yellow PY 41 ASTM l (Can get from Kremers. Greenish to pinkish pale. Tubes are often mixed white,ochre,red.Genuine pigment excellent, permanent;lead)

Isoindolone Yellow R PY 110 ASTM 1 (exceptional bright reddish, excellent tinting strength)

*Kings Yellow aka Orpiment PY 39 ASTM l l (Arsenic! Impermanent and poisonous)

*Massicot PY 46 ASTM l l (poisonous, quite impermanent)

*Gamboge NY 24 ASTM l l (golden glazing yellow, impermanent, replaced by Aureolin)

*Quercitron Lake NY 9 ASTM l l

*Saffron NY 6 ASTM l l (poor lightfastness, used in food prep.)

*Turmeric NY 3 ASTM l l (poor lightfastness, used in food prep.)

Bismuth Yellow PY 184 aka Vanadium Yellow ASTM l (like cad yellow but more transparent)

GREENS:

Chromium Green Oxide PG 17 ASTM l (Dull, opaque, great permanence. Photographs under infra red as living foliage and so is used for military camouflage.)
Viridian aka Guignet’s Green PG 18 ASTM l (bright bluish, wise to pay premium for pure grade)

Cobalt Green PG 19, Light Green Oxide PG 50 (better) ASTM 1 (bright; low tinting strength)

Pthalo Green aka Monastral Green PG 7 (bluer), PG 36 (yellower) ASTM l (displacing Viridian)

Green Earth aka Terre Verte, Bohemian Earth, Burnt Green Earth PG 23 ASTM l (weak pigment; manufacturers usually use permanent, stronger mix of Sienna and Pthalo Green instead)

Hooker’s Green PG8 ASTM 111 (Avoid! Mix your own with Cad Yellow and Pthalo Blue)

Cadmium Green PG 14 ASTM l (Hard to find. Mix your own with Cad Yellow and Cobalt Blue)

BLUES:

Ultramarine PB 29 ASTM l (chemically identical to Lapis Lazuli) (30 different shades; brittle)

Cobalt Blue PB 28 ASTM l (Miners believed there were spirits in the mines called ‘Kobalds’ in the local tongue. Cobalt is named after these spirits that inhabited the mines. Fairly flexible.)

Pthalo Blue PB 15, 16 ASTM l (replaces Prussian Blue; especially good for mixing green-blues)
Cerulean Blue PB 35 ASTM l (one of the most opaque colors on the palette; fairly flexible)

Cobalt Chromate PB36 ASTM 1 (Beautiful turquoise–don’t confuse with Cerulean)

*Prussian Blue PB 27, also called Antwerp Blue, Paris Blue, Milori Blue, Iron Blue

*Azurite aka Bremen Blue PB 30 (doesn’t mix well in oils)

Indanthrone PB 22 ASTM 1 (clear deep blue, not as overpowering as Pthalo Blue)

Egyptian Blue aka Blue Frit PB 31 (largely disappeared in the 18th century)

Smalt (direct descendant of Egyptian Blue; weak but very permanent; popular until Ultramarine)

Zirconium Cerulean Blue PB 71 (A beautiful semi-opaque light blue, available from Kremer)

PURPLES:

Cobalt Violet PV 14 ASTM l (absolutely permanent, makes a hard, fairly flexible oil paint film)
Manganese Violet PV 16 ASTM l (reddish or blue shade, low tint strength, fast drying, flexible)

Quinacridone Violet PV 19 (red to red-violet) PR 122 (magenta) ASTM l (There are no inorganic pigments with this brilliance and purity;transparent, hard, fairly flexible, average drier)

*Dioxazine Violet PV 23 ASTM l l (not nearly as permanent or lightfast as other violets)

Mars Violet aka Caput Mortuum PR 101 ASTM l (Confusingly indexed as a red. Superb! Use for tree trunks/old wood/summer landscapes. Used far less than it deserves. Means “head of the dead” and is the color of dried blood.)

Ultramarine Violet PV 15 ASTM 1 (great permanence; too weak to be of much use in oil paint)

Isoviolanthrone Violet PV 31 ASTM 1 (an excellent pigment of high light fastness)

BROWNS:

Raw Umber PBr 7 ASTM l (Many color variants. Best pigment is from Cyprus, Turkey)

Burnt Umber aka Turkey Brown PBr 7 ASTM l (many color variants, best from Cyprus)

Raw Sienna aka Italian Earth PBr 7 ASTM l (browner than Yellow Ochre, wide color variety)

Burnt Sienna PBr 7 ASTM l (“Half burnt” light browns to fiery oranges beloved by artists. Worth top dollar for best colors and hunting down color variants–some are extraordinary.)

Mars Brown PBr 6 ASTM l (Usually a blend of PY 42, PR101, PBk 11. Smoky brown, harder to find in natural earths. Lacks beautiful transparency loved in the Siennas and Umbers.)

*Van Dyke Brown also known as Cassel Earth or Cologne Earth (disastrous—always avoid)

*Asphaltum, aka Mummy, Asphaltum, Egyptian Brown (Avoid at all costs)

WHITES:

Titanium White aka Titanium Dioxide PW 6 ASTM l (best all round white, very opaque)

*Zinc White PW 4 ASTM l (28-year study: Smithsonian says take it off palette—it cracks!)

Lead White, aka Flake, Cremnitz, Underpainting White, and Silver White PW 1 ASTM 1

BLACKS:

Mars Black aka Iron Black, Black Iron Oxide PBk 11 ASTM l (fast drier)

Ivory Black aka Bone Black PBk 9 ASTM l (slow drier—never use in underpainting)

*Lamp Black aka Carbon Black, Vegetable Black, Furnace Black PBk 6 ASTM l

*Vine Black also called Drop Black, Frankfort Black, Peach Black, Spanish Black, Blue Black.

MISC:

*Metals PM 1, PM 2, PM 3, etc. ASTM – Not tested. All except gold are poor.

Gold PM 3 ASTM l

*Mica PW 20 ASTM – Not Tested

Mica Titanate ASTM – Not Tested (New, micronized mica in wide range of metallic colors—appear to be highly light fast and useable in all media.)

MORE PIGMENT INFORMATION FROM:

RGH Paints, Pigment Identification Chart, http://www.rghartistoilpaints.com/index.html

Explanation of Pigment Identification Chart:

(P Value) Permanence as rated by the ASTMD in Artists’ Oil and Artists’ Acrylic Emulsion Paints, as follows:

1. Excellent 2. Very Good 3. Good 4. Fair 5. Poor

(T Value) Transparency/Opacity as follows:

1, Least Transparent (Most Opaque), to 8, Most Transparent (Least Opaque)

Index Name

Pigments throughout the world are given a Color Index Name. This is an international code.

Remember that the science of paint continues to evolve, bringing us ever-more exciting options to use; so do some research on your own and learn more about it. I’ll be posting more information on this next time.