Introduction to the book by the author.
Without any doubt at all, the foremost colour problem identified by artists (of all levels), lies in the mixing of greens. Whenever I give a demonstration I ask the audience where their colour mixing problems lie. Hands go up and I know that whoever I ask, the answer is always going to be the same; 'mixing greens'. This might be followed by the mixing of greys, oranges, browns and violets etc. in whatever order, but it is always 'greens' first. If you experience this same problem, you are not alone. But why should this be? Why should we have such a problem?
Our eyes are very sensitive to green and we can identify a vast range. For those who accept the theories of evolution, this sensitivity might have developed when we were leaping about in the tree canopy, surrounded by a myriad of greens. Whatever the reason, we seem to have a certain affinity with the hue.
Artists need access to this vast range of identifiable greens if their work is to be at all realistic. The abstract artist will also benefit from the skilful use of a basic hue which seems to carry many messages.
How have we overcome the problem of producing these vital greens? Apart from a few, standard, pre-mixed greens the rest is very much trial and error; with error usually winning out. Manufactured pre-mixed greens are certainly not the answer. Colours such as Olive Green, Hookers Green and Sap Green invariably contain cheap industrial pigments prone to fade or darken.
There is an answer, we need to change our way of thinking.
1st edition, 2002, Pb, 64pp, full colour thoughout, 15 x 18.8 cm