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Ultramarine in tempera and oil

Ultramarine in tempera and oil

Here are two swatches of ultra­ma­rine blue. The one on the left is in egg tem­pera. The one on the right is Doak’s ultra­ma­rine blue medium oil paint. Both are mixed with tita­nium white at the bot­tom. It’s not as obvi­ous in this photo as it is in real life that the tem­pera is lighter and higher in chroma. A num­ber of pig­ments, espe­cially earths, are brighter in tempera.

Posted in art materials, color, oil painting, tempera.

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4 Responses

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  1. Todd Leninger says

    It’s good to be an art geek :)

    I love the shadow of your hair in your self-portrait, very sucessful.

    I am also on a sim­i­lar path, and can appre­ci­ate your goals.

    Just thought you’d like to hear that you are not alone in your quest (since there are only four of us out here)

    Todd Leninger

  2. Todd Leninger says

    It’s scary when I can’t spell “suc­cess” properly:)

  3. David says


    Thanks very much. From look­ing over your site, I’m impressed by your work and your ded­i­ca­tion to tra­di­tional meth­ods. The draw­ings, in par­tic­u­lar, are ren­dered with great sensitivity.

    Yes, it is clear that we are both unapolo­getic art geeks.

  4. José Colombé says

    Good evening Mis­ter Rourke,

    I am all­ways pleased to read your arti­cles, and as Mis­ter Leninger says, you are not alone in your quest, my stu­dents and myself have the same goal. Indeed, a lot of pig­ments are richer and higher in chroma when ground in Tem­pera, even in “Tem­pera grassa” and mostly when this tem­pera con­tains Venet­ian turpentine.

    Sin­ceres felic­i­ta­tions. José Colombé (Cor­sica, France)

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