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Acrylic Color DARK UMBER

A dark umber for shading, glazes and deep brown. A water-thinnable acrylic with a completely matte surface, 17 ml pack.

Manufacturer Green Stuff World
Product EAN8591111024792

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3.16 €
2.61 € without VAT
In stock
Free shipping on orders over 1,000 czk in czech republic Personal pickup in Prostějov 14-day returns

About product

The umber that makes depth

Dark Umber is a very dark brown tone that almost never stands alone on a model. Its place is in the recesses: under rivets, in the folds of a coat, in the joints of masonry and between floorboards. Anyone who works with glazes will appreciate that even heavily thinned it does not slip into gray but leaves the shadow a warm underlying tone, the kind that earth or an old chest has.

Dark shades also have a second role, namely underpainting. Umber spread over a base coat maps out where the edges will run and where the darkness will be, and only then are the lighter layers laid over it. The method saves work, because the distribution of light is finished before you even reach for the flesh or green paint.

The binder takes thinning with water over a wide range, from full thickness to a liquid that stays only in the traces of the surface. The dried coat is matte and without sheen, so glazes follow one another without stains. The container holds seventeen milliliters and a dropper sits in its neck, while a metal ball moves freely inside to mix the pigment.

  • A very dark warm brown for shadows and deep places
  • Suitable for glazes and for underpainting beneath lighter layers
  • It takes a wide range of thinning without losing its color
  • A matte surface that can be layered over without trouble
  • Seventeen milliliters of contents, a dropper, a mixing ball

When glazing it pays to thin the paint very heavily first and repeat the process several times. Two weak passes give a cleaner transition than one strong one, and there is no risk of the edge of a stain settling in a corner where it can no longer be removed.

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FAQ

Over a base coat it maps out where the darkness on the model will be and where the edges will run. The lighter layers are then laid over a finished plan and do not have to be worked out again with every color.

For the first pass a ratio where the mixture is barely colored water is enough. A weaker application can be repeated, whereas too strong a glaze will leave a visible edge of a stain once dry.

Yes, it is one of the most used tones for old and weathered wood. It is applied over a lighter base and the grain is then drawn out with a fine brush.

Dried acrylic resists a water glaze. A problem arises only when you work on a base that has not dried through, because the two layers then mix.

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