Nothing to do with music of the sadly departed singer Amy Winehouse.
I am reading Betty Edward's book Colour: A Course in Mastering the Art of Colors. This is an excellent book, an introduction to working in colour for new painters and a good refresher for those with experience. Lots of good exercises for the new painter. Very well thought out.
The argument I have heard against it is that you simply don't need it - you can mix great darks - ultramarine blue and burnt sienna, dark reds and dark greens etc. That's true. But that is still no reason not to include it - THERE ARE NO RULES. I particularly like its convenience in plein air work when I am under time pressure - I can more often get to the grayed colour of a particular value going through the black route. I NEVER use black unmodified - its just too flat.
For me, I stick with ivory black - it is transparent and less " potent" that the opaque backs. In addition to its use in mixing I often include it in acrylics glazes - thinned greatly with medium and water and often modifying it with a touch of colour ( thalo blue green as an example). Used with caution it is great for dropping the overall value and saturation of some areas of a painting or the entire painting. Need to follow up the down glazing by making some of the areas pop with more colour and value variation by using a variety of opaques.
Just for fun, if you suffer from black phobia, try adding a small bit of ivory black to some of your reds and oranges to move them to browns. Try mixing greens with a variety of different yellows. Try dropping the value and saturation of colours by adding just a touch of black. Not too scary !
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