|Posted on Sunday, October 23, 2005 - 7:26 pm: |
pam, you might also be interested in this thread under
"watercolor artist topics" -
"what's *your* materials list":
|Posted on Sunday, October 23, 2005 - 4:40 pm: |
I am a new watercolor painter. I have tried to get the biggest palette that I can find but 30-42 well palettes are the biggest. I love Penny Soto's work but can't find her palette. She has a 84 well palette that spins. I do a lot of layering as I am studing how to paint showing light. I am like a kid in a candy store and hve bought many colors that I love to use. At the present time I love flowers. If I can not find a large palette can you help me decied what colors , in order that I should use. Should I use 2 or 3 paletts? I need help Thanks, Pam
|Posted on Monday, June 14, 2004 - 7:43 am: |
I have plenty of those old throwaways...
I will try it!
|Posted on Sunday, June 13, 2004 - 5:57 pm: |
"I am intrigued by this discussion and can hardly wait to try Venetian Red - next order! "
Be advised--Venetian red is an earth color. It is simply rust made into a paint. It's not a new pigment but very old school. Wonderful mixer with Pthalo green and blue as well as cerulean. I mix it with yellows to create various earth tones. I also have found it is a great component for flesh tones (plus a yellow and blue). I never use it straight from the tube and always super diluted. Just letting you know in case you thought it was a new synthetic type color.
|Posted on Sunday, June 13, 2004 - 6:42 am: |
Jane, you're going to wonder how you ever painted without DS Quin Gold! Thinned out..it is a fabulous glaze oever any color. I once had piece I did that was beautiful compostion, gorgeous values, etc but it just wouldn't sell. I took it out of the frame, glazed the entire piece in Quin Gold and sold it the next show. It was Amazing how the whole thing came to life....Try it on an old throw away and see what I mean.
|Posted on Saturday, June 12, 2004 - 8:00 am: |
Personally, I don't use many colors.
But I have side colors for certain things. When
I do commissions of people's homes I have to
match the colors exactly.
And I keep colors that are great for clay pots,
concrete, a big mixing pan that I keep a big
batch my mixture for black and the blue black I
use for night skies.
Oh and metallic gold that I use mostly on
commissions... I use the Daniel Smith gold
powder. I love the metallic gold.
When I paint for myself I don't use local color
so much anymore so I can use the colors that
are most brilliant and exciting to me... minus
opera pink! haha
I don't own black, was taught it was one of
those "rules" this board loves so much.
Just got Q Gold and Sap Green from Daniel
Smith and am in love with both of them... the
gold has quite an edge to it that is stronger
than Indian Yellow, which I like and the green
isn't unnatural looking like most greens tend
There, I broke a rule! I was also taught to
never use tube green.
Speaking of painting... better get to it! Jane
|Posted on Saturday, June 12, 2004 - 7:31 am: |
I am intrigued by this discussion and can hardly wait to try Venetian Red - next order! When I use a limited palette, I use Hansa yellow light and Hansal yellow medium, Cadmium red medium and quin. rose, ultramarine and phalo blue green shade as the basic six, all from Daniel Smith. However, when I paint the greens of botanicals, I find I must have quin. gold and burnt orange, and rich green gold, also from Daniel Smith. I am fairly new to painting, so am still in the "trying out" process with a lot of colors. Some I try and find I just never use (cerulean, payne's gray), some, like the above quinacs, Maimeri's verizino violet, and cobalt blue, just seem to make the mixing easier and extend the range. However, I never use them all in the same picture. I have a book by Penny Soto, in which she discusses her 82 color palette - she doesn't mix,she glazes, and wants her colors pure, as I understand the approach. Have any of you tried this? It surely is expensive, just for starters.
Sorry for the anonymous. I can't seem to figure out how to get a username. I am Lou.
|Posted on Friday, June 11, 2004 - 10:28 am: |
One more thing--I think I'm one of the only artists I know that relies a lot on Venetian Red. That's because it is the most heavy and intense paint there is. The secret is to use it very diluted, then it is wonderous. A little goes a long way. I recommend the Maimeriblu , which is under $4, though it is the best. IMHO. Robert
|Posted on Friday, June 11, 2004 - 10:20 am: |
FYI__Many brands of indian yellow are identical to New Gamboge. Modern Indian Yellow has as many different formulas as makers. There is only one Maimeriblu Indian Yellow (the formulation is actually isoindalone yellow deep plus a slight touch of quinacridone gold)--it is quite unique and has absolutely no green component, unlike other idian yellows. So when mixing with pothalo blue or green it tones them down to natural greens. When mixed with ultramarine it creates a gray. When mixed with a violet, a nice brown. When mixed with aliz or permanent red violet (my lightfast alternative to the fugitive aliz) it makes a bright sienna. Also, Venetian Red should be either Winsor Newton or Maimerblu so it will have a hue akin to a muted Cad. Red Light. Venetian red makes a great indigo with Thalo blue and perfect cloud underbelly grays with cerulean.
|Posted on Friday, June 11, 2004 - 9:59 am: |
Robert- I think I'll try Indian Yellow and Venetian red. It's good to change colors every once in a while, just to stay out of a rut. I find it interesting that the pallettes of watercolorists vary so widely. From the many books I've read, the fewest colors I've seen are seven(Ron Ranson)and then ranging into the 30's for some artists.
|Posted on Wednesday, June 9, 2004 - 4:51 pm: |
We have very similar palettes--the only real differences that amount to anything are that where you use raw sienna, I use indian yellow and for your burnt sienna, I use venetian red. I also add cerulean. Other than that they are quite alike! I like being in control of the color nuances and I can get this with such a limited palette. Mixing the colors gives me the full range of possibilites (more red, more blue etc).
|Posted on Tuesday, June 8, 2004 - 8:59 am: |
I don't use a lot of different colors and I haven't taken the time to really analyze the different brands closely. I've used Holbein, Winsor & Newton, American Journey and I like them all. American Journey is great because of the big, fat inexpensive tubes so you won't be stingy with your paint.
With the three primaries, red, blue and yellow, I use two colors of each, one that's warmer and one that's cooler. For blue, Ultramarine and Joe's (Thalo). Red, Alizarin (quin. version) and Cadmium or one of the other reds that leans toward orange. For yellow, it's sour lemon and gamboge. Then I'll include raw sienna and burnt sienna or one of the new quinacidone versions of these and maybe thalo green (which I never use without mixing with another color; green straight out of the tube is horrible)
I seem to be able to get about any color I need with these choices. With a limited pallette I'm always mixing colors and not mixing them completely on the pallette. When I slap the colors on the paper that's where they mix and intermingle and create something beautiful ON the paper. If I used more colors I would use them more "straight out of the tube" and not get the variance of color that I get by mixing.
|Posted on Monday, June 7, 2004 - 11:15 am: |
I think it would be interesting for others as well to post their palettes and the rationale behind their color choices.
(Come on, don't be shy. It'll give you something to do while that wash is drying).
|Posted on Monday, June 7, 2004 - 9:25 am: |
my Pallette is basically a zoltan szabo palette
Permanent Yellow Lemon
Permanent Yellow Deep
Cupric Green Deep
I use this because it is recommended by Szabo in his book. Great paints.
|Posted on Friday, May 21, 2004 - 10:05 am: |
Sorry for the typos below---
|Posted on Friday, May 21, 2004 - 9:39 am: |
To borrow the phrase from the capital one commercials What is in your wallet, I'd like to ask What is in your palette? And what is each paints role? There is an interesting list explaining the palettes of numerous w/c luminaries on handprint--I found it edifying:
I have been revising my palette and trying to get down to the fewest colors that will allow me to achieve my goals. I arrived at a ten color palette. My reasoning is that the least angst I feel during painting about what color to select, the better. I spent a lot of time and cash comming up with this and it is solid and I am making it my permanent (for the forseeable futire) palette for me. Brand is very important, BTW, because the pigments and handling and concentrations vary markedly. So here's new palette that I love mine and a short
blurb for each palette choice:
1. Green biased Yellow --Maimerblu Permanent Yellow Lemon (same pigment as Winsor Lemon) (Hllary Page labels this the best lightfast substitute foe Aureolin. Zoltan Szabo used it as his main yellow. I makes great bright greens and when brushed into dark passages creates a misty dawn light effect.
2. Orange Biased Yellow --Rembrandt Cadmium Yellow Medium (same hue as Winsor Newton Cad. Yellow Pale) -- For pure yellow passages or for mixing bright oranges nothing comes close.
3. Muted Orange Yellow-- Maimeriblu Indian Yellow (pigment exclusive to Maimeriblu)--great mixer for browns and greens. My most used workhorse color.
4.Orange biased Red-- Winsor Newton cadmium Scarlet--actually a fairly transparent paint. Mixes with yellows to make vivid oranges, with permanent red violet to make vivid mid red, with ultramarine to make a smokey violet perfect for the darks of rocks. Very diluted makes a great wash for sunlight pavement. Great accent color full strenght.
5.Muted orange biased red-- Maimerblu Venetian Red--very dense but can be used very diluted. Is a dead on neutralizer for
Grumbacher Thalo blue--converts it to a beautiful indigo. Nothing comes close in depicting cloud shadows. Mixed with pthalo green (which I no longer employ) makes very natural greens.I found only Maimerblu and Winsor Newton Venetian reds to have the right hue.
When mixed with indian yellow creates a burnt sienna.
6. Violet biased red--Rembrandt Permanent red Violet (similar to Winsor Newton Permanent Magenta but brighter)--My choice for the alizarin Crimson / permanent rose spot of the pallete. It is darker and richer are besides mixing great violets livens up dark passages beautifully. Diluted in makes great bluish pinks.
It is PV-19-quinacridone violet and is lightfast.
7. Violet biased blue--Grumbacher Finest French Ultramarine (not academy)--the most beautiful ultramrine on the market--potent, finely ground, bright.
8. Green Biased Blue opaque--Maimeriblu Cerulean Blue
(a very potent intense cerulean that is a hue 1/2 way between cobalt blue and winsor newton cerulean --which is greener). Great for sky near the horizon and to mix with venetian red for grays. Great shadow color when mixed with
permenent red violet, ultramarine and a touch of a yellow.
9. Intense green biased Blue transparent--Grumbacher Finest Thalo Blue--not your run of the mill pthalocyanine blue. Grumbacher uses a more expensive pigment than the competition--PB 15.6.
Others use 15.1 (redish) or 15.3 (greenish). Thgis pigment is very chromatically intense--same hue as Holbein Peacock Blue (PB 16) but much more concentrated. It allows me to drop pthalo green becasue it makes very wonderful grees mixed with Maimerblu Indian Yellow and great darks mixed with venetian red. A great accent color as well.
10. Green--Grumbacher Finest Viridian (much the same as Winsor Newton Viridian)-- I use this delicate green mixed with perm. red violet for beautiful grays. Brushed into a yellow passage representing sunlit grass, vidian granulates and produces a beautiful effect. It is as great accent color and neutralizes reds when glazed over them.
What's in your palette.