| Author | Message | ||
  IJS |
I use Jack Reid's tried&true combo - 4 Non-staining transparents (aureolin yellow, cobalt blue, rose madder genuine and viridian), plus Burnt and Raw Sienna and Ultramarine Blue - staining equivalents Cadmium Yellow, Thalo Blue & Green and Quinachridone Violet sometimes .. and love to sneak in Quinachridone Gold (LOVE the richness!) and Quin. Red .. BUT - am not pleased with the staying-power of the Rose Madder, although I like the colour mixing properties and transparency - does anyone know of a good NON-staining transparent substitute? Thanks | ||
Kukana |
OOO sounds yummy... | ||
dazey |
my favorite "wild color" is to paint with perm. rose. let it dry. glaze over parts of it with cad orange. It makes a great glowing color. | ||
Kukana |
dollere, or anyone with the answer..Why is it, again, that cobalt Violet is so swirmy?? I know it has something to do with the carrier it has but why do they have to use so much of it with this particular pigment? I love the color in the tube but can't really make the paint perform the way I want it to. Any ideas how to mix a color simillar to this color. I've tried my infamous Opera with American Journey royal amythist and come fairly close . Any suggestions??? How about any other suggestions for WILD colors. I like them hot and as transparent as possibe for he kind of stuff I do. I'm working on a large (40x60 actual image size without frame!)commision piece of all WWW for a womens health center in Michigan and they want it "over the top, bright and wild" were the words of the designer. Got my preliminary value drawing done but now need to think about colors.There will be babies, children, women and maybe some animals in the picture..but all of them will be female!. It will be fun. I'll post a snap shot of it when I'm done. | ||
Kukana |
Welcome Mad4color...I like your eight too but I just can't give up that old Holbien Opera Pink! Ever since I took a Frank Webb workshop and he used it ("Never miss an Opera-tunity!") Its just such a fun obnoxious color!!! (The color reminds me of growing up in Hawaii and the "Endless Summer" poster that hung on my wall in the late 60's If I could find its equvilent in orange I'd love that too.) I can't seem to want to paint without it. Interesting thing Frank Webb taught in that class. He put in the little spots of Opera and other really bright obnoxious colors in first, then he painted the rest of the painting.The results work great for me as I never have to wish I had left a spot clear to add them last. Those "Popper" are in from the begining! (I also like cobalt blue too instead of Ultramarine ever since I read the book by Jeanne Dobie and went through her exercises. Its less granular and I like it for my work but Ultramarine blue is nice too!. | ||
mad4color |
I love Hansa yellow, quinacridone rose, and ultramarine blue. I use these colors constantly in any medium I paint in. I don't really care for the cadmiums-too opaque. I prefer to use earth colors to "opaque" my above favorites. The earth colors are 100% lightfast, nontoxic, and cheap. There is also a subtleness that comes from the clay in them. I don't understand why anyone would want to mix a "substitute" earth color. I don't like pthalo blue in watercolor; I prefer Prussian blue in watercolor. But I've discovered pthalo blue is okay for me in oil. Different colors acts differently in different media. I do like pthalo green and mix it with burnt sienna for a terrific dark. Prussian blue and burnt sienna or any oxide red also make a terrific dark. But I am more likely to use my three favorites than any of the earth colors. I can get great clean mixtures from them. I feel that the best reason for using more colors is for the qualities of the paint, not the colors, like for the sedimenting characteristics of the earth colors. Also, some people prefer the opaque cadmiums. I love transparent colors. The earth colors can go on thinly and transparently. I don't believe in rules, but I seldom use white in watercolor. It's always heavier and has a different "feel" than other colors. It looks different when it hits the paper. I had difficulty painting in oil after many years in watercolor, because I seldom white. But both titanium and zinc whites are beautiful colors with different qualities; in watercolor, I am more likely to use them for special effects. I have started using black more; ivory black can go transparent nicely and sediment. My chosen 8 colors would be Hansa yellow, quinacridone rose, ultramarine blue, Prussian blue, pthalo green, raw sienna, burnt sienna, and burnt umber. | ||
Cathy |
Nice picks, Dake. I for the most part I use a limited pallete, but ooooh, I love dipping into a secondary pallete of color every once in a while. I am glad that we don't have to limit ourselves. I noticed Dake that you don't include any greens. I rarely use a green, preferring to mix my own. | ||
Dake |
Oh yeah and number 8 is Cobalt Violet..man what a beautiful color. | ||
Dakeagain |
Oh sorry!!! I forgot to say WHY....because they all granulate and don't stain, i know them like my best friends...i don't have much of an interest in the chemistry of them.I know enough not to drink my rinse water, it's more of an emotive,responsive relationship. Sorry about the stop...start postings...I'm a little muddled due to the flu. | ||
Dake |
Hi Big DillPuckle , I'd pick Raw Sienna, Cadmium Yellow, Cadmium Red, Burnt Sienna,Rose Madder Genuine,Ultramarine, Manganese Blue. (All W&N) Provided this dictator let me have Arches 300gsm hotpressed (Satine). | ||
Dake |
Hmmm I think i like the tone of what you're saying Linda, in regards to ligher pallets and limited ones at that. More can be said with greater elloquence when restraint is your first impulse. Raw Sienna is a wonderous thing. | ||
Linda |
I am a firm believer in vicarious knowledge, though I do what I think is right, not what others think is right. I hope you will also listen to your inner voice which speaks most kindly and makes sense. So far, in my studies, which are extensive, I've found that a wider range of lighter colors are what the truly gifted people are using (plus, it offers the most fun - that's why I'm doing it, for fun!). Colors are powers that go much deeper than we can verbalize. Limited palettes, in my opinion, are to appreciate the vast powers one single color at a time offers. | ||
Lex |
Eight paints, hmm? That's pretty easy since I've already limited my palette of artist's grade colors to eight: Schmincke Vanadium Yellow, Ruby Red and Delft Blue; Sennelier Cadmium Yellow Light, Cadmium Red Light and Burnt Umber; and Schmincke Madder Brown and Phthalo Green. The first three Schmincke colors came in a sample packet and I happened to find all of 'em perfect for my current needs. I added the Madder Brown because it's a permanent version (quinacridone), transparent and makes lovely skin tones; and the Phthalo Green because I wanted a brilliant transparent green, which is almost impossible to mix from any yellow and blue. The cad yellow and red lights were simply chosen to balance the other yellow and red. The Schmincke Vanadium Yellow is biased slightly greenish and the Ruby Red slightly bluish; the cadmiums are warmer. I chose Sennelier only because the shop was out of Schmincke in large tubes that day. As it turned out I found the Sennelier very similar to Schmincke in consistency and workability so I like both equally. And I added the Sennelier Burnt Umber because I love granulating pigments and this particular burnt umber is the loveliest of the two or three I've tried: transparent in light applications, easily workable into subtle shadings, and not the least bit muddy. If I needed another blue I'd probably choose a phthalo blue and sacrifice the Madder Brown, which is similar to Ruby Red in light applications. Only heavier applications show the differences and a good variety of fleshtones can be made using the remaining colors. | ||
BigDillPickle |
If you were forced by a cruel dictator to use a palette of only eight paints for the rest of your life, which ones would you choose, and why? (Include brand name, color name, and the properties of that particular paint that you like so much.) The "why" is the important part of the question! | ||
Peg |
Actually, Big Dill, I read a book called "Blue and Yellow Don't Make Green" that poses just that question, only they limit it to six colors. They say a warm red, a cool red, a warm blue, a cool blue, a warm yellow & a cool yellow will provide all the colors you need. I can check on specific names tonight for you (I'm at work now) & let you know. I believe they preferred Windsor Newton. I like W&N for the quality. It's actually a pretty good book. I don't know if Cheap Joes carries it or not. It shows a variety of color wheels showing pure colors & greyed down ones. I would probably add a Paynes Grey (Grumbacher) simply because I find it so useful. Hope this helps. | ||
mermaid |
I would like to choose transparent, non-staining colors. The cools would be alizarin crimson, Winsor blue, and lemon yellow. The warms would be cadmium red, ultramarine, and cadmium yellow. I would throw in burnt sienna and raw umber. My reasoning would be that although there are other colors on my pallette, these are the ones I most frequently dip my brush into. I have to admit that I would sneak in a little ultramarine violet and cerulean. | ||
cmaile |
I would use pthalo green, pthalo blue, hansa yellow, cad yellow deep, fr ultramarine, quinacridone magenta, cobalt blue , payne's grey,and cerulean blue all by Daniel Smith because they are the best in terms of light fastness, richness . I haven't tried Sennelier yet, but I have heard good things about them as well. | ||
desertartist |
If you choose only transparent, non-staining colors, you will get vibrant color that is easy to lift, but you will be limited in your value range--won't be able to get decent darks. Also, the contrast between transparent and opaque passages can be as effective as the contrast between light and dark or warm and cool. In other words, don't limit your vocabulary unless you are willing to limit what you have to say. | ||
Kukana |
Life is too short and too exciting to have to limit my life to a few colors. But right now my work would seize up without Daniel Smith's Quin.Gold, Quin Rose, Quin Burnt Orange, Holbein Indigo, Winsor Newton Indanthrene blue, Burnt Umber, & Olive green. But hey Dill Pickle, why stop with eight? I'd round out the list to at least 12 and add DS Quin Coral, French Ultramarine,Yellow orche, and Permnant Magenta. (OOOO can I have one more? Cobalt Blue please!!) As you can see I really love DS Quin Colors. They are so clear and crisp. I don't like many premixed greens but I do like the WN Olive. That and the Orche add a nice opaque duo to my palette for when I really want a color to hold on a wet into wet technique. A tad of the Yellow Orche will mix with just about any of the transparents to give it opaque qualities and the Holbien Indigo can gray out anything with out making it muddy and also gives me a base for darks | ||
Geeky2 |
Since I'm fairly new with watercolor, I don't really have a palette yet. I'm trying different ones, and one I like for now, is from Marilyn Simandle book "Capturing Light In Watercolor." She uses three colors, usually perm. rose, raw seinna, and mang. blue to make what she calls Simandle gray, and goes from there, adding or subtracting different colors to that. Her colors are very pretty. | ||
drollere |
my recommended minimal palette is posted at http://www.handprint.com/HP/WCL/palette5.html ... but if you really want to limit your palette, then try the secondary color palette (http://www.handprint.com/HP/WCL/palette4e.html) which only uses six colors. if you include phthalo green BS and quinacridone carmine (W&N permanent carmine) in this secondary palette, you can mix very dark neutrals from those two colors. but since the cruel dictator lets me have two more paints, i'd choose -- burnt sienna and burnt umber -- the umber makes lovely blacks with phthalo blue, and the sienna makes gorgeous grays with ultramarine. the "split primary" palette was advocated by michael wilcox (in "blue and yellow ...") but nita leland told me it was proposed originally in a grumbacher painting guide. I describe this palette at http://www.handprint.com/HP/WCL/color5.html#splitprimary ... and as I explain there, it's simply not the best way to allocate your choice of six paints. it's an extension of an obsolute color dogma -- the "three primary" palette. save yourself grief and DO NOT use alizarin crimson, it is not lightfast, especially in tints. use a quinacridone substitute instead. the simandle book is excellent, and her palette is really interesting. notice that her "yellow" is raw sienna ... so much for "primary yellow"! | ||
hitif |
ultramarine blue, cobalt blue, aliz. crimson, cadmium red med., lemon yellow, cadmium yellow med., burnt sienna, and hookers green dark | ||
apiper |
I pretty much use a limited palatte; quinciderone and cad red, ultramarine, prussian and cobalt blue, cad yellow, burnt and raw sienna, and occasionally yellow ochre. From these few colors I have both warms and cools and can mix any color I need. All are permenant. I am not brand loyal and use many brands, though I do reference wilcox's color guide prior to purchase. | ||
Laura36 |
To BigDillPickle: Quinacridone Gold-W&N; it's a beautiful color, and is granular which makes interesting texture. Burnt Sienna-American Journey; again, it's granular and can be a beautiful red or a warm brown. Mixed with the third color-Rose Madder Genuine, it is a warm red. Mix it with a blue and it is a dark brown. Cerulean Blue-AJ; granular, makes good light skies, is transparent and non-staining. Antwerp Blue-W&N; this color is so interesting. Can be used lightly for skies, or as a dark color. Aureolin-W&N; a refreshing change from the ordinary primary yellow. It has a nice glow. Leaf Green-Holbein; so cheery and somewhat granular when mixed withsome of the other colors. Naples Yellow-W&N; its opacity is unique and creates interesting things when mixed with other colors. Mix it with Rose Madder genuine for great skin tones. | ||
Anonymous |
W&N Blue (red shade), W&N Lemon, and Perm. Rose, are all I use. | ||
Kukana |
Im taking a class next month based on Jeanne Dobie's book, "Making Colors Sing" The class has a very limited pallette. I'll let you know when I get back! | ||
edzzzmuze |
Burnt Sienna, Ultramarine Blue, Alizarin Crimson, Thalo Green, Thalo Blue, any yellow, and a pinch to grow an inch. |
