View Full Version : Your one color that you must have in any palette!

01-29-2013, 06:43 PM
I am just curious as to what you find is your one color that you must have in any palette? Mine is ultramarine blue. I use it mmore than any other color.


01-29-2013, 06:54 PM
I would have to agree, UmB is a staple, a close second is Burnt Sienna.

(Haven't seen snow in 15 years lolol would love to be on Okemo one more time :) )

01-29-2013, 07:09 PM
Deep Violet


01-29-2013, 07:09 PM
FUM too

01-29-2013, 07:23 PM
Ultramarine Blue followed by burnt sienna! Those two pigments mix a HUGE range of colour and value!

Scene Chaser
01-29-2013, 07:37 PM
Ultramarine blue, next is raw sienna, then burnt umber. I use UB in skies, greens, greys and darks.

virgil carter
01-29-2013, 10:01 PM
I seem to always run low on my several yellows (Hansa, Cad Medium and Gamboge or Indian Yellow) before any other hue. Perm Rose and Manganese Blue are close seconds to my yellows. I almost never run low on Phathlo Green.

Sorry to not be able to just list one color. Ever since the first grade I've had difficulty following directions!

Sling paint,

01-29-2013, 10:13 PM
W&N Transparent Yellow ( PY 150) . I use this in every painting. My limited palette is virtually all staining.

01-29-2013, 10:35 PM
Impossible !! Do you have an easier question ??
I love them ALL!:lol: :lol: :lol: :lol:
June:heart: :heart: :heart: :heart: :heart: : :evil:

01-30-2013, 12:44 AM
Paynes Grey every time


01-30-2013, 01:05 AM
It has to be Ultramarine. I have. Two wells of UMB one for mixing.


01-30-2013, 01:21 AM
Just kidding!!!!

Fum too:)

01-30-2013, 03:39 AM
Three - Raw Sienna, Cobalt Violet and Cobalt Blue but Cobalt Violet is the must have one.

01-30-2013, 04:09 AM
This is interesting as I don't use my yellows much. I never can find one that I love that much except for Naples Yellow but it always dries up and crumbles on my palette. I have to refresh it whenever I use it and it always dries and crumbles, it's Da Vinci, is it the brand?


01-30-2013, 07:30 AM
Paynes Grey every time


Same here... Paynes Grey ... cannot paint without it! :wink2:

01-30-2013, 07:36 AM
Orpiment !
Smalt !
oh wait

Titanium white
then "Australian red-gold" by AS ( night scenes ahoy ! )
then paynes grey, my beautiful paynes grey

01-30-2013, 07:52 AM
I got to thinking about this, Reggie... and if I could truly have only one colour, I'd want one that had a wide value range. I'd want one that I could continue to create paintings with. So, I'd have to choose one (I know, only one) of these:

Paynes Grey
Raw Umber


01-30-2013, 08:33 AM
Like JUne I'd find it next to IMPOSSIBLE to chose only one color. But I LOVE monochrome paintings and think Paynes grey or Sepia.

What do I actually use in practically every painting? UMB; Quin Gold is a close second.:thumbsup:

01-30-2013, 08:53 AM
PR122, Quin Magenta. This color is my primary cool red and is indispensable because offers such a wide range of mixing possibilities and plays well (and vibrantly) with so many other colors. Can't live without it!

However...if I was of the mind to do monochrome paintings, then my choice would have to be Indanthrene Blue (PB60). I like it much better than UB (although I wish it granulated like UB).

01-30-2013, 02:31 PM
Ultramarine blue - I go through it the most and want it on every palette, large or small.

However, if we're talking monochrome, that's different. I think I'd want a dark brown, maybe even mars violet or a natural hematite - something dark but with some variation of hue.

01-31-2013, 04:25 AM
FUM Blue
New Gamboge

Quinacridone Gold
01-31-2013, 05:35 AM
Ultramarine Blue

It's in every palette whether 6, 12, 20 or more colours.

Second is Bistre - a mixed grey - using ultramarine and burnt sienna (rather than Payne's grey that has black in it)

After that it depends how many other colours are in the palette, but I'd choose a warm yellow and a cool (slightly crimson) red.

02-01-2013, 01:22 AM
French Ultramarine Blue, PB 29. Just about everything else I could use an alternate.

02-01-2013, 01:49 AM
Cobalt Blue in first place and then Burnt Sienna. (beautiful grays with both)

02-01-2013, 09:19 AM
I would have to agree that FUM blue would be first, followed, for me by Quinn Bt. Orange, Thalo blue(RS), transparent yellow, per. alizarin crimson, Thalo green (makes a nice black with alizarin), ---oh dear, I never was good at multiple choice questions.


02-01-2013, 02:28 PM
For me it would be indigo...

I have FUB which is definately NOT the same as UB....I just bought my first tube of UB ad DS on Wednesday.

After indigo I tend to use more quin gold than almost any other color.

02-01-2013, 09:17 PM
Neutral tint. It doesn't contain any black like Payne's Grey, but you can use it as black when concentrated. I also use it to tone down other colors as a glaze. (M. Graham brand is PV19 and PG7). It's a little toward the cool side. I have Schmincke neutral tint but it is warmer and contains black pigment - definitely flatter.


02-03-2013, 01:35 PM
I'd have to say Indigo (if I could only have ONE color); close second would be Quin. Gold. Used to use FUB all of the time--I like the granulation of it but, more often than not, I find Indigo to be much more useful. The color that I have the most trouble with is red...I tend towards the warmer colors and then find that I don't have the cool colors that I need--esp. in red but also in other colors.


02-03-2013, 02:20 PM
Old Holland's Golden Barok Red.

It's a warm earth red, granulates nicely, warms earth tones a treat, and is perfect to get that terracotta pot feeling on anything.

However.... I hate Ultramarine blue, French or plain. I assume this means I get excommunicated forthwith. I find it a very overpowering blue and use PB60 Indranthone Blue, in it's place. Wonder if there's a club for FUB-o-phobes?

According to Handprint in Golden Barok Red

"Nickel red PO65 is a lightfast, semiopaque, nonstaining, dark valued, moderately intense earth red pigment, offered by only 2 pigment manufacturers worldwide. Unrated by the ASTM, industry and my own lightfastness tests give it an "excellent" (I) rating. The average CIECAM J,a,b values for methin nickel scarlet (PO65) are: 33, 59, 25, with chroma of 64 (estimated hue purity of 55) and a hue angle of 23.
Old Holland golden barok red is apparently the only source in watercolours; their paint has a lovely clumping granulation in wash applications and is fairly inert wet in wet, but it blossoms readily and easily lifts or bleeds if rewetted. This is another of those unique pigments that the chemists at Old Holland delight in bringing to watercolor paints. Its dark brownish red is not unlike blood as it begins to coagulate, though the comparison slights its beauty. Much less brown than PR175, and tending toward PR176 in masstone. A very lovely pigment worth trying for yourself."

02-03-2013, 05:40 PM
ok, i have thought a lot about this :D I do use FUB a lot in my paintings but the colour I really really couldn't live without for the last year or so is quin gold deep. I'm in LOVE :heart: with its warmth but at the same time its softeness


02-04-2013, 04:35 AM
It would have to be DS French Ultramarine blue, with DS Quin Gold, DS Quin. Coral and DS Cobalt Teal Blue fighting for second place....and DS Indanthrone Blue for Monochromatic work.

02-05-2013, 02:10 PM
I suppose I'm swimming upstream with my choice but I use Burnt Umber to make my blacks and my paynes grey. I also use it in my portrait shading. I also used it for the bruises on my "Potassium Sticks". At this time it's the color I have at hand all the time. Ultramarine Blue is right up there, but it's not my first.

:clap: :clap: Yay! Burnt Umber!:clap: :clap:

02-05-2013, 08:41 PM
Ultramarine and Burnt Sienna, can't do without these two!