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View Full Version : Buying a new Rembrandt oil pallet, looking for feedback.


snakum
01-31-2002, 05:30 PM
After reading EVERYTHING I could find on paint brands and color theories I'm finally taking the plunge with a new set of Rembrandt paint in the next couple weeks ... my Walmart Special oils aren't keepng up anymore. I'd appreciate any feedback about the selections ...

Cadmium Lemon (can mix down for other opaque yellows)
Trans Oxide Yellow (for glazing)

Cadmium Red Lt (can mix down for other opaque reds)
Perm Madder Deep (Like Alizarin?)

Ultramarine Deep (for mixing purples and violets and for glazing)
Pthalo Blue (green shade)

Veridian (for glazing)
Chromium Oxide Green (for verdaccio)

Yellow Ochre
Raw Sienna
Burnt Umber

Titanium White
Ivory Black

Any suggestions are most welcome.

Minh Thong

walden
02-01-2002, 12:08 AM
You may have already established color preferences, but the earth colors really are optional, you know-- you can mix them from the primaries. I would drop the yellow ochre in favor of a warm yellow with body, like cadmium yellow light. I'm also really fond of cerulean because I do mostly landscapes, and a really light, warm blue makes wonderful greens.

Whatever you decide, enjoy! New art supplies are a wonderful treat.

diphascon
02-01-2002, 05:09 AM
Originally posted by walden
You may have already established color preferences, but the earth colors really are optional, you know-- you can mix them from the primaries. I would drop the yellow ochre in favor of a warm yellow with body, like cadmium yellow light.

Though you are right, principally, yellow ochre is a colour that some use quite extensively, and one tube Rembrandt cadmium yellow light is more than twice the price than a tube of yellow ochre.

So why mix the ochre?

cheers

martin

mirza
02-01-2002, 02:37 PM
snakum, I've been silently following your travails. I'm not that great a painter, but one thing I've gotten really good at over the years is buying art supplies (you know, the old "if I only had that one really expensive color...")

I like Rembrandt paints, the colors are lovely, but they really do have a very soft, mousse-y feel unlike any other brand. You may like that.

My real piece of advice, which I know you've heard before, is to call Mr. Doak. You may not believe it, but you'll get not just better paint for your $$$, but more of it -- 50 ml tubes. You'll also get his knowledge, which is priceless, and I know you're tough enough to stay within your budget. (A quick comparison between Rembrandt from Jerry's and paint from Doak: cad yellow light: R, $12.15; D, $12.00; yellow ochre: R, $5.11; D, $4.75 -- but Doak doesn't do internet or credit cards and sometimes that's a consideration.)

I would go with a cad yellow light rather than lemon, unless you're going to be doing landscapes. For portrait or figure work, cad lemon is too greenish, I think. (Doak's is definitely greenish, and he warned me, and I didn't listen. )

Ditto Martin. Earth colors are cheap. Why use expensive colors to mix them? Buy yellow ochre.

Maybe think about a mixed white rather that straight titanium, which can be harsh.

Otherwise, I think you've got a good basic palette.

snakum
02-01-2002, 04:18 PM
Thanks Mirza,

The info on Rembrandt Lemon is the kind of thing I've been looking for. I have a chart but the folks who have actually used the paint are the ones who really know the pigment biases. So, I'm thinking Cad Yellow Light instead of Lemon? But if I needed a lemon yellow how would I bring the light back up to intense greenish yellow?

I have the Doak price list and have considered them but it's so much easier to just pop over to Jerry's in Raleigh and pick up the Rembrandt (even though some of the sales staff leaves MUCH to be desired). As I use the Talens up I will probably step up again to Blockx or Schminke (OH didn't really suit me).

Thanks for the info, all!

Minh

Einion
02-01-2002, 10:21 PM
Snakum, I see this is based on twin-primaries which I applaud. I know colour choice is a very personal thing but I'm curious as to a few of your choices. Are you seeking to have a limited palette with the widest range of mixed hues? If so you might want to rethink a few of your selections.

Why only one real yellow? If you want a single true yellow a much better choice would be Permanent Yellow Light which will mix good greens and oranges (although not the very brightest) with an appropriate choice of second primary. If you want a pair to mix the best secondaries then you might consider Cadmium Yellow Lemon with Cadmium Yellow Medium or Permanent Lemon Yellow with Stil De Grain Yellow*, depending on whether you want opacity over other attributes (the cadmiums being most opaque).

In your reds Cadmium Red Light is a great choice although theirs is a mix of PR108 with Cadmium Orange. Permanent Madder Deep is Irgazine Ruby, PR264*, and is close to Alizarin Crimson. FWIW Quinacridone Rose might be a better option for the second red, offering more versatility in mixes.

Ultramarine and Phthalo Blue GS are ideal if you want only two blues.

Why Viridian over one of the phthalo greens? They are cleaner-hued and more transparent. No argument with Chromium Oxide Green as a colour but if you want a green principally for verdaccio then you could easily mix a batch yourself from Yellow Ochre or Transparent Oxide Yellow and Phthalo Blue (see their Green Earth).

If you get Transparent Oxide Yellow then you really don't need Raw Sienna as well as they will fulfil similar roles and the Transparent Oxide Yellow is the more transparent anyway, making it a better choice purely for glazing. If you wanted to reproduce Raw Sienna then a mix of Transparent Oxide Yellow with Yellow Ochre should yield a very acceptable simulation.

Burnt Umber is a useful colour to some (I use it a fair bit) but theirs is not the genuine article but a mix of PR101 and Mars Black, so you might want to bear that in mind. You could try Winsor & Newton’s if you want the real thing.

Rembrandt's Titanium White's (safflower and linseed options) both contain admixtures of Zinc White which will affect opacity, so again you might want to bear this in mind.

Their Ivory Black is mixed with Ultramarine so Lamp Black might be a better option.

BTW, in case you haven't seen them, the colour charts on their website (<A HREF=http://www.talens.com/mainrembrandtoilchart1.html>here</A> and <A HREF=http://www.talens.com/mainrembrandtoilchart2.html>here</A>) give reasonable representations of the colours.


Lisa, I’m with Martin, why mix the cheapest, and usually the most reliable, colours with more expensive ones (although it does make for interesting mixing exercises at times)? These days one will often see recommendations for Quinacridone Burnt Orange and Quinacridone Gold as options for Burnt Sienna and Raw Sienna now that they are more widely available but at three or more times the price I can live without trying them! :)


Mirza when you say Titanium White is "harsh" do you mean how strong it is in mixes? If it's the tinting strength then just use less.:-) If it's the opacity, well, most people value this attribute and one could always add some Zinc White on the palette as needed without sacrificing the availability of the pure stuff. If it's the hue, then a touch of a yellow earth will kill the pure whiteness of it, bringing it in line with Flake White.

Hope this helps,
Einion

*Talens are the sole supplier of these colours in oils to my knowledge, and possibly PY154 as well.

walden
02-01-2002, 11:32 PM
Einion, I started out with a wide array of watercolors 3 years ago, and had a terribly frustrating time trying to mix the colors I needed-- I had too many pigments on my palette to truly learn their behavior, and with all of the possible permutations and combinations, it looked like I would never be able to paint well. So, I started reading, read a lot, and eventually decided that I would pick the fewest possible pigments and truly learn them. (For a while I used only three primaries.) I do mostly landscapes, and although I work a fair amount in the studio now, in a few years I will be travelling most of the time and painting mostly plein air. I want to be able to mix anything I need, and fast, to catch changing light conditions. (It may seem faster to not to have to mix, but the colors I need are rarely exactly correct out of the tube anyway, so what's the difference if I mix a little or mix a lot?) I'm not there yet, but I'm one heck of a lot better than I was three years ago.

I do cheat, though-- to my six pigment split primary palette (plus white, I'm working in oils now), I often add cerulean and occasionally a green-- Pthalo or Viridian. :)

Additionally, mixing my own earths can yield richer results if they're not overmixed, and the individual pigments retain some of their own identity, but I rarely manage to accomplish that.

Maybe when I get to be a really good artist, I'll start adding pigments back, but for now, the learning curve I'm climbing is worth the price of paint a bit more expensive.

bruin70
02-02-2002, 12:28 AM
a nice small palette of colors. you're fine....{M}