Home Forums The Learning Center Color Theory and Mixing Show us your palette colors and tell us why: 2006-present

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  • #987307
    romans611
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        I am still very new at painting. From my limited experience and what I have read, I keep a very simple palette – I want (need) to learn by experimenting and mixing. Try to have a warm and cool color of each RYB. Right now it is:

        Reds
        Alizarin Crimson
        Cadmium Red

        Yellows
        Lemon Yellow
        Cadmium Yellow

        Blues
        Cerulean Blue
        French Ultramarine

        Earths
        Yellow Ochre
        Burnt Sienna

        White
        Titanium

        I own black, but have not used it. I try to reach black with variances in hue by mixing the other colors in my palette.

        I am looking to use Cadmium Yellow Light and Cadmium Red Light. Also, I have not factored in opacity of the colors.

        :o)

        The Just Shall Walk by Faith
        www.bobwadum.blogspot.com

        #1104523

        The colors I use vary, depending on the subject, but I find it easier to achieve color harmony with fewer rather than more colors. At present one of my gouache palettes consists of quinacridone red, hansa yellow medium, viridian, and ultramarine blue. At other times I may use a simple CMY or RYB palette.

        C&C is welcome.
        Richard

        #1104553
        jholdway
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            This is my usual pallette. I use oil.

            Graham walnut/alkyd titanium White – drys faster thatn reagular titanium but non toxic.

            Utrecht Cad yellow medium – I have to have cad yellow Utrecht brand works fine and is a good price.

            Utrecht Cad red medium – opaque and bright

            Graham Quinacridrone rose – close to alizarine but permanent. its transparent but cad red is too orange

            Utrecht Ulramarine – gotta have utramarine Utrecht is a good price.

            Utrecht Pthalo blue – just a small tube for colors I can get to with utramarine

            Utrecht Ivory black – black is good

            Also sometimes I do an underpainting with grahams transparent iron oxide. so nice.

            Also I use no solvent just oil to clean up. turns out you don’t need solvent. Im non toxic unless I eat my cad.

            now you know my secrets.

            #1104497
            ly
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                hello

                first, for Ruben’s palette, the nearest one is the palette shown in Turquet de Mayerne’s book…

                second, I give mine

                white

                white lead, titan/zinc white for strong white, calcit/CaOH for precious work

                black

                iron black, wine black & burnt apricot, & sometimes ivory black

                yellow, orange, red colors

                yellow & red ochre ( from French Colorado & Africa )
                Naples yellow, massicot, cadmium yellow-orange-red
                I use an old pigment ‘lemon yellow’, lead chromate I think
                orpiment, cinaber, minium, lytharge, hematite, goethite

                lac, carmin, madder, reseda, saffron

                green

                green earth
                I don’t use lots of green color, sometimes :
                cobalt green, emerald green, verdegris, malachit, dioptase

                blue

                cobalt blue
                azurit, ultramarine ( lapis ), indigo
                sometimes Han’s blue & egyptian blue

                other :

                pyrit, lead-antimony-tin oxyds, lead chromate, chrome green, french ultramarin (rarely ), various experiments on colors with plants, medieval chemistry & minerals ( atacamite, crocoïte, chrysocolla, parsley, mixes & preparations with copper acetate/carbonate/resinate etc )

                Hello
                Where did you get lead-antimony-tin yellow ????
                I use lead-tin yellow or lead-antimony yellow(Naples yellow) but as i know
                there is no lead-tin-antimony yellow available these days.
                ly

                #1104558
                superstition
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                    Here’s my watercolor palette:

                    Yellows:
                    (lemon opaque) Bismuth Vanadate PY184
                    (orangish transparent) Isoindoline PY110 or PY139

                    Orange:
                    (semi-transparent) cadmium sulfoselenide PO20

                    Red:
                    (semi-transparent “vermilion”) disazo condensation scarlet PR242
                    (crimson transparent) anthraquinone red PR177

                    Violet:
                    (reddish semi-transparent) cobalt ammonium phosphate PV49
                    (bluish semi-transparent) cobalt phosphate PV14

                    Blue:
                    (cyan semi-transparent) barium manganate PB33
                    (ultramarine) sodium aluminum sulfosilicate B29

                    Green:
                    (viridian) hydrous chromium sesquioxide PG18
                    (phalo blue shade) chlorinated copper phthalocyanine PG7

                    White, and Black:
                    (white) titanium oxide PW6
                    (black) lamp black PBk6

                    Earths/dull pigments:
                    (semi-transparent red) chrome aluminum stannate PR233
                    (semi-transparent yellow) synthetic yellow iron oxide PY42
                    (opaque green) anhydrous chromium sesquioxide PG17
                    (semi-opaque blue) indanthrone PB60

                    #1104539
                    romumu
                    Default

                        Hello ly

                        [copy/paste] : Hello
                        Where did you get lead-antimony-tin yellow ????
                        I use lead-tin yellow or lead-antimony yellow(Naples yellow) but as i know
                        there is no lead-tin-antimony yellow available these days.
                        ly

                        I make it…=) This was first based on a receipe from manuscript & recent researchs. I burn tin oxyd, lead oxyde/carbonate & antimony sulfide in various way…:D

                        #1104521
                        Mikey
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                            Hi romomu,

                            Lead Antimonate is a tin pigment. You may have seen Michael’s website and can contact him personally for sound technical advice.
                            Michael Harding – Naples Light Genuine

                            Mike

                            #1104540
                            romumu
                            Default

                                hello Mikey, & thanks for info

                                I use & make traditionnal colours, then I don’t use actual definitions…this is my list of yellow based on tin-lead-antimony :

                                1-massicot : lead oxyd
                                2-double oxyde yellow 1 : lead & tin oxyd (Pb2SnO4)
                                3-double oxyde yellow 2 : lead & tin oxyd (PbSnO3)
                                4-double oxyde yellow glass : lead & tin oxyd with silice
                                5-triple oxyde yellow : lead, tin & antimony oxyd
                                6-Naples yellow : lead antimoniate (used after 1630)

                                This last was used in XVIIth century & correspond to Merimee’s yellow (who give also a lead-antimony-zinc)
                                Double oxyd is given in Bolognese ms (Merrifield) from XVth century
                                Triple oxyd was discovered in Poussin’s paintings (see ‘Painting techniques history materials & studio practice’ from IIC & ‘Art & Chimie: la couleur’, Congrès international sur l’apport de la chimie aux oeuvres d’art, 1998)

                                There’s different preparations, & often ‘massicot’ & ‘yellow from Naples’ are names used for different colours, but I don’t thing there’s evidence for use of one of them (except lead oxyd) before XVth century…

                                #1104550
                                APCenter
                                Default

                                    jholdway: Sounds like a very good palette that doesn’t complicate things much. I must commend you on your choice of quin. rose to replace the fugitive alizarin. However, I wonder if you might enjoy a greener, more transparent yellow in addition to the cad yellow that you already use. I’d lean towards PY3 in this case, although it’s not the most lightfast pigment in this hue point. Perhaps certain formulations of PY97, 151, or 154 might be useful as well. Not to argue with what works for you, just suggesting that you might find some of these to be fun to play with.

                                    superstition: This is an interesting palette for w/c, due to some of the pigments involved. By that, I mean that they are not exactly typical of the pigments used in “average Joe’s” w/c palette these days. I’d be very interested to know more about how you use these. Paticularly of interest to me is your use of PB60, which is not particularly common among today’s watercolorists…I personally love the stuff, but I tend to think of it in tandem with PB27 iron blue. I think of it in analogy to the phthalos, where indanthrone is the RS and prussian is the GS. I’d love to hear more! Also of particular interest to me is your use of potter’s pink PR233. Most artists gravitate towards Venetian red and BS for their warm earths. I’d love to hear your reasoning for choosing this particular pigment.

                                    Re: vermillion, Naples: Any way you slice it, genuine vermillion is a problem pigment. You’re gonna play the devil producing a paint that uses real mercuric sulfide that handles well and still manages to be lightfast. Not to mention that it is quite toxic, which for me is enough to avoid making a paint with it…I have enough health problems thanks! Naples yellow is pretty much as bad, simply because PY41 is very toxic as well, and modern convenience mixtures that imitate it are very rarely permanent. But I don’t make my own paints currently either, as I’m living in a small apartment with a bird, a ferret, and a guinea pig. Perhaps if I lived without small helpless pets, I’d be willing to forgoe my own health in order to make paints using such pigments. (This is no way meant to seem sarcastic, just my own viewpoints on exposing my pets to things that might be hazardous to them!) :)

                                    [FONT=Impact]-Brandon[/COLOR]
                                    [FONT=Impact]

                                    #1104556
                                    Velcro
                                    Default

                                        My oil palettet is always

                                        Colbolt Blue
                                        Cadium Red hue
                                        Caduium yellow hue
                                        titanium white
                                        Mars black

                                        I started using these originally as i had a low budget and you can easily get these colours cheaply and in balk now ohw ever i find that they are very versitle and you can make all the colours you need out of them. I also try not to use black at all and mix it myself.

                                        I use the same colours generally for good quality acryilic paints. I dont for the cheap ones as when mixing they lose there impact.

                                        Water colours i have so many tubes and blokes of the stuff i cant count them.

                                        #1104560
                                        Caf?® LoLa
                                        Default

                                            I have in my acrylic palette:

                                            Titanium White
                                            Quinacridone red
                                            Phthalocyanine blue
                                            Hansa yellow light
                                            Mars black

                                            These are the colors in my starter kit from a local company that makes artists acrylics, and since I’ve never used them before, I wanted the basic colors to see how they mix. They mix very well on a preliminary primary color mixes to make secondary colors

                                            Laurie Landry
                                            laurielandry.com

                                            #1104564
                                            amyellen
                                            Default

                                                I was a textile designer, before I became an oil painter, so I was used to a very broad palette.. (spelling??).
                                                so this is what i use:
                                                and by the way, i usually use WINTON oils, they are wonderful, and i usually use the Hues, as they are cheaper. i put a painting in this post so you can see the colors that can be achieved with the wintons.
                                                titanium white
                                                lemon yellow
                                                cad yellow light
                                                cad yellow deep
                                                yellow ochre
                                                naples yellow
                                                cad orange
                                                cad red light
                                                permanent rose
                                                burnt sienna
                                                burnt umbert
                                                alizarin crimson
                                                cobalt blue
                                                cerulean blue
                                                ultramarine blue
                                                thalo blue, (be careful!!!)
                                                cobalt violet, (can’t live without it)
                                                viridian green
                                                permament green
                                                sap green
                                                sometimes black

                                                #1104538

                                                Amyellen, what a lovely lovely painting!! You do very good with just using the Hue’s. I have never used the Wintons, but in your hands they look yummy!
                                                Azure

                                                #1104548
                                                Johnny M
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                                                    Not sure if anyone still looks at this thread, but I have a goal to minimize my watercolour palette down to less than 10. Right now it’s;

                                                    Aureolin Yellow
                                                    Burnt Sienna (both Siennas to be eliminated as RMG+AY…)
                                                    Raw Sienna

                                                    Cobalt Blue
                                                    French Ultramarine
                                                    Winsor Blue (RS)
                                                    Cerulean Blue (eliminate)

                                                    Rose Madder Gen
                                                    Alizarin Crimson (Perm)
                                                    Scarlett Lake

                                                    Winsor Green (BS)

                                                    Yesterday I eliminated Peacock Blue (WG+WB) and Brown Madder, previously Sap green (ugly!), Viridian, Cad Yellow and Cad Red.

                                                    This leaves me with 8 – 1 yellow, 3 blues, 3 reds and 1 green.

                                                    Not sure how to mix Cerulean, so may have to keep it. I find with this 8 or 9 colour palette any colour is mixable…


                                                    Johnny M

                                                    :cool:

                                                    #1104505
                                                    JamieWG
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                                                        Not sure how to mix Cerulean, so may have to keep it. I find with this 8 or 9 colour palette any colour is mixable…

                                                        Try mixing the tiniest bit of your winsor green with ultramarine, and lighten to a wash as necessary to match value. This works for me in oils (using white to lighten), and I wonder if it would work in watercolor too. I generally use viridian to do it, but have used phthalo green (winsor green) as well.

                                                        Jamie

                                                        Hudson Valley Painter[/url]
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