Home › Forums › The Learning Center › Color Theory and Mixing › Show us your palette colors and tell us why: 2006-present
- This topic has 206 replies, 133 voices, and was last updated 6 years, 5 months ago by jerrylipp.
-
AuthorPosts
-
January 13, 2006 at 3:18 pm #987307
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 RedYellows
Lemon Yellow
Cadmium YellowBlues
Cerulean Blue
French UltramarineEarths
Yellow Ochre
Burnt SiennaWhite
TitaniumI 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.comJanuary 16, 2006 at 4:46 am #1104523The 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.
RichardJanuary 26, 2006 at 7:44 pm #1104553This 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.
February 25, 2006 at 9:18 am #1104497hello
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, goethitelac, carmin, madder, reseda, saffron
green
green earth
I don’t use lots of green color, sometimes :
cobalt green, emerald green, verdegris, malachit, dioptaseblue
cobalt blue
azurit, ultramarine ( lapis ), indigo
sometimes Han’s blue & egyptian blueother :
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.
lyJune 5, 2006 at 4:57 am #1104558Here’s my watercolor palette:
Yellows:
(lemon opaque) Bismuth Vanadate PY184
(orangish transparent) Isoindoline PY110 or PY139Orange:
(semi-transparent) cadmium sulfoselenide PO20Red:
(semi-transparent “vermilion”) disazo condensation scarlet PR242
(crimson transparent) anthraquinone red PR177Violet:
(reddish semi-transparent) cobalt ammonium phosphate PV49
(bluish semi-transparent) cobalt phosphate PV14Blue:
(cyan semi-transparent) barium manganate PB33
(ultramarine) sodium aluminum sulfosilicate B29Green:
(viridian) hydrous chromium sesquioxide PG18
(phalo blue shade) chlorinated copper phthalocyanine PG7White, and Black:
(white) titanium oxide PW6
(black) lamp black PBk6Earths/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 PB60June 5, 2006 at 5:33 pm #1104539Hello 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.
lyI 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
June 6, 2006 at 8:04 am #1104521Hi 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 GenuineMike
June 6, 2006 at 9:57 am #1104540hello 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…
July 4, 2006 at 2:09 am #1104550jholdway: 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]July 7, 2006 at 7:50 pm #1104556My oil palettet is always
Colbolt Blue
Cadium Red hue
Caduium yellow hue
titanium white
Mars blackI 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.
July 27, 2006 at 2:19 am #1104560I have in my acrylic palette:
Titanium White
Quinacridone red
Phthalocyanine blue
Hansa yellow light
Mars blackThese 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.comSeptember 19, 2006 at 5:25 am #1104564I 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 blackOctober 7, 2006 at 6:52 pm #1104538Amyellen, 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!
AzureOctober 13, 2006 at 9:13 am #1104548Not 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 SiennaCobalt Blue
French Ultramarine
Winsor Blue (RS)
Cerulean Blue (eliminate)Rose Madder Gen
Alizarin Crimson (Perm)
Scarlett LakeWinsor 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
October 13, 2006 at 9:39 am #1104505Not 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]
Hudson Valley Sketches -- Reviews/Lightfastness Tests/Art Materials [/url]
One year from now, you'll wish you had started today. -
AuthorPosts
- The topic ‘Show us your palette colors and tell us why: 2006-present’ is closed to new replies.
Register For This Site
A password will be e-mailed to you.
Search