the one pigment you wouldn't want to do without

[LarrySeiler]

I recall our former conversations on this Enion, and I suppose it slipped my mind as perhaps painting as many landscapes as I do I haven't really seen this white warming cold colors up property all that much. In fact, most of the cold colors are dark in value, and have to be lightened...at least in my work, so that the order of darks coming nearer to the viewer and lights receding take advantage of depth illusion.

In that regard...it may well be a warmer cool...but hasn't registered as such in my mind, as I read such more in terms of values going back. Not to be argumentive but simply explain why it hasn't registered for me as yet.

- - -

haha...thanks Patrick...I don't have any inclination really to have earth tones on my palette such as umbers or siennas..though many swear by them. In my need for ease and speed painting plein air, I bring only the essential and umbers and siennas I can make. Making a good Naples with limited palette is not so easy...and finds itself often in the mix, so very convenient to have. Whether tinting, making more interesting neutrals, or purer to suggest a natural inclusive color of the locale. Can't get away from the stuff....

- - -

Yep...I do remember your castle Mikey...yes, Naples makes many interesting variations of greens, violets, nice reddish creams or oranges. Just nice stuff...!

I've been doing these one a days many are doing, as exercises, 5x7...and did a banana yesterday with Cheerios...and Naples played a major role in my shadows and rendering...as well as my background. If interested....I put a WIP on it....
Painting it without Naples would have not nearly come with the ease this piece came about....
the WIP is the lower 2/3's of the page...
http://www.wetcanvas.com/forums/show...=252139&page=5

In fact, having used Naples Yellow, Mikey...you'll quickly see how the other two incidentals (one a days) on that same page worked out well with Naples on the palette.

Larry

[Mikey]

Larry, now I have Naples Light my Cerulean Blue is looking very good indeed for landscapes.

[LarrySeiler]

Originally Posted by Mikey

Larry, now I have Naples Light my Cerulean Blue is looking very good indeed for landscapes.

not in the least surprised...! Convenient stuff that pigment....

Larry

[jdadson]

Originally Posted by blumoon

I voted ultramarine blue as no substitution comes to mind,

Phthalo blue with a smidge of quin. magenta.

[FriendCarol]

Originally Posted by jdadson

Phthalo blue with a smidge of quin. magenta.

But not for a watercolorist who cares about more than just the hue.

Btw, loved your post on Shadows; not just what you said, but how clearly you managed to state it.

[Mikey]

Originally Posted by jdadson

Phthalo blue with a smidge of quin. magenta.

I find this combination offers tremendous possibilties.

Mikey

[jdadson]

Originally Posted by FriendCarol

But not for a watercolorist who cares about more than just the hue.

I gave up on watercolors. But before I did, I gave up on using phthalo blue in watercolors. The darned stuff dyes the paper.

Btw, loved your post on Shadows; not just what you said, but how clearly you managed to state it.

Thanks. I strive to be succinct. I have a low tolerance for high sounding blather.

[jdadson]

Hi Marc. I know you from the jazz NG's. It's a small internet world.

Have you seen this? http://www.handprint.com/HP/WCL/palette4e.html

[Marc Sabatella]

Originally Posted by jdadson

Hi Marc. I know you from the jazz NG's. It's a small internet world.

Have you seen this? http://www.handprint.com/HP/WCL/palette4e.html

FWIW, I was out of town a while and had completely checked out of this site (and the one day I tried to check back in, while in Paris, was during the period the site was down due to a hacker attack). So anyhow, cool to meet up again. Yes, I am very familiar with the Handprint site. Learned tons from it. Although I note that the particular palette you reference is a bit off relative to the color wheel he posts elsewhere with tons of pigments marked on it - the quinacridone rose is rather closer to the cadmium red orange than to the ultramarine blue, as I recall. It's pretty close to 9:00 on the circle. The phthalo green I use (BS) is pretty close to 3:00, giving me currently a four color palette that is close to evenly spaced.

But it is interesting to see this again as it might definitely justify my buying a tube of orange. Just did a painting yesterday where two different people (the guy I was out painting with, and my wife who came along for the ride) asked if I didn't want to push the oranges more in a group of California poppies. My partner even offered to lend me his cadmium orange. But I just don't see my mixed orange as that far from cadmium.

[Oregano]

Bummer. The poll's closed.

My choice is Raw Sienna. It forms a very important leg in my flesh tones. Using it in conjunction with Flake white and sap green (and varying degrees of reds or blues of different types) I've always gotten believable skin colors.

Cheers,
~Oreg.

[Mikey]

Hi Oreg, I've got to admit that Raw Sienna is the one pigment which I never change in my portrait palette. Others can be swapped around quite easily.

Mikey

[Oregano]

Hey Mikey,

Glad to know that I'm not the only one who uses Raw Sienna for flesh. I sort of discovered it years ago playing around.

[agiovannie]

hansa

[FriendCarol]

LOL! Yeah, Hansa (W/N Transparent Yellow) is my workhorse yellow, too. Gotta love it. In fact I'm using it today with my nearly indispensable Winsor green BS... Unfortunately, W/N is discontinuing this pigment. I bought [2] 14-ml. tubes, and can only hope I'll find another satisfactory source when I've used those.

Welcome to Wet Canvas!