Home Forums Explore Media Watercolor The Learning Zone Palette opinions wanted

Viewing 4 posts - 1 through 4 (of 4 total)
  • Author
    Posts
  • #1550477

    Hello wonderful group,

    My new Craig-Young paintbox arrived yesterday, hooray.
    Now which 16 Schmincke Horadam colours to include?
    methinks

    Earth = Burnt-Umber / (Raw-Umber) / Burnt-Sienna / Raw-Sienna
    Yellows = (Yellow-Ochre) / English-Venetian-Red / Cadmium-Y-Deep / (Titanium-Yellow)
    Reds = Perylene-Maroon / Cadmium-Red-L / (Quinacridone-Violet) / (Payne’s-Grey-Bluish)
    Blues = Cobalt-Turquoise / (Cobalt-Blue-L) / French-Ultramarine / (Prussian-Blue)

    I will be painting a bit of everything, and many landscapes. I’ve marked the Warm / Cool in bold.
    (In brackets) are colours I would possibly reconsider.
    Alternatives could be Hooker’s-Green or Viridian, Lamp-black & Sepia-brown (to get darker values?).
    16 colours seemed a lot, then suddenly not enough?
    I’m used to 12, and I used to used good old W&N…
    I know it’s such a subjective question, but I welcome suggestions (perhaps colours not mentioned?)

    Thanks,
    1st world problem, but I hope to hear from someone !!

    Ciao, Roland :bye:

    #1550557

    I’m not familiar with Scminke pigment names, I use W&N.

    My most used colours are Ultramarine, Prussian Blue, Winsor Blue Green shade, Lemon Yellow, Raw Sienna, Burnt Sienna,  Permanent Rose, and Napthol Red.

    Doug


    We must leave our mark on this world

    #1550565

    Thanks for the input

    #1555968
    Macarona
    Default

         

        I mostly use my own paint that I made with pigments from Kremer, but I try to include more usual colour names for it.

        I also paint a bit of everything and usually have a 12 colour palette which I have extended to 24.
        It’s a bit difficult to put together a 16 palette like in your case because, I don’t know what the most important extensions to my 12 palette are.

        Artists usually have different palettes, they are rarely the same, because different colours are practical for everyone, and they use them differently.

        These are really just suggestions, and I can only give tips from my perspective. :-)
        In my opinion there should be colours in a basic palette that are often used pure to reduce the time spent on mixing and when mixing it is easier to mix certain colours and the mixable ones are the ones that are needed.

        I’ll write down my ideas for your palette.
        Yellows = (Yellow-Ochre PY42 or 43) for me, it is a bit difficult because it is rather opaque and I prefer transparent colours.
        I prefer Siena raw, it is more muted and with a bit of yellow you can mix a more transparent alternative with it.

        Cadmium Yellow Deep PY35 relatively expensive and opaque.
        Very orange, leaning for a yellow colour.
        In a 16 colour palette, a warm yellow is a sensible idea.
        I prefer to use Permanent Yellow dark or Indian Yellow PY65 or PY83 as an alternative,
        which are more transparent or PY110 can be a warm yellow or already a yellowish orange depending on the manufacturer.

        (Titanium-Yellow PY53) I also like to experiment with this,
        but it’s too unusual with it pastel like appearance, for me to put it in a basis palette. I prefer it to Lemon Yellow PY3.

        I would miss a transparent medium yellow as a base, which can be made warm or cold with a minimal addition of red or green.
        For example, it is often sold under the names Primary Yellow, Permanent Yellow Medium or similar, with the pigments PY74, PY154 or PY151.

        Reds =
        Perylene-Maroon is quite useful to expand the palette and to form a dark triad.
        It looks like a more neutral dark red from Schmincke, all the others are a bit towards magenta except the one from Daler Rowney it is even further in that direction.
        I don’t know which one is more practical.
        As an alternative, which is more intense and is closer to carmine, you can use madder dark or permanent alizarin crimson PR264, PR176 or PR170.

        Cadmium-Red-L expensive and opaque, leaning towards orange.

        (Quinacridone-Violet)
        far too Violet to be useful as Magenta, and the distance between this Violet and Cadmium Red Light is too big to mix more intense magenta leaning red tones.
        These will then be muted, if that’s not what you want then you should, exchange the two.

        English-Venetian-Red Something like this can be mixed from burnt sienna and red.
        If red brick houses are only being painted very rarely, this colour is not that useful in a palette
        unless it is used in a more intense earth colour limited palette together with yellow ochre.

        I’m missing a neutral red that remains neutral even when diluted and doesn’t turn pink or orange like Pyrrole Red PR254, although it’s mostly semi-opaque, but hardly any other red is just red.
        Perylene red PR178 is also close, it is just slightly too bluish,

        A neutral magenta like PR122 or a reddish variant with Quinacridon Rose or Red PV19 for magenta-leaning red tones and if it is only used with two other colours as a limited base palette to mix sufficiently intense orange tones.

        Blues =
        Cobalt Turquoise it bridges well between green and blue as light cyan, when an Ultramarine is used as the blue colour.
        A small note: Cobalt Turquoise from Turner is only in price group 2 and is quite cheap, Lukas and Shin Han also have affordable versions of it.

        (Cobalt-Blue-L) is, in my opinion, quite similar to Ultramarine, only that it is hardly granulated from Schmincke and is a more expensive cobalt color that is more greenish.
        Ultramarine greenish or also called light looks almost exactly the same and is cheaper, but I wouldn’t put it in a smaller palette unless it has to be cheap.

        French-Ultramarine very practical base blue, granulating and easier to handle than, for example, Phthalo blue.
        I really like this particular shade of Ultramarine, and it mixes more natural green tones for landscapes that aren’t tropical.

        (Prussian Blue) You have to be careful with the colour, not all of them are lightfast.
        Very practical to have for a non-granulating shade of blue.
        This colour looks different depending on the manufacturer and is a bit muted.
        It’s relatively unimportant among the blue tones, but it’s cheap.

        I use two blue sets because I haven’t yet decided which one is most practical for me.
        Between cyan and magenta there is actually Ultramarine Violet according to Bruce MacEvoy’s pigment colour wheel and cyan is also greenish Phthalo blue or cerulean blue.

        I use Cyanblue transparent PB15:4 it’s not so greenish as other Phtaloblue green ones with PB15:3, and it is cheaper than Cerulean, darker and not granulated.
        I rotated it a little to the left and mostly use ultramarine as blue and cobalt turquoise as cyan.

        Blues look very different, and it can be seen in the pigment colour wheel so that the distances between yellow and red and magenta are shorter than between magenta and blue and cyan.

        Earth =
        Burnt-umber PBr7. I don’t need it as often as I thought and have to change it a lot depending on the paint. It was thrown out of my small 12 colour palette, because I spend more time mixing.

        (Raw-Umber PBr7) / I only have to change it minimally for trees and stones, if I need a neutral brown tone I can mix it quickly, I can mix it with burnt sienna.
        It looks different depending on the manufacturer, and there is sometimes an extra greenish version.
        I have a very greenish one from Cyprus in my palette and mix it less with other colours than the more neutral version of it.

        Burnt-Sienna PBr7, slightly more muted than the more orange PR101 variant and very practical for a smaller palette to mix gray tones with ultramarine and to mute colors by mixing a little of it in.

        Raw Sienna is a super practical muted yellow that is transparent.
        I often use it to mix green and orange tones and make them more muted.

        An extra colour is Caput Mortum PR101 it is in my 12 colour palette as a dark brown tone leaning towards magenta, it’s good for monochrome paintings and I like to mix it with ultramarine violet for special greyish purple tones.

        I hope my suggestions help a bit ;-)

        kind regards Macarona
        Stay calm, you can not protect all people from mistakes they make. They should also be allowed to learn from mistakes and gain experience.
        Especially financial mistakes.:angel: Keep calm, you can not prevent that there are not only reasonable suggestions from people. Specifically on the subject: only try and how long. Important topic: Please Save the Internet, that we can still share a lot of knowledge. # No articles 11 and 13!!!

      Viewing 4 posts - 1 through 4 (of 4 total)
      • You must be logged in to reply to this topic.