37 min

JR : watercolor

Possible books to read:

  1. Atmospheric Watercolours: Painting with Freedom, Expression and Style by Jean Haines
  2. The Essence of Watercolour by Hazel Soan
  3. Realistic Abstract by Kees van Aalst
  4. Colour & Light by Jean Haines
  5. Quick And Clever Watercolor Landscapes by Charles Evans

http://www.winsornewton.com/products/water-colours/artists-water-colour/spectrum-lists/

http://hubpages.com/hub/How-to-Mix-Skin-Tones-in-Transparent-Watercolor

http://www.painters-online.co.uk/Features/How-to-Mix-Colours-for-Your-Watercolour-Painting-Using-Burnt-Umber/_ft248

Using watercolor paints for sketching.

quin colors
http://www.danielsmith.com/Item--i-G-284-600Q
magenta
http://www.danielsmith.com/Item--i-284-600-090
red
http://www.danielsmith.com/Item--i-284-600-091
gold
http://www.danielsmith.com/Item--i-284-600-089
Quinacridone Red (PV19)
http://www.danielsmith.com/Item--i-284-600-091

raw umber
http://www.danielsmith.com/Item--i-284-600-097
hansa yellow medium PY97
http://www.danielsmith.com/Item--i-284-600-039
Nickel Azo Yellow (PY150)
http://www.danielsmith.com/Item--i-284-600-061
Opera-Pink (PR122)
http://www.danielsmith.com/Item--i-284-600-198
French Ultramarine (PB29)
http://www.danielsmith.com/Item--i-284-600-034
Hooker's Green (PG36 PY3 PO49)
http://www.danielsmith.com/Item--i-284-600-042
Phthalo Green YS (PG36)
http://www.danielsmith.com/Item--i-284-600-079

Permanent Rose PV19
http://www.winsornewton.com/products/water-colours/artists-water-colour/colour-chart/permanent-rose/

Ken Bromley Art Supplies
http://www.youtube.com/user/artsupplies?feature=watch

Watercolor artist grade paints
http://www.danielsmith.com/Item--i-G-284-600

Watercolor artist grade paints
http://www.winsornewton.com/products.aspx?PageID=160

Student grade paints
http://www.winsornewton.com/products.aspx?PageID=162

mixing green
http://www.handprint.com/HP/WCL/tech34.html

convenience green
http://www.handprint.com/HP/WCL/waterg.html#convenience


Winsor & Newton Cotman - Art Supply Depo - need to buy -
[X] 113 Cadmium Yellow Light PY35
74 Burnt Sienna PR101
465 Payne’s Gray PB29, PBk7, PB15

http://www.naturalpigments.com/detail.asp?PRODUCT_ID=624-2083
Rublev Watercolor Case
Half Pans (10/Pack)

http://www.broworkshop.com/sketching/

http://www.sketching.cc/forum3/index.php

http://expeditionaryart.com/blog/archives/
http://expeditionaryart.com/wp-content/uploads/2011/07/kitrevised_1sharp.jpg
http://expeditionaryart.com/wp-content/uploads/2011/07/kitrevised_2.jpg
http://expeditionaryart.com/wp-content/uploads/2011/07/kitrevised_3sharp.jpg

---
http://www.youtube.com/watch?v=f2iveDdru8Q zorn palette - oils

http://channeling-winslow-homer.com/a-rational-palette-index-to-chapters/chapter-one-2/chapter-two-eye-candy-avoiding-monotomy/chapter-three-mixing-convenience/chapter-four-saturation-costs/five-is-the-saturated-palette-what-we-want/six-the-extremely-limited-palette/

http://channeling-winslow-homer.com/a-rational-palette-index-to-chapters/chapter-one-2/chapter-two-eye-candy-avoiding-monotomy/chapter-three-mixing-convenience/chapter-four-saturation-costs/

http://www.stephen-martyn.com/penandwash.htm

http://www.learnwatercolour.com/default.asp

http://www.stephen-martyn.com/blog/

http://www.handprint.com/HP/WCL/artist14.html

http://mostlydrawing.com/palettes-and-paints/paint/

I’ve since spent many happy hours mixing and blending paints to see which ones I could discard, without limiting the range of colours I could paint; (for example black is now replaced by a mix of raw umber and french ultramarine).

So my current palette is down to six colours: Raw Umber, Quinacridone Gold, Hansa Yellow Medium (these 3 made by Daniel Smith), and French Ultramarine, Winsor Blue (Green Shade), Permanent Rose (these 3 made by Winsor and Newton). It’s a version of the classic ‘warm/cold’ palette, with 2 reds, 2 yellows and 2 blues. This is the type of palette recommended by lots of painters, but it was interesting learning for myself that less is more.

Daniel Smith
Raw Umber
Quinacridone Gold
Hansa Yellow Medium

Winsor and Newton
French Ultramarine
Winsor Blue (Green Shade)
Permanent Rose

---

Winsor & Newton Cotman Pocket Sketchers watercolor set - student-grade paints:
http://www.parkablogs.com/content/review-winsor-newton-cotman-watercolors-sketchers-box

Lemon Yellow Hue
Cadmium Yellow Hue
Cadmium Red Pale Hue
Alizarin Crimson Hue
Ultramarine
Intense Blue (Phthalo Blue)
Virdian Hue
Sap Green
Yellow Ochre
Burnt Sienna
Burnt Umber
Chinese White

Winsor & Newton Cotman student-grade watercolor paints
http://www.winsornewton.com/products.aspx?PageID=162

Winsor & Newton artist-grade watercolor paints
http://www.winsornewton.com/products.aspx?PageID=160

Tony Foster on-location watercolor painter http://www.tony-foster.co.uk/

"Artists in the Backcountry: Tony Foster" - http://expeditionaryart.com/blog/2009/06/artists-in-the-backcountry-tony-foster/

Do you have a favorite palette combination?

I suppose my colors are basically an earth palette because I’m painting the world. I use yellow ochre quite a bit and french ultramarine, and cobalt… Occasionally I break out. I’m doing some paintings of tropical sunsets at the moment and they are of course dazzlingly beautiful. I’m using all sorts of colors that I very seldom use like Winsor Yellow and rose madder or permanent rose.

http://www.handprint.com/HP/WCL/water.html
http://www.handprint.com/HP/WCL/colormap.html
http://www.handprint.com/HP/WCL/color12.html
http://www.handprint.com/HP/WCL/color13.html
http://www.handprint.com/HP/WCL/tech16.html the secret of glowing color

http://www.winsornewton.com/main.aspx?PageID=446 Hints, Tips & Techniques for Water Colour - Colours

http://www.handprint.com/HP/WCL/palette4d.html
artists' "primaries" palette
nickel dioxine yellow (PY153)
quinacridone rose (PV19)
phthalocyanine blue GS (PB15:3)
phthalocyanine green YS (PG36)

http://www.handprint.com/HP/WCL/palette4e.html
secondary palette
nickel azomethine yellow (PY150)
cadmium scarlet (PR108)
quinacridone magenta (PR122)
ultramarine blue (PB29)
phthalocyanine blue GS (PB15:3)
phthalocyanine green YS (PG36)

http://www.handprint.com/HP/WCL/palette4r.html
split "primary" palette (cools and warms for primaries)
cadmium lemon (PY37)
cadmium yellow (PY35)
pyrrole red (PR254)
quinacridone carmine (PR N/A)
ultramarine blue (PB29)
phthalocyanine blue GS (PB15:3)

(if no phthalo blue, use cobalt blue)

main earthy colors:

Raw Sienna
Burnt Sienna
Yellow Ochre
Raw Umber
Burnt Umber
Payne's Gray

http://www.handprint.com/HP/WCL/palette4f.html
chuck long palette
cadmium yellow (PY35)
burnt sienna (PBr7)
cadmium scarlet (PR108)
alizarin crimson (PR83)
dioxazine violet (PV23)
ultramarine blue (PB29)
phthalocyanine blue RS (PB15:1)
cerulean blue (PB35)
sap green [hue]
payne's gray [hue]

http://hercelstallard.net

http://www.johnpikeartprod.com/index.html

http://expeditionaryart.com/
http://expeditionaryart.com/shop/product/pocket-palette/
http://expeditionaryart.com/wp-content/uploads/2011/07/proto-palette.jpg

http://parkablogs.com/content/review-winsor-newton-watercolour-bijou-box

Only eight colours are included in the box and they are:
Winsor Lemon
Scarlet Lake
Permanent Rose
French Ultramarine
Winsor Green (Blue Shade)
Yellow Ochre
Burnt Sienna
Ivory Black
I added four more colours, namely, Cadmium Yellow, Winsor Blue (Green Shade), Olive Green and Raw Umber. The 12 colours are versatile, capable of mixing into a whole spectrum of colours. Colours are still intense when mixed.


http://www.wetcanvas.com/forums/showthread.php?t=267296

Raw Sienna is a redder version of Yellow Ochre,

Or a yellower version of Burnt Sienna.


http://www.learnwatercolour.com/tips.asp

"Prussian Blue/Lemon Yellow, Prussian Blue/Raw Sienna, Ultramarine Blue/Lemon Yellow, Ultramarine Blue/Raw Sienna. Notice how the two greens containing Raw Sienna look much duller than the greens made with Lemon Yellow. That's because Raw Sienna has lots of red in it, so that even with a blue like Prussian that has a yellow bias it still makes a pretty dull green. However, that's often very useful in landscape painting where bright vibrant greens are often only seen during the springtime. Infact I usually use Cadmium Yellow rather than Lemon Yellow, because it has just a slight red bias which makes greens just a bit less acid."

"So far we've just talked about mixing greens, because that seems to be the colour that many artists find difficult. The same principals of mixing apply to other colours too of course, so that if we want to mix a nice clean orange we must use a red with a yellow bias (and no blue in it) and a yellow with a red bias. Try Cadmium Red and Cadmium Yellow."

"From all of the above we can begin to get a feel for the colours that would form a useful palette of watercolour paints. If we choose a couple of blues, one with a red bias and one with a blue bias. A couple of yellows, one with a red bias and one with a blue bias, and a couple of reds, one with a yellow bias and one with a blue bias, we should be able to mix a huge range of colours just from six tubes of paint. Here are my suggestions - from the top, Prussian Blue, Ultramarine Blue, Raw Sienna, Lemon Yellow, Burnt Sienna, Alizarin Crimson. More next month!"

"... a warm blue with a red bias, Ultramarine Blue, and a cool blue with a yellow bias, Prussian Blue. Below are two yellows that continue that theme - one is a warm yellow with a red bias, Raw Sienna, and one is a cool yellow with a blue bias, Lemon Yellow. It's important to choose the right blue and the right yellow to mix together to make a green, and it's even more important to understand why the colours react as they do."

"If we wanted to mix a really dull grey-green we could use Ultramarine Blue and Raw Sienna. Why? Because both of those colours have a red bias, so that we're actually mixing blue, yellow and red together - remember that those three colours mixed together make black. Mixing a blue with a red bias and a yellow with a red bias is going to give us a green that's on it's way to being a black, in other words a very dull grey-green."

"If we want to make a brighter green, then we can substitute one or both colours for ones that do not contain any red. So we could use Ultramarine Blue with Lemon Yellow, or Raw Sienna with Prussian Blue. For a really bright spring green then Prussian Blue and Lemon Yellow would do the trick. Here are four greens mixed from combinations of the two blues and two yellows I've been showing you. See if you can work out which green was mixed with which colour."

"Here are two common watercolour pigments from the blue spectrum. On the left is Prussian Blue and on the right Ultramarine Blue. I'm sure you can see that Prussian Blue is much cooler looking than Ultramarine Blue. Prussian already has an almost green tinge to it, whereas Ultramarine is distinctly veering towards purple or violet. This is because Prussian Blue has a yellow bias, some small amount of yellow in it. Remember - blue and yellow make green. Ultramarine Blue has a red bias, blue and red make purple or violet."

"Nearly all artists pigments have a bias towards another colour. If we can see that bias then it's easy to predict what the result of mixing one pigment with another will be."

"Let's imagine we want to mix a green. Remember blue and yellow make green. Which of the two blues above when mixed with a yellow would give the cleanest most vibrant green?"

"I hope you said Prussian Blue. It's already on the way to green because it's got a yellow bias. If we use Ultramarine with it's hint of red, we'll effectively be mixing blue, red, and yellow together - on the way to black. Greens mixed with Ultramarine will be more muted, not as spring like. Of course, that might be quite useful for painting the landscape, the most vibrant greens are not always the most realistic."


http://www.handprint.com/HP/WCL/palette4b.html

"yellow ochre (PY43), burnt sienna (PBr7), ultramarine blue (PB29) • Although this palette sometimes goes by the name "Velázquez palette," it is not a palette characteristic of Velázquez, and it was used centuries before his time."

"My favorite alternative to the overly chromatic ultramarine blue is iron blue (PB27), which increases the green in all mixtures, producing cooler near blacks with burnt sienna and significantly more pronounced greens with yellow ochre. I find it is necessary to accent the red side of the color range to compensate, choosing instead of burnt sienna paints such as light red, venetian red (PR101) or even chrome aluminum stannate (PR233). These paints increase the hue range on the red side and a completely new range of textures and color mixtures with iron blue."

"Another, even more restricted variation on this palette uses burnt umber in place of burnt sienna, raw umber in place of yellow ochre, and payne's gray for the dark. This is particularly challenging to use, but creates interesting still life, portrait or landscape paintings under cool light and an overall effect that is close to a sepia wash drawing."

"A great way to start with this palette is to use only burnt sienna and ultramarine blue. These two paints alone, across the full range from masstone to tint, mix a remarkably evocative range of colors — a furzy tan, ripe orange red, deep brown, granite gray, jet black, indigo, a deep dark blue and a cool sky blue. J.S. Sargent and William Russell Flint were masters at pulling the full range of possibilities out of the combination of these two paints."

"Once you feel comfortable using these two colors, add a yellow such as yellow ochre (PY43), raw sienna (PBr7), or a greenish raw umber (PBr7). Depending on the specific brand of watercolors you use, it's possible to get a mossy green as well, essentially completing the color circle."


http://channeling-winslow-homer.com/a-rational-palette-index-to-chapters/chapter-one-2/chapter-two-eye-candy-avoiding-monotomy/chapter-three-mixing-convenience/chapter-four-saturation-costs/five-is-the-saturated-palette-what-we-want/six-the-extremely-limited-palette/

THE BASIC PAINTS: Most of the painting is done with these. This is a “dead color” (desaturated, grayed) group. (I’m choosing to go for very unsaturated.}

1. raw sienna (transparent) or yellow ochre (opaque) for yellow
2. burnt sienna, Winsor Newton “light red”, or Indian Red for red
3. French Ultramarine Blue or Cobalt Blue for blue. If you were working in oil, you could use black because in dilution with white and in the right context it will read as blue.

THE EXTRA FOR TOUCHES OF COLOR. I use these sparingly usually at the end of a painting for eye candy. I also have them around in case I really must mix an intense secondary color like orange, violet, or green.

4. New Gamboge for yellow
5. Cerulean Blue for blue
6. Vermillion for red

(A dark can be made from burnt sienna and ultramarine blue.)


Qu Lei Lei

Author of the book "The Tao of Sketching: The complete guide to Chinese sketching techniques"

Watercolor is one of the most popular media with which to sketch because of its convenience.

At the very least prepare six basic colors: cold blue (French ultramarine), hot blue (cobalt), cold red (Alizarin crimson), hot red (cadmium), cold yellow (lemon), and hot yellow (cadmium yellow).

In theory any color you want can be mixed from these six, but it can be very useful also to prepare a few middle colors, such as burnt umber, burnt sienna, ocher, and dark veridian green, which will speed up the mixing process.


Lapin

http://les-calepins-de-lapin.blogspot.com/

sketching gear: http://les-calepins-de-lapin.blogspot.com/2010/06/my-secret-material-gear.html

The inkpen is my principal tool. I start all the time my sketches with the lines, and the “Uni Pin fine line 0,1mm” fits my taste. It’s waterproof and the black ink is very dark.

My watercolour box is a very compact one. It’s a special travel box, made by “Daler-Rowney, England” with 18 fine arts quarter pans. I fill the brush space with some additive colours, as some transparent red, a very cool green, and gold watercolour.

If I had to choose 3 colours, my favourite are the yellow ocre, the alizarin crimson and the russian blue. I sketch figures only with those 3.

I've only used a “Pentel” water brush for a short time, but I’m already addicted to it. I always carry 2 of them full of water, to get enough autonomy for the day, and a third one fill of yellow ochre liquid watercolour to have a bright and luminous yellow (most of the watercolour yellow pans are opaque).


Tools & Materials

http://www.stutler.cc/other/sketchbook/sketchbook_c_04.html

You can learn all about watercolor pigments at the Handprint web site which has had a great influence on my color choices.

You don't need many colors for sketching. You could actually get by with just red, blue and yellow, or maybe pairs of warm and cool versions of each of these colors.

But every artist has a different list of ideal colors. I get confused if there are too many color choices. A standard twelve color palette is plenty for sketching, but I can be happy with only seven colors since these are all I need to get any color I am likely to use in a sketch.

Transparent Yellow (PY97)
Cadmium Red Deep (PR108)
Permanent Rose (PV19)
Ultramarine Deep (PB29)
Peacock Blue (PB17)
Bamboo Green (PG36)
Burnt Sienna (PBr7)

This is basically a combination of RGB (Red, Green and Blue, the three colors used in light projection, also called an "additive color model") alternating with CMY (Cyan, Magenta and Yellow, the three basic colors of printing, also called a "subtractive color model") along with one earth color. I had not set out to combine RGB and CMY; it just turned out that way, and I thought it was interesting.

My paints are made by Holbein except for Transparent Yellow and Permanent Rose which are made by Winsor and Newton. Holbein is a local product for me and cheaper than Winsor and Newton. However, they do not make a yellow with PY97, and their version of PV19 is very dull. Winsor and Newton have discontinued their Transparent Yellow (PY97) so when my hoard is depleted I'll have to find another yellow ; I'll probably go with Cadmium Yellow.

You can mix Peacock Blue and Ultramarine for exciting sky colors. Permanent Rose and Bamboo Green make a very dark green for the dark parts of trees, and will even come very close to black. Peacock Blue and Yellow make a brilliant green for fresh spring foliage.

I included Burnt Sienna because when I mix it with Ultramarine, the combination becomes magic. Use it full strength for a nice deep brown, or add a little Permanent Rose for a chocolate brown. If I add more water I can get a whole range of cool and warm grays. I use these two colors up faster than any other in my palette.

Burnt Sienna is very convenient for mixing with the other colors, too. I can get a nice olive green by mixing Burnt Sienna with Bamboo Green. Add Yellow to the mix and ease up on the Burnt Sienna and you have a decent substitute for Sap Green. Yellow added to Burnt Sienna gets a nice brilliant earthy yellow that can be used where you would normally use Yellow Ochre. Add some Permanent Rose to this for nice flesh tones (of course you need to adjust for the individual skin tone).

My preference for a small number of colors is partly due to the influence the famous British artist Alwyn Crawshaw who also uses an extremely limited number of colors on location. I have several of his books, DVDs, and videos and I was always impressed at what he could accomplish with so few colors.

I couldn't remember which specific colors Mr. Crawshaw was using, so I checked one of his books -- the one about his sketching holidays in Japan. I was surprised to discover they were basically the same as my seven color palette -- the book gives the color names but not the pigment numbers. Here is the list of his seven colors with mine next to it:

Cadmium Yellow ---- Transparent Yellow (PY97)
Cadmium Red ---- Cadmium Red Deep (PR108)
Alizarin Crimson ---- Permanent Rose (PV19)
Ultramarine ---- Ultramarine Deep (PB29)
Cerulean Blue ---- Peacock Blue (PB17)
Hooker's Green ---- Bamboo Green (PG36)
Yellow Ochre ---- Burnt Sienna (PBr7)

The big difference is that I went with Burnt Sienna instead of Yellow Ochre -- I just love that color and would be lost without it.

There are many great portable watercolor sketch kits out there which have a good selection of colors and a palette mixing area. My favorites are the Koi sets from a Japanese company called Sakura and also the well known sets by Winsor and Newton


Charles Evan’s

http://www.charlesevansart.com/projectsindex.htm

http://www.winsornewton.com/products/water-colours/artists-water-colour/colour-chart/

Alizarin Crimson - PR 83
Ultramarine Blue - PB 29
Cobalt Blue - PB 28
Hooker's Green - PG 36, PO 49
Yellow Ocre - PY 43
Burnt Sienna - PR 101
Light Red - PR 102
Raw Umber - PBr 7


John Muir Laws

http://www.johnmuirlaws.com/field-sketching-equipment

http://www.johnmuirlaws.com/art-and-drawing/pimp-my-palette

http://www.johnmuirlaws.com/art-and-drawing/choosing-watercolors

The Winsor & Newton Cotman Sketcher's Pocket Box is an excellent little palette. It is inexpensive, sturdy, and small enough to bring on a backpacking trip. It is good straight out of the box. However, with a little customization, it will serve you even better. The original pigments are student grade. As you use them up, replace them with artist grade paints. You can buy new half pans in any art supply store. You can also discard the pans and squeeze tube colors into the spaces in the palette.

To make a big improvement in the palette, replace these paints.
Replace Chinese White with Neutral Tint
Replace Alizarin Crimson with Quinacridone Magenta
As you use up the pigments in the set, consider also replacing these colors with these alternates.
Replace Cadmium Yellow Pale Hue with Winsor Yellow
Replace Cadmium Yellow Hue with Quinacridone Gold
Replace Cadmium Red Pale Hue with Winsor Red
Replace Ultramarine with Phthalo Blue (Green Shade)
Replace Viridian with Hooker's Green or Perylene Green (darker)
Replace Burnt Sienna with Winsor Violet Dioxazine

I suggest reordering the pigments so that similar colors are aligned with the mixing areas on the fold out lid. There are two rows of six colors. In the first row I would place (in this order) Winsor Yellow, Quinacridone Magenta, Cobalt Blue, Sap Green, Yellow Ochre and Winsor Violet Dioxazine. On the Second row I would place Quinacridone Gold, Winsor Red, Phthalo Blue, Perylene Green, Burnt Umber, and Neutral Tint.

Winsor Yellow
Quinacridone Gold
Yellow Ochre
Winsor Red
Quinacridone Magenta
Winsor Violet Dioxazine
Cobalt Blue
Phthalo Blue
Sap Green
Perylene Green
Burnt Umber
Neutral Tint


Cathy Johnson

http://www.cathyjohnson.info/

http://www.cathyjohnson.info/tips/tip63.pdf

I learned from my old mentor, John Pike, to use a warm and a cool of each of the primaries for the best range of secondary colors (orange, purple, green) as well as the tertiaries. To that end, my basic palette includes

Phtalo
Ultramarine Blue
Permanent Alizarin Crimson
Cadmium Red (though some avoid the cadmiums for safety reasons)
Hansa Yellow Light (or Cadmium Yellow Light)
Hansa Yellow Medium.

I can get a lovely range of colors, just from these six, though I usually add a few earth colors Raw Sienna
Burnt Sienna
Yellow Ochre
Burnt Umber
Payne's Gray.

You can get by with just three basic colors - these are M. Graham watercolors, and I've done whole paintings with only these three pigments. I was going for the subtle shades in this painting of my long-haired cat, Rags - but it was with only the colors above, Azo Yellow, Napthol Red, and Ultramarine Blue.

Make your own tiny travel watercolor kit http://www.cathyjohnson.info/tips/tip90.pdf

For now, I've settled on Transparent Yellow, Quinacridone Red, Phthalo blue, with Payne's Gray and Burnt Sienna for convenience. You can see I'm also trying out a small pan of cobalt, to give me a range of blues for mixing.

http://www.flickr.com/photos/drsketch/444228563/in/set-72157600044286742/

"Get the spray enamel that hardens like porcelain. White, of course, is best."


http://www.danielsmith.com/Item--i-G-284-600

PRIMARY WATERCOLOR WASHES
A Few Suggestions:
YELLOW: Warms—Nickel Azo Yellow, New Gamboge, Cadmium Yellow Medium Hue
Cools—Lemon Yellow, Hansa Yellow Light, Bismuth Vanadate Yellow
RED: Warms—Pyrrol Scarlet, Organic Vermillion, Cadmium Red Medium Hue
Cool—Quinacridone Red, Quinacridone Rose, Permanent Alizarin Crimson
BLUE: Warms—(red bias): Prussian Blue, Phthalo Blue (RS), French Ultramarine Blue
Cools—(green bias): Manganese Blue Hue, Cerulean Blue, Phthalo Blue (GS)
EARTH TONES:—Yellow Ochre, Burnt Sienna, Raw Umber


Winsor & Newton Bijou Box - mini pocket-sized metal box, measuring only 79 × 60 x 16mm, contains 8 assorted Artists' Water Colour Half Pans and room for four more half pans.

http://www.winsornewton.com/products/water-colours/artists-water-colour/sets/bijou-box/

Winsor Green (Blue Shade)
Winsor Lemon
Yellow Ochre
Scarlet Lake
Permanent Rose
Burnt Sienna
French Ultramarine
Ivory Black
------------
Winsor Yellow
Cerulean Blue
Raw Umber
Burnt Umber


Pat Beaubien

http://rozwoundup.typepad.com/roz_wound_up/2012/03/observing-nature-pat-beaubien-at-the-mcba-visual-journal-collective.html

The palette contains the following Daniel Smith watercolors:
Quin Gold
Azo Yellow
Burnt Sienna
Quin Pink.
Napth. Maroon
Cobalt Teal
Phthalo. Turquoise
Indanthrone Blue
Zinc White.
The set originally contained Buff Titanium but Pat says she hasn't replaced that. Also she is thinking about replacing the Cobalt Teal to get a different range in her mixes.


William Russell Flint

http://www.handprint.com/HP/WCL/artist56.html

He enhances the feeling of intimate light by using a limited palette — ultramarine blue, burnt sienna and raw umber predominantly, with touches of rose madder and viridian.



Palettes

(oil painters though)

Van Gogh

http://blogs.telegraph.co.uk/culture/lucydavies/100007607/why-preserve-van-goghs-palette/

In a letter to his brother Theo in 1882, Van Gogh wrote: "There are but three fundamental colours – red, yellow, and blue; 'composites' are orange, green, and purple. By adding black and some white one gets the endless varieties of greys – red grey, yellow-grey, blue-grey, green-grey, orange-grey, violet-grey. It is impossible to say, for instance, how many green-greys there are; there is an endless variety. But the whole chemistry of colours is not more complicated than those few simple rules. And having a clear notion of this is worth more than 70 different colours of paint — because with those three principal colours and black and white, one can make more than 70 tones and varieties. The colourist is the person who knows at once how to analyze a colour, when it sees it in nature, and can say, for instance: that green-grey is yellow with black and blue, etc. In other words, someone who knows how to find the grays of nature on their palette".


Monet

http://toutelaculture.com/2009/01/monet-decrypte-au-musee-marmottan-monet-de-paris/

http://myfrencheasel.blogspot.com/2009/02/monets-palette.html

White silver, cobalt violet light, emerald green, ultramarine extra fine vermilion and yellow light, dark or lemon.

http://www.intermonet.com/colors/

We now know that the list was incomplete. It shows only eight colors: silver, white, cobalt violet light, emerald green, ultramarine extra-fine, vermilion (rarely), cadmium yellow light, cadmium yellow dark, and lemon yellow. "And that's all!" as Monet himself exclaimed.

http://painting.about.com/od/oldmastertechniques/a/Techs_Monet.htm

Monet said: "The point is to know how to use the colors, the choice of which is, when all's said and done, a matter of habit. Anyway, I use flake white, cadmium yellow, vermilion, deep madder, cobalt blue, emerald green, and that's all."

According to James Heard in his book Paint Like Monet, analysis of Monet's paintings show Monet used these nine colors:
Lead white (modern equivalent = titanium white)
Chrome yellow (modern equivalent = cadmium yellow light)
Cadmium yellow
Viridian green
Emerald green
French ultramarine
Cobalt blue
Madder red (modern equivalent = alizarin crimson)
Vermilion
Ivory black (but only if you're copying a Monet from before 1886)

http://myfrencheasel.blogspot.com/2009/02/monets-palette.html

Claude Monet, apart from a period when he bought colours from a shop in Laval Street – today named Victor Massé – never had other provider than us (…). His palette had (…) Silver White, Light Cobalt Purple, Emerald Green, Extra-fine ultramarine. Sometime – occasionally – some Vermilion. Then a trinity of Cadmium : Light, Dark, Citrus. I also sell to him a Citrus Yellow Ultramarine, since a few years. » (Tabarant, « Couleurs » in Le Bulletin de la Vie Artisitique, 15 July 1923, pages 287-290)


John Stobart

http://oilcolorpalettes.blogspot.com/2010/07/john-stobarts-limited-palette.html

Cadmium Yellow
Winsor Red
French Ultramarine
Permanent Green
Burnt Sienna
Titanium White


Camille Pissarro

http://oilcolorpalettes.blogspot.com/2010/07/camille-pissarros-palette.html

White lead
Chrome yellow
Vermilion
Rose madder
Ultramarine, artificial (French)
Cobalt blue
Cobalt violet
Viridian


Kenn Backhaus

http://kennbackhaus.com

http://oilcolorpalettes.blogspot.com/2010/07/kenn-backhaus-palette.html

Cadmium Yellow Lemon

Permanent Rose

Permanent Alizarin

Raw Sienna

Ultramarine Blue

Ivory Black

Titanium White


Alfred Sisley

http://alfredsisley.org/

http://oilcolorpalettes.blogspot.com/search/label/Alfred%20Sisley

Lead white
Chrome yellow
Yellow ocher
Deep madder
Vermilion
Viridian
Chrome green
Cobalt blue
Prussian blue
Cobalt violet
Bone black


http://www.lilinks.com/mara/history5.html

One can realize the influence of the new pigment technology by looking at the palettes of such painters as Pissarro, Signac and Bonnard. They eliminated blacks and browns (including related reddish and yellowish earth browns) and their palettes were almost totally comprised of new pigments. Their color ranges were small in relation to earlier nineteenth century painters with Signac employing the widest range of eleven hues. These painters and their contemporaries were influenced by the color theories of Chevreul. They used small brushstrokes of unmixed color placed close together that were optically blended when viewed at a distance. This method created the brilliant, shimmering effect of light that characterizes late nineteenth century art.

Camille Pissarro (1830-1903) once said to Cézanne, "Never paint except with the three primary colors and their derivatives." Pissarro followed such a practice. His typical palette was: (1) white lead, (2) chrome yellow, (3) vermilion, (4) rose madder, (5) ultramarine, artificial, (6) cobalt blue, and (7) cobalt violet (Lane and Steinitz 1942, 24). As colorists know, a warm and coo1 version of each primary color is advisable for mixing pure secondary colors. Pissarro made such choices with the exceptions of yellow and violet.

The Neo-Impressionist Paul Signac (1863-1935) had a palette that was more balanced because of the color theories that he followed. He and Seurat followed color theory strictly to build color relationships on their paintings. Signac chose cadmium yellow and cadmium yellow pale, the former being warmer than the latter. He did the same with reds choosing vermilion (warm) and rose madder (cool). His blues ranged from the very warm coeruleum to the relatively neutral cobalt blue to the cool ultramarine, artificial. He also added emerald green for a brilliant shade one would be unable to mix. He used both the new zinc white and the ancient white lead, each possessing advantages and disadvantages (Birren 1965, 66).

Pierre Bonnard's (1867-1947) palette was just as individualistic as his work was in relation to those already described. He chose two greens, cobalt green and emerald green. Like Pissarro, he used both cobalt blue and ultramarine, artificial. Bonnard selected strontian yellow and cadmium yellow, the former being cooler than the latter. He only opted for one red that was carmine lake. This left a curious gap in the cooler red end of the spectrum. Perhaps to balance this gap, cobalt violet served its purpose as a very cool color. The nature of his white is unknown (Birren 1965, 67).

watercolor palettes

Possible Lineup of 8 to 10 colors for a limited watercolor palette

Influenced by some palettes listed below.

1 Yellow

[X] light to medium yellow
- DS hansa yellow medium - PY97
- cadmium yellow - PY35

OR

medium orange yellow
- DS nickel azomethine yellow - PY150
- WN Transparent Yellow - PY150

^Could see using the orange-yellow if only one yellow exists on a six color palette. But if yellow ochre exists, then use the lighter yellow.

2 Reds

[X] orange-red - cadmium red/scarlet or whatever is - PR108

[X] purple-red - Permanent Rose - PV19
or whatever is PR122

2 Blues

[X] red-blue - French Ultramarine - PB29

[X] green-blue - Phthalo Blue Green Shade - PB15:3
or Cobalt Blue - PB28
or Cerulean Blue - PB 35

1 Green

[X] yellow-green - pure pigment - whatever is PG36
usually phthalo green Yellow Shade
or WN Winsor Green Yellow Shade

OR a convenience green mix, such as:
- Hooker's Green (esp Winsor & Newton Artists' Water Colour paint Hooker's Green series 311)
- or Sap Green

2 to 4 Conv colors/mixes

[X] burnt sienna - PR101

[X] yellow ochre - PY43

[X] raw umber - PBr7

1 Convenience mix

[X] payne's grey

or neutral tint

both usually consists of some combination of blue, black, violet.

One other possibility

From Chuck Long's 10-color palette
http://www.handprint.com/HP/WCL/palette4f.html

dioxazine violet (PV23)

Chuck Long Palette

cadmium yellow (PY35)
burnt sienna (PBr7)
cadmium scarlet (PR108)
alizarin crimson (PR83)
dioxazine violet (PV23)
ultramarine blue (PB29)
phthalocyanine blue RS (PB15:1)
cerulean blue (PB35)
sap green [hue]
payne's gray [hue]

Charles Evans Palette

Alizarin Crimson - PR83
Ultramarine Blue - PB29
Cobalt Blue - PB28
Hooker's Green - PG36, PO49
Yellow Ocre - PY43
Burnt Sienna - PR101
Light Red - PR102
Raw Umber - PBr7

Crawshaw vs Stutler Palettes

Cadmium Yellow ---- Transparent Yellow (PY97)
Cadmium Red ---- Cadmium Red Deep (PR108)
Alizarin Crimson ---- Permanent Rose (PV19)
Ultramarine ---- Ultramarine Deep (PB29)
Cerulean Blue ---- Peacock Blue (PB17)
Hooker's Green ---- Bamboo Green (PG36)
Yellow Ochre ---- Burnt Sienna (PBr7)

Cathy Johnson Palette

Phtalo
Ultramarine Blue
Permanent Alizarin Crimson
Cadmium Red (though some avoid the cadmiums for safety reasons)
Hansa Yellow Light (or Cadmium Yellow Light)
Hansa Yellow Medium.

Conv colors

Raw Sienna
Burnt Sienna
Yellow Ochre
Burnt Umber
Payne's Gray.

John Muir Laws

Winsor Yellow
Quinacridone Gold
Yellow Ochre
Winsor Red
Quinacridone Magenta
Winsor Violet Dioxazine
Cobalt Blue
Phthalo Blue
Sap Green
Perylene Green
Burnt Umber
Neutral Tint

Ed

Raw Umber - PBr7
Quinacridone Gold - PO49
Hansa Yellow Medium - PY97
French Ultramarine - PB29
Winsor Blue (Green Shade) - PB15
Permanent Rose - PV19

-- Daniel Smith Winsor Blue (GS) option: Phthalo Blue GS (PB15) - intense blue
-- Daniel Smith Permanent Rose option: Quinacridone Red (PV19)

secondary palette

nickel azomethine yellow (PY150)
cadmium scarlet (PR108)
quinacridone magenta (PR122)
ultramarine blue (PB29)
phthalocyanine blue GS (PB15:3)
phthalocyanine green YS (PG36)

J.W. Turner

http://www.handprint.com/HP/WCL/artist05.html

The watercolor is an excellent example of Turner's middle style. As he became more fascinated with the effects of light (rather than light and dark), his palette changed to embrace a more prismatic range of hues — saturated violets, reds, oranges and pinks over a basic tonal structure painted in Turner's favorite yellows contrasted to complementary blues and green grays. Other characteristic features include the highly textured and expressive ultramarine sky;

John Ruskin

http://www.handprint.com/HP/WCL/artist09.html

Author of: "Elements of Drawing"

Paint Info

W&N Cadmium Red - PR108
W&N Hooker's Green - PG36, PO49
W&N Winsor Green (Yellow Shade) - PG36
W&N Yellow Ochre - PY43
W&N Transparent Yellow - PY150 is brighter/lighter than DS Nickel Azo Yellow
W&N Light Red - PR102
W&N Burnt Sienna - PR101

DS Opera-Pink (PR122) - bright red-purple-pink more pinkish-purple than perm rose (pv19).
-- DS says: "The most vivid of all pinks. A primary magenta with a hint of fluorescent pink granulation producing some of the most brilliant glowing mixes you have ever seen."
DS Burnt Sienna - PBr7 - transparent to semi-transparent
DS Light Red - PR101 - opaque
DS Venetian Red (PR101) - opaque
DS Cobalt Blue - PB28
DS Hooker's Green - PG36 PY3 PO49
DS Phthalo Green YS - PG36
DS Yellow Ochre - PY43
DS Raw Sienna - PBr7
DS Pyrrol Red (PR254) - semi transparent - orange-red - similar to cadmium
DS Pyrrol Scarlet (PR255) - semi transparent - bright orange-red - similar to cadmium
DS Azo Yellow (PY 151) - brilliant, sunny and bright
DS Nickel Azo Yellow (PY150) is darker yellow than I expected but secondary palette says py150 is an orange yellow along with:
py65 (DS hansa yellow deep),
py83,
py108 (DS anthrapyrimidine yellow),
py153 (DS nickel dioxine yellow),
py216

Most Yellow Ochres are opaque, but Daniel Smith's is transparent

Watercolor for Dummies

From: http://www.dummies.com/how-to/content/watercolor-painting-for-dummies-cheat-sheet.html

Choosing Watercolor Pigments According to Color Bias
Each one of the primary colors — red, yellow, and blue — is biased, meaning that it leans toward one of the other two primary colors. When mixing watercolor paints to get a secondary color — orange, green, or purple — use two primaries biased toward each other. Otherwise, you get a gray, muddy color.

For example, to get purple, be sure to mix a blue biased toward red such as ultramarine blue and a red biased toward blue such as alizarin crimson. When mixing colors, refer to the following list:

Reds with a blue bias: alizarin crimson, carmine, crimson lake, magenta, opera, rhodamine, rose madder, scarlet lake

Reds with a yellow bias: cadmium red, chlorinated para red, chrome orange, English red oxide, fluorescent red, Indian red, light red, permanent red, perylene red, phioxine red, red lake, red lead, sandorin scarlet, Venetian red, vermillion, Winsor red

Yellows with a blue bias: aureolin, azo, cadmium yellow lemon, cadmium yellow pale, Flanders yellow, lemon yellow, permanent yellow light, primary yellow, Winsor yellow, yellow light

Yellows with a red bias: aurora yellow, brilliant yellow, cadmium yellow medium and deep, chrome, gallstone, golden yellow, Indian yellow, Mars yellow, Naples yellow, permanent yellow medium and deep, raw sienna, Sahara, yellow lake, yellow ochre

Blues with a red bias: brilliant, cobalt, cyanine, indigo, mountain blue, ultramarine blue, verditer blue, Victoria blue

Blues with a yellow bias: Antwerp, cerulean, compose, intense blue, manganese, monestial blue, Paris blue, peacock blue, phthalocyanine blue, Prussian, Rembrandt, speedball, touareg, turquoise, Winsor blue

Burnt Umber

http://www.painters-online.co.uk/Features/How-to-Mix-Colours-for-Your-Watercolour-Painting-Using-Burnt-Umber/_ft248

How to mix burnt umber
As usual, all the colour mixes have been made using the revised Winsor & Newton Sketchers’ Pocket Box (see LP, January for details).

1 The greenish bias of lemon yellow contradicts the reddish undertone of burnt umber to give a delightful, slightly greenish ochre colour. This could find a use in landscape work, perhaps for a field of ripe wheat and, diluted, for certain complexions in portraiture.

2 The bright, almost garish heat of cadmium red hue is subdued to a hot red brown by mixing it with burnt umber. Only a slight amount of brown is needed to subdue the red to a more subtle colour. Adding a little red to burnt umber heats the brown beautifully. This is an interesting mix, useful across a range of subjects.

3 Users of proprietary greys such as the overrated Payne’s grey, are missing out on some wonderful discoveries. This beautiful green grey is made by mixing intense blue (phthalo) with burnt umber. Used densely the mix is black but, reduced with water, a range of wonderful greys – from grey browns through grey greens to grey blues – can be made. And unlike Payne’s grey, there’s not a hint of dirty black pigment in any of them.

4 Continuing the theme of greys here is a velvety brown grey made from burnt umber and ultramarine. I let the brown dominate, but adding more blue would create subtle steely blue greys.

5 The most granular of all of the mixes shown is the warm dark green made by overpowering the unnatural looking viridian hue with burnt umber. I use this mix a lot. At full strength, the mixed green is almost black, but diluted a little, the richness of the green comes out. When well diluted, it is a lovely soft green, which is ideal for background work in landscape.

Six-color Palette

Possible combos for an even more-limited palette for travel convenience (and fun).

  • Yellow (biased blue 'cool') - Cadmium Yellow Light PY35 or Lemon yellow, aureolin, azo, Winsor yellow.
  • Yellow (biased red 'warm') - Yellow Ochre, Raw Sienna, Quinacridone Gold, cadmium yellow medium and deep, Naples yellow, Gamboge Yellow.
  • Red (biased yellow 'warm') - Burnt Sienna, Light Red, cadmium red, Indian red, Venetian red, vermillion, Winsor Red.
  • Red (biased blue 'cool') - Permanent Rose, alizarin crimson, carmine, crimson lake, magenta, rose madder, Quin Red.
  • Blue (biased yellow 'cool') - cerulean, intense blue (Phthalo Blue Green Shade), peacock blue, Prussian, Winsor Blue.
  • Blue (biased red 'warm') - cobalt, French Ultramarine, indigo.

I think that I have the 'warm' and 'cool' designations correct.

Obviously, for the brightest secondary colors:

  • green = blue-biased-yellow + yellow-biased-blue
  • orange = red-biased-yellow + yellow-biased-red
  • purple = red-biased-blue + blue-biased-red

Where does Raw Umber fit in?

Raw Sienna is a redder version of Yellow Ochre or a yellower version of Burnt Sienna.

Light Red is a redder version of Burnt Sienna.

http://mostlydrawing.com/palettes-and-paints/paint/
So my current palette is down to six colours: Raw Umber, Quinacridone Gold, Hansa Yellow Medium (these 3 made by Daniel Smith), and French Ultramarine, Winsor Blue (Green Shade), Permanent Rose (these 3 made by Winsor and Newton). It’s a version of the classic ‘warm/cold’ palette, with 2 reds, 2 yellows and 2 blues.
http://www.handprint.com/HP/WCL/palette4b.html
yellow ochre (PY43), burnt sienna (PBr7), ultramarine blue (PB29) - Although this palette sometimes goes by the name "Velázquez palette,"

My favorite alternative to the overly chromatic ultramarine blue is iron blue (PB27), which increases the green in all mixtures, producing cooler near blacks with burnt sienna and significantly more pronounced greens with yellow ochre. I find it is necessary to accent the red side of the color range to compensate, choosing instead of burnt sienna paints such as light red, venetian red (PR101)

http://www.learnwatercolour.com/tips.asp
If we choose a couple of blues, one with a red bias and one with a blue bias. A couple of yellows, one with a red bias and one with a blue bias, and a couple of reds, one with a yellow bias and one with a blue bias, we should be able to mix a huge range of colours just from six tubes of paint. Here are my suggestions - from the top, Prussian Blue, Ultramarine Blue, Raw Sienna, Lemon Yellow, Burnt Sienna, Alizarin Crimson.

"If we wanted to mix a really dull grey-green we could use Ultramarine Blue and Raw Sienna. Why? Because both of those colours have a red bias, so that we're actually mixing blue, yellow and red together - remember that those three colours mixed together make black. Mixing a blue with a red bias and a yellow with a red bias is going to give us a green that's on it's way to being a black, in other words a very dull grey-green."

Cathy Johnson:

http://www.cathyjohnson.info/tips/tip90.pdf

Make your own tiny travel watercolor kit

For now, I've settled on Transparent Yellow, Quinacridone Red, Phthalo blue, with Payne's Gray and Burnt Sienna for convenience. You can see I'm also trying out a small pan of cobalt, to give me a range of blues for mixing.

Seemingly, Charles Evans's most-used colors:

http://www.charlesevansart.com/projectsindex.htm

Alizarin Crimson - PR 83
Ultramarine Blue - PB 29
Hooker's Green - PG 36, PO 49
Yellow Ocre - PY 43
Burnt Sienna - PR 101
Raw Umber - PBr 7

Paul Taggart
http://www.artworkshopwithpaul.com

Prussian Blue (yellow bias)
Ultramarine Blue (red bias)
Permanent Alizarin Crimson (blue bias)
Cadmium Red (yellow bias)
Lemon Yellow (blue bias)
Cadmium Yellow (red bias)

My Current Six
French Ultramarine [red bias]
Pthalo Blue (yellow shade) or Cerulean [yellow bias]
Permanent Rose [blue bias]
Burnt Sienna [yellow bias]
Lemon Yellow or Cadmium Yellow Light [blue bias]
Yellow Ochre [red bias]
- (if adding two more colors for 8: raw umber and Hooker's Green or PG36)

May need to buy for experimentation:

http://jothut.com/cgi-bin/junco.pl/microblogpost/17561
Maimeri Blu Artist Watercolors - 6 color set:
- Permanent Yellow Lemon
- Raw Sienna
- Primary Red - Magenta (quin red or quin rose or perm rose?)
- Permanent Green Deep
- Ultramarine Light
- Burnt Umber

6 color ideas

A
light yellow
yellow ochre
perm rose
burnt sienna
french ultramarine blue
pthalo blue

B
light yellow
raw umber
perm rose
quin gold
french ultramarine blue
pthalo blue

C
light yellow
yellow ochre
perm rose
light red
cobalt blue
prussian blue

near black mixes

burnt sienna and french ultramarine blue

burnt sienna and prussian blue

light red and prussian blue ??

raw umber and f ultra b

burnt umber and f ultra b

burnt umber and prussian blue??

Possible Lineup of 8 to 10 colors for a limited watercolor palette

#watercolor - #palettes - #artists

From JR's : articles
6757 words - 46573 chars - 37 min read
created on
updated on
import date 2013-08-12 21:49:41 - #
source - versions - backlinks



A     A     A     A     A

© 2013-2017 JotHut - Online notebook

current date: Nov 16, 2024 - 6:48 p.m. EST