|My Wooden Hand Palette|
|Venetian Red with Muller|
I have found many pros to mulling my own pigments. It is true that the colors are much richer and brighter than store bought paints. I believe that the fillers and extenders of store bought brands make for short and chalky paint. When choosing your pigments you have a much large selection to pick form. Raw Umber depending on the which region of the world can be bright and transparent or grey-green and quit opaque. Some vermilions can be warm and look like cadmium orange while others may appear cool and similar to cadmium red deep.
|A Domestic Yellow Ocher|
|Yellow Ocher During the Mulling Process|
- Lead White #2 ( From Natural Pigments mulled in Walnut Oil with no fillers. )
- Cadmium Yellow ( I switch between Cad. Yellow light and Cad. Yellow medium depending on the paintings I'm working on. )
- Yellow Ocher ( This is the only earth yellow remaining on my palette to this date. I discontinued using Raw Sienna because it requires over 200% oil which can then lead to rapid darkening. )
- Red Ocher ( Pigments such as Sinopia, Venetian Red and English Red are often make their rotation on my palette. I find them very useful in painting the flesh. )
- Burnt Sienna ( Like Raw Sienna this pigment requires a lot of oil, about 180%. But I find it a useful color because it's more orange and less opaque then the earth reds. )
- Cadmium Orange
- Vermilion Red or Cadmium Red medium ( Lately I have been using more Cadmium Red over Vermilion. Current research I've found states that depending on Vermilions preparation and exposure to sunlight can lead to irreversible blackening and splotchiness. Although I have not experienced this in any of my painting I figure it is better to be safer then sorry. If anyone reading this knows any better about this pigment please contact me about your findings. )
- Alizarin Crimson or Matter Lake
- Raw Umber ( I tend to use a medium tone Cyprus Umber from the Harz Mountains. I love the Warmth and transparency of this pigment. )
- Burnt Umber ( I had stopped using this pigment for a while because I hated the way it would sink in so drastically. Recently I found myself using it more and more. I lean towards Burnt Umbers that are warmer similar to Red Umber. )
- Manganese Blue ( I started using this instead of Cerulean Blue. When painting skies in landscapes I find that it is much more of a vivid and transparent color. Cerulean Blue had always been too pasty for my liking. )
- Cobalt Blue ( A Fast drying blue. )
- Ultramarine Blue Deep ( I use this blue the most. I often mix it with Burnt Umber to create my darks and substitute using black.
- Bone Black ( Lately I haven't be using it that often but still haven't kicked it off my palette. I use black as the last resort dark color in the final layers of the painting. )
|My Glass Studio Palette|
|My Plein Air Painting Box|
Lastly I wanted to share with you all a couple examples of what I do when testing out new pigments. I like to make color charts and mix colors that I wouldn't normally mix together to find interesting color to put in future paintings. I found making color charts very helpful in figuring out interesting and beautiful flesh tones. At times they can be boring to do but in the process not only do you learn more about color but also the individual characteristics of each of the pigments. You may find one is more transparent or opaque then the other. In other situations you will also find the tinting strength and drying times varies from pigment to pigment. So Below is a couple examples of my color charts.
|Flesh Chart using mostly Earth Pigments|
|Flesh Chart Using Cadmiums and Earth Pigments|
|A Yellow Chart mixed with other colors on my Palette|
I hoped you enjoyed this post and knowing me I'll most likely be updating this next year with new habits and discoveries. Thank You stopping by.