Thursday, November 7, 2013

Colors on my Palette

I don't always use exactly the same colors, for a number of reasons.  For example, I often leave out the pale colors next to the whites because they take up too much room. I was using a more limited palette for a while, but the photo below is what I'm working with right now. Sometimes I'll play with various brands and put new colors in there also (for example, I often use a deeper green than Viridian). These are small blobs of paint in the photo - I'll put on more of some paint than others, depending on what area I'm working on.

From left to right:
Titanium Dioxide
Flake White
Brilliant Yellow Light
Kings Blue Extra Pale Light
Radiant Violet (first time I've used this, not sure I'll keep it)
Yellow Ochre
Genuine Naples Yellow Light (I'm not sure this is made anymore)
Pyrrolo Red
Dioxazine Purple
Cobalt Blue
Ultramarine Blue Deep
Green-Gold ( sort of a Cinnabar Green)
Capucine Red Light
Transparent Oxide Red
Ivory Black

The palette itself doesn't usually look quite this bad. I need to sand it down and re-finish it. It's a hand-held palette but I frequently clamp it to things when I'm working so I don't have to hold it the whole time. A few years ago I woke up one morning and couldn't lift my arm up higher than my shoulder - my arm was frozen in the holding-a-palette-position, which was fine if you're a painter or if you don't need to hail taxis very often, but embarrassing since I needed help getting dressed or, say, brushing my hair. Physical therapy fixes this issue, by the way, but much better to prevent these sorts of problems in the first place.

And here's a photo of the brands I'm using at the moment:

The white is an alkyd white (I don't know why the flake white isn't up there on the table, sorry about that. I'm not seeing the purple either). I was having some problems with the flake white on my current painting since it wasn't drying fast enough for my taste so I'm using more titanium in the flesh than I usually do. I work in layers without a grisalle underpainting, so I don't know how I would describe my style of painting, not quite alla prima but not classical technique, either.

I'm also oiling out with the Gamblin solvent free gel - this is the first time I'm using it and I like it a lot. I've got a self-tubed tube of Oleogel also (if you're self-tubing, try to find the tubes with big black caps, don't buy the tubes with white caps like I have shown here). My brushes are piled up in the middle - maybe I'll do a post later on my favorite brushes.


richard said...

Hi Linda, Thanks for sharing this, I've been re-evaluating my palette and cutting back on the number of colors I use, so this was very timely.

Alexandra Tyng said...

Thanks for this post, Linda! I always like finding out what other artists have on their palette. I just started trying Oleogel and I find it to be of a very useful consistency, but I haven't tried Gamblin's solvent-free gel. How do they compare?

Linda Tracey Brandon said...

Hi richard, I seem to go back and forth a bit, experimenting with adding and deleting colors - I especially seem to change around the cool red options (alizarin vs. pyrollo vs. quinacrinone vs, red-violet, etc.)

Hi Alex, I'm liking the Gamblin solvent-free gel a lot. What I like about it is that I can build in layers without worrying too much about the fat-over-lean problem. (At least I hope I don't need to worry about it.) When you're not using OMS then it's hard to work with a thinned down initial layer unless you use some kind of medium or rub in with pure paint, and I don't like the idea of thinning with Oleogel in the first layer of paint. Meanwhile, the Gamblin gel seems to dry faster and have somewhat better adhesion than the Oleogel on my panel surface, but I don't know whether it holds true with other surfaces or not yet. But the Oleogel has a lovely sensitive quality that is hard to surpass.