Thanks for your work on these pigments Kimberly. Very informative and thorough. Since you asked, I'm just getting used to these, but my current view is that I love the SG colors for an "as needed" effect color with the repeatbility that I can depend on like a convenience color. I normally prefer single pigment colors in most cases but love what these do in landscape washes and am not interested in mixing them each time I want the effect. Painting time vs experimentation/mixing time in other words. Several of the single pigments making up the SG range I don't have or use normally, so that versatility is lost on me. The investment would then be similar or even more for me. So far my work flow has been to put out a small amount on a side ceramic dish just for that painting. I don't wish to incorporate these into my existing go to palettes, although I'm considering a dedicated small supplementary palette just to contain my favorites of these (currently about 9 or so) and pull out as needed. I may be wrong, but so far I've not seen a mixed version match the dramatic separation these premixes create but that could just be my perception. I wonder if Schmincke fiddled with the granulation size to increase separation.
I can understand that, especially if your chosen subject matter doesn't always call for having a lot of granulating pigments on your go-to palette. Since I always keep things like potters pink and cobalt teal on my palette, I found that some colors like glacier green weren't worth additional investment. It may be my mixing ratio accuracy in replicating the Tundra Green that looked less dramatic in granulation, but for example when I mix Schmincke's pr233+pg50 together it looks the same as glacier green in granulation and particle size. I don't think they did anything special to the pigments, but getting the ratio perfect can definitely be too much work when you just want to sit down and paint. For anyone who already owns (or thinks they'll get a lot of use from) the roughly 6 to 8 crucial granulating single pigment colors, there is always the option to pre-mix them into a pan and stir it up with a toothpick. That way you can take your time to perfect the ratios, have a convenience mixture pan ready and possibly save yourself the temptation of extra purchases. Thanks for chiming in :)
@@KimberlyCrick Good point. Some of my viewers said they can’t replicate the mixes, but there could be a hundred reasons for that. I may try and mix a couple of these myself as an experiment from my Schmincke dot card. Thanks again.
That is really disappointing about Daniel Smith's PG19 since I love the granulation, but I can't see spending the money for a paint that won't be stable. Thanks for the info!
I'm torn really.. I love the ability to just reach into a pan and get the color I want, at any concentration I want. Just yesterday I went to the local store and paid way too much for a tiny tube of Olive Green because I was sick of mixing it, as well as one of Permanent Rose even though I have about six PV19's simply because this particular one does beautiful pink flowers basically on autopilot. I can see the value of having an extensive single pigment palette (like the Mission Gold option which keeps calling my name in the wee hours of the morning but is way overpriced IMO in comparison with the rest of their sets as well as the difficulty in replacing single tubes which is the only reason I haven't pulled the trigger)... and I wish more brands would give us single pigment palette options. Where I run into issues is remembering how to get what I'm looking for... maybe that is not enough experience, using too may different paints (there is something to be said for knowing your palette inside and out and brand/pigment "hopping" doesn't help with that), or just my late 40's brain fog issues combined with too much real life stress. I know I can make a mixing chart but some of the mixtures are more than one pigment and it seriously breaks my "flow" to have to fuss with a chart every five minutes. What I KNOW I have no tolerance for are limited palettes where you would have to mix all secondary, earth tones, and neutral.. no thank you, not even a little bit.
Me too about the limited palette. I go a little bonkers without at least a 12 pan set to cover some earths/neutrals and granulating/smooth alternatives. That being said, I also enjoy limited color artwork, where maybe I only pick a couple of those colors at a time to do the whole painting. I think it really depends on subject matter, but it feels terrible to be limited by your supplies if you're struggling to get the color you imagine (totally kills the work flow!). As I continue to work through some experiments, I'm slowly but surely coming up with a palette system that works for me. I don't think it's just you (though I DO relate to the brain fog/life problems). I also have had to simplify my selection over time to help myself remember how to achieve a certain color. Mixing charts drive me a little nutty, a bit tedious to do and reference. I like having a core group of colors, as you mentioned, knowing your own palette inside and out. Once I've got my list perfected I'll do a video about how I got there. Happy painting :)
@@KimberlyCrick I look forward to it. I feel there is an "optimum palette" out there, and it may not be the most common options given by brands. Of course it really depends on what you paint on a regular basis.. one person's "optimum" is probably quite different than others. I find myself going for muted natural shades 90% of the time which means I have to adapt pretty much every "standard" shade in my sets. I'm making huge dents in my yellow ochre and sap green which are my go-to's for mixing, underpainting, or using straight. This particular painting you did is a prime example, only two pigments but one is an earth and the other is a deeper secondary leaning to the blue side. My current work around involves two porcelain flower palettes, mixing multiple shades before I even wet my paper, and while it's working it's a bit of a hassle.
To me this granulating mixtures are so beautiful and magical. They remind me of the effects what can you achieve in mixed media with waxes and they are just dreamy.
I appreciate how you explain information. Your point about pigment codes referring to the chemical formula for a pigment, not necessarily a color (like PG50 in your example), was an excellent description. Glad to hear about the ability to mix your own version of these colors... they seem nice, but that wet to dry shift scares me. Hopefully I can mix a version that is less volatile. As always, great info and gorgeous artwork. Thanks for sharing!
Your cat painting is gorgeous and what a great idea to use such a granulating mixture as eye color. Definitely adds to the impression of depth. I agree with you that pre mixed colors are not necessary in most cases, regardless of the brand. With the single pigment paints in tubes one can also prepare one's own premixed pans if desired. Having said that, I enjoy getting and testing new watercolors, regardless if they are mixes or not. I will get the whole series and actually since they are made with ready available pigments, I am not as bothered about the limited edition. I just love to test and play with paints from different brands, new pigments/mixes, as well as handmade paints or making my own paint. But for me, this is a hobby that I enjoy and I don't have to earn money with it. Also being in germany, Schmincke paints are way more affordable for me compared with Daniel Smith or others which are extremely expensive. So while the 15 ml at Jacksons would be around 16 euro for me, at Gerstaecker I would get them for 12,69 as a regular price. I am still waiting that they will get the Tundra and Forest series. For the other 3 series, Gerstaecker had for a few months the exclusive selling right, an with the other 2, it is now the other way around. But they will get them in february. Originally it was a series just made for Gerstaecker and they were a little but surprised by the success. The first 3 series should not be produced anymore already but they prolonged it due to the success.
I've been collecting mix information ever since people started accusing other companies of "copying" Daniel Smith, as though they invented colour theory or pigment separation. I always try to buy single pigment paints so that I can mix my own reactions as and when I want them. I could never justify spending £15 on a small tube of paint when I can buy up to 7 (full pan, White Nights
I want to say thank you. I would have watched this video for the cat illustration alone but I really appreciate you’re teaching us how to decipher the paints.
DANG! Such good information, as always. And lovely painting! Like you, I prefer to purchase the components and mix myself. That gives me more control. Sure, when I was new to watercolor, mixing was intimidating. There was a learning curve. But now? It's intuitive and fun! You're still running my favorite channel on the UA-cams! Keep it up, girl!
So very helpful, as usual. Currently, I'll use just about any paint and mixture as long as it doesn't annoy me, but I have found that I'm starting to get more picky about my color choices and how many pigments each color has in it, so I suspect as my watercolor knowledge and experience grows, I will be using a lot more single-pigment colors.
What a wonderful cat portrait! I'm so happy to see a new video from you. My dad died last week unexpectedly following a heart attack. And I am very sad. Your cat portrait brought a smile on my face. My dad loved cats. Thank you
I am so sorry about your loss and so glad that I could bring you a smile in this tough time. I hope you can also find some comfort in your creativity, I know sometimes on hard days even the simple act of swatching and mixing new colors makes my life a little better. I appreciate you taking the time to comment, thank you :)
After seeing all the demonstrations on the multi pigment blends AND getting a dot card of the Schminke Super Granulating colors, I will just be adding the single pigment options as I prefer having the versatility of being able to mix my own "super granulating" colors. Thanks for your information.
Oh man, I really love both DS cobalt green pale swatches at 01:39 - they're beautiful. The fact that the paint is so unstable is a bummer, but it's one of those things I personally don't necessarily mind if I like the deteriorated versions as well. Absolutely not a paint I'd ever rely on as a staple, but something I could still enjoy using a lot. I'd still much prefer to buy one tube of each colour in a stable formulation, but 🤷♀️ Honestly the whole super granulating range was quite underwhelming to me. I have absolutely no issues with convenience mixtures, in fact I think there's a bit of an unnecessary obsession with single pigments in a lot of corners of the online watercolor community, but these just feel so basic to me. Almost all of the component colours are ones I already have or want on their own, so there's nothing about these mixtures that tempts me. Anyway. I love your painting, as always, that cat is gorgeous!
Thanks for sharing such great info. I’m pretty new to watercolour and no idea about the different numbers. It’s really interesting info and I look forward to binging through your other vids xx
I will definitely pay the extra to just buy these convenience mixes, although I won’t buy complete sets. I want to pick and choose the colors I want from each set. I already own a few. I feel the same about some of my favorite Daniel Smith primateks. They are amazing and just can’t be duplicated to look the same. I can’t imagine painting landscapes and my greenery without them. Thank you for the video.
I love your videos, they are always packed full of useful info and up close, easy to understand visual examples. Thank you for making these crazy amazing videos for us here on youtube...Much love♥️
The cat painting is so pretty and your technique is superb. Thank you very much for another informative video. I only have PG50 cobalt green. Personally, it really annoys me when binder comes out before the pigment so I decided not to purchase DS Cobalt Green Pale, thanks to this video. I choose single pigment colours except for when I buy multiple pigment ones by accident or for my first Daniel Smith set I bought to try some of more Daniel Smith-y fun colours when this brand was not as easily available as it is now in Japan. What I love to do, when a brand launces a new series or set, I check the pigment/s and try mixing it by myself to see what kind of world they want to express by this very series or the set. It's a good way to learn about pigments as a beginner like me and also very satisfying.
Yes, that binder issue is very annoying! I wish I had done more mixing as a beginner, but instead I had collected a ton of pre-mixed colors before I discovered the satisfaction of color mixing myself. It is really good to look at new paints pigment ingredients as a recipe guide and see what you can mimic first. In this case I've found that even if their mixture says to make it with PG19, that PG50 was a very good alternative. I'm thinking about making more videos where I attempt to make similar mixtures, not always following a strict pigment ingredient list. I like that there is always a chance we may stumble onto creating our own new favorite mixture and on occasion make these improvements for even cheaper than the product that inspired it :D
@@KimberlyCrick Huge fan here! Thank you so much for all your research. It's the most fascinating resource I've seen since starting my watercolor journey. Do you have an opinion on the new Winsor & Newton Cobalt Green Deep which is PG26? I'm wondering if it would be a good substitute for some of the greens you used in mixes in this video.
@@jenniferalvarez4041 I absolutely love W&N Cobalt Green Deep, but it's darker. It will have the same sort of granulation, but the green color separation will be a deeper value. It'll still be lovely, just will result in a darker brown mixture when combined with those lighter brown pigments. Happy painting :)
Your videos are really helpful.. I do prefer to have almost 100% single pigments, as the possibilities are endless. However, I got intrigued by the Daniel Smith granulating color separating paints and almost ordered way too many. Then I found your videos and have saved enough money to buy a new brush! Thanks!!! Very lovely line and ink paintings, as well, quite inspiring.
Very useful info, thank you - love the demo painting, it's impressive how many values and tones you were able to achieve with just those 2 paints :) Well, I like cobalt colours a lot, so this whole video was eye candy for me!
Wow! Thoroughly enjoyed the cat painting. Beautiful and very educational watercolor painting video. Thanks a lot for sharing. Let's stay connected #LipsitaArt
So I'm very excited because I have a tube of art spectrum Australian Turquoise which is a very blue shade of pg 50. So I mixed it with magenta and it made such a pretty super granulating, separating colour. Woot woot my first one. Thanks for explaining how all this works ❤️
I prefer premixed when it’s a colour I use a lot like Cascade Green but the super granulating colours would be less used so I love that you shared so many ways to mix some. Those cat eyes look incredible 🥰
Super informative, thanks Kim!! I also prefer single pigment colors for the same reason, being able to mix them, and if/when I find a mix I love and using alot then I can just make my own mix in a pan to dry. I've definitely turned into a pigment nerd!☺️ I'll now be adding that PBr33 to my (slowly) growing collection.. thanks for the tip!!
I'm so glad to hear that, my thoughts exactly about mixing my own pans if I find a mix I love! I appreciate you taking the time to leave me kind comments, happy painting :)
@@KimberlyCrick You're most welcome:) Thankyou for taking the time to make such awesome videos!💖 I was curious if you think there's a need too have a P048 in your pallet for mixing? Specifically the one from Roman Szmal, I believe it's called Quinacridone Burnt Sienna..
@@lindsayjayne2169 I do like PO48, particularly mixed with PY150 for the standard "quin gold" replacement. Paired with Ultramarine Blue that makes one of my favorite Daniel Smith mixtures - Undersea Green. Other than that I haven't run into the need for it, but that may change based on subject matter painted. I will be investigating it's usefulness compared to other orange-browns in the future.
Another great video from the Queen of Pigments! Thank you very very much :D I have that colors (cobalt green and mars brown) so I'm going to play a little bit! Responding to your question: I also preffer to have all the pigments seperated because it's more versatile, it's always more interesting to make your own mixes, better for finding your own style. Greetings from the Canary Islands!
Thank you so much for your kind comment. Totally agree, making my own mixtures has really helped me find my own style and really admire the pigment properties individually. Happy painting :)
You and me both. I understand the demand for convenience colors, but there comes a point when our collections get so vast that you just won't use them all up in your lifetime. I'm definitely finding the value in having a core selection of the most useful single pigments. Happy painting :)
Very useful. I've been reserching and premixing tons of colours. It works better for me. Watercolours and gouache in empty half and full pans. Schmincke is also ridiculously overpriced here in Canada I can get Daniel smith cheaper! So I've been investing more in base colours and making my own mixes. I recommend lunar black (or any mars black) for making dusky highly granulating interesting colours. The more colours I can open and fan out nearby the faster and more I actually paint!
There does appear to be some special pigment versions used by Schmincke in these super granulating ranges. The Volcano Red, in particular behaves very differently to any of the regular versions of cad red. The only thing that I can think of that makes any sense is that this dullish cad red pigment is a more coarsely ground pigment version leading to greater granulation than it typical of PR108. I like the difference.
In this older video and all prior past releases that came before Volcano, Shire and Desert - all of the colors are mixtures using their normal single pigment ingredient. The new releases including PR108 and PY159 have the first instance of unique new single pigments. There is likely a larger particle size, but also binder additives given to Volcano Red and Volcano Yellow to force the particles to flocculate further apart. Aside from Volcano Red and Yellow though, no other color in the entire range requires you to use Schmincke brand specifically to replicate the mixtures. Their new extra granulating PR108 is the only one absolutely needed though, since PY159 behaves similarly in mixtures if using W&N or Kremer's versions as well. Happy painting :)
I got about 7 tubes from the first 3 supergran. sets as a gift (i chose them myself), but I really feel no urge to buy any more. They are too expensive for what they offer and I have enough alternatives to mix them myself. And... and... if I don't know, I can come and learn here :) Thanks for the enlightening video.
I found the Kremer Pigmente's Cobalt G. Bluish (PG19) is very similar to the Schmincke's Cobalt G. It comes in a full pan and is very strong color too.
I would be so thrilled if you would post separately a real time version of your sample paintings.. preferably with a voice over or text to give us some idea of what you are doing but if that is too time consuming I understand. You already have the footage of the painting itself. It's so fast it's really hard to see how you are achieving what you do sometimes, and your work is beautiful. I've thought about purchasing some of your line drawings on your site but it would really help if I had the demo to assist.
Thank you for your feedback, I'll keep that in mind for the future. I've been struggling a bit with having time to create videos. I appreciate the encouragement though :)
ah yes - one other thing. good idea to mention, to try other sorts of brown just to see, how the mixes turn out. I didn't even try that. I only love some of those supergranulating ones in some abstracts. I am not that good, e.g. to use deep sea grean as one of the blue shades on snowy mountains - as I did see another artist use on schminckes channel. althoug I love to sea that colour. I only can use it in abstracts, where I want to play with different colour fields. I have seen an italian youtuber drawing a picture of some of the greens for a painting of woods of trees and bushes. it was actually a great video, becuase the first time I could see, how something would turn out, just using those. it did look like a dreamy landscape. a little bit, like in a fairy land - but a dreamy one. actually something I am not into, but I could see, how it could be used - maybe in the background. I had the idea, it would look great for distant treas and then more non granulatings closer to the front. but I am not good in painting. still learning a lot. regarding buying the ready mixes - I would rather mix the supergranulatings as well. I already have the colours I would need to mix at least 4 of them. and those 4 I like.
I try to buy as many single pigment colors as I can. And after seeing how easily you not only recreated, but in some cases improved upon the Schmincke super granulating (I'm looking at you Lukas!) I will NOT be buying them. Already had it in my cart for my next Jackson's order. Thanks for that.
Wow, the cat is beautiful! And thank you for the comparisons! I especially appreciated the mini-comparison of granulating browns, and am really looking forward to that video! ☺️
Oohh, you've touched on a concern. My DS paints are in the states and I can't get to them, so am so worried my pigments will ruin in the many months of separation. Erg, will worry about that later. Just found your channel and LOVE it! Awesome info! Oh wow, will I be back! 🥰🎨 Cheryl
On the bright side there are very few pigments that have this bad of a problem when left alone in long term storage. Rest assured most of your collection is likely fine! Happy painting :)
My daniel smith tube is almost petrified.🌚. I squeezed out the paint with pliers. Broke the tube. (Sorry for my Google translate). Color is beautiful.)))) Where to get normal cobalt of this shade?
i got some of the superGran colors (desert and tundra, couldn't resist, i'm a bit obsessed on that topic) and TUNDRA GREEN is... well, it's HARD to make granulate. it swings between thick green coverage and cauliflowering with the pigments running to the edges and leaving it weak and flat at the center. *rarely* can i get it to do its green/brown thing. idk if they didn't get much brown in this batch or what. so, i'd say it's one of the most finicky of the 2 sets (also including galaxy pink and forest brown, as i got those singly. these sets are $$ but i happened to catch a sale!) THEN there's TUNDRA VIOLET. this requires *precise* control to get the right effect. it's easy to get it too thick which looked neat while wet and *ugly* when dry. like.... who knew a bluish violet with brown could look so gross? anyway, more water is the trick and it does great in very light washes too. then it's a pretty, slightly grey violet with plenty of variation. likewise, TUNDRA BLUE has the same range and granulates great either thick or thin application, but fascinating textures and effects with this one!! looks like the mineral *sodalite* with the white veining on blue/black mottled stone. unlike tundra violet, it pretty much looks great at any thickness of pigment though it can go a little bit weird when super thick. just a clashing color tone is all but not too bad. finally, TUNDRA ORANGE and DESERT ORANGE are by practical means identical. they are basically the same base tone. tundra shows a little bit of yellow floating on top however. and BOTH are finicky to make granulate. DESERT BROWN is also in this same basic tonal range but slightly more towards sepia with the undertones. it granulates more though, and a bit easier. the separating colors on top are a chocolate brown and an orangish brown of the same color as the above two - tundra and desert oranges. ((i made a palette out of all my superG colors and some granulating additions. it bugged me to have 3 such similar colors unbalancing the palette and taking up room that could be filled by something that would give more mixining range.)) *PALETTE: tundra, desert, galaxy pink, desert blue + DS verona gold ochre, DS fired red ochre, QOR transparent red oxide, Holbein perylene maroon, DS cascade green, DS cerulean blue, SCH caput mortuum, DS lunar black* *this was done in an 18 well palette,* but by a miscount i had 19 colors. (all needed though. really can't eliminate any BUT i'd want to eliminate 1-2 of the desertorange/tundraorange/desertbrown. but i want to use them all and see which is the better mixer, for future reference.). i added on lunar black because why not. caput mortuum wasn't fitting in a well. so i have these two in the corners, in the mixing space. for color eliminations in the creation of this i did a lot of mixing tests. with more room i would have loved to keep SCH rare green earth but i could basically mix an approximate color. for the yellow/orange/reddish range, i tried several colors with a lot of mixing and the ones left were more versatile and expanded the palette capabilities. perylene maroon doesn't exactly granulate but the holbein one can be easily made to look like it does. it certainly has properties different from my other fav by WN. all this to say, TUNDRA GREEN is the most frustrating color. in the well, you can see the green/brown separation. on the page -- tricky. i think it will take a lot of trials and messing with it to figure what wizardry gets it to act right, so it can be replicated. likewise with the oranges. very hard to make them do anything that separates. they just come out boring. *problem children*. TG reminds me a bit of chromium green oxide. the sort of flat olive green. ironically, fighting with that actual color in an acrylic piece. all the other opaques play nice but THIS one... maybe it's a truer opaque? it's like slapping house paint on. FLAT.
This video was really informative, thank you for making it. (And the cat is gorgeous, I was surprised by the colors but they turned out quite well at the end.)
Just my luck, cobalt green pale was the FIRST Daniel smith color I ever purchased. I’m glad it didn’t stop me from ever trying the brand again because it really could have. By far Daniel smiths worst watercolor. I even manually removed the binder from the paint (which did solve the yellow/brownishness but then it just rubbed off the paper too easily) but I couldn’t fathom why it was so disgustingly discoloured. The granulation is also really patchy and weird in a bad way and I love granulation. Glad to know it wasn’t just my tube that was like that! Great vid as always! Ps Winsor and newtons PG50 version of cobalt green is my favourite version now
Oh man, that's terrible that Cobalt Green Pale PG19 was the first DS you tried!!! I was so sad when my tube became so brownish yellow. I keep debating if I should try mixing it with other colors into pans. I'll see if I can find some decent looking mixture combination, maybe then it will be allowed out of the drawer-of-disuse :)
Do you have a list of codes for granulating pigments that are most dramatic? I am waiting for the video on working with mixing single granulating pigments.
Yes, as I continue to make spotlight videos for my top recommended pigments over time (including recent videos like viridian and PBr11 for color separating mixtures) there's a webpage list of my work in progress at www.kimcrick.com/pages/top-lightfast-watercolor-pigments
What I detest is "limited edition" paints. Watercolor companies are not trustworthy about their paint lightfastness, and combining that with "get it now get it now never mind no one can test it independently in time get it now YOU'RE MISSING OUT DON'T YOU HAVE FEAR OF MISSING OUT" always comes off either predatory or like they have something to hide. Ugh.
Yes, I have wondered about their reasoning behind limited editions. I don't like it when it seems like pressure to not miss out. I wish I thought it was more like testing the water, such as when fast food puts out a limited time new meal to see how much demand there would be, then later adds it to their menu permanently. It would be good of them to say that the most popular colors would become permanent additions, I know a lot of people really loved the convenience of a pre mixed cobalt teal/potters pink combo in glacier green. What drives me nutty is when they start adding new modern pigment ingredients that have had limited testing into their catalog. These paint makers assume the pigment ingredient manufacturer's LFI rating was good enough to pass it along to us as lightfast without personally testing it themselves. Schmincke really made me mad when they put out PO64 Saturn Red, and now after years have still not updated the rating to reflect how fugitive it is... Rembrandt, White Nights and Roman Szmal all decided to follow suit and add it to their catalogs with top stars right afterwards. Makes me sad I spent so much time doing their job for them. Several brands did the same thing with replicating DS Moonglow. At some point I'll do a video about the misleading LF practices of the paint industry, because it's sad how many people believe them blindly :(
I wonder, how can it be, that hookers green is transparent or semi-transparent in some brands, but opaque fom schmincke. yes, they mark is as opaque. but when on doesn't pay attention, it can be mixed up easily. I wonder, if there are sort of rules or if it doesn't matter, as long, as the colour tone is what usually is known for a colour name.
If you're referring to my problem with the Daniel Smith tube, this problem is not just the separation but rather the chemical instability of dying the binder a dark brown color. This has not happened in any of my other cobalt based paints, nor other colors that are heavy pigments.
all the genuine cobalts (no matter wich version) are very expensice. I am glad, there are hues coming out. but of course for professionals it is about light fastness. my main set of colours - just in case I produces something I really would put up my walls :-D (basically set up for landscapes/seascapes because I am learning that plus colours I like for my abstract meditational trys) the selection is basically light fast, because I went with the recommended paints of an artist who also has classes. )
Yes, usually very expensive. I love that Lukas offers cobalt green for about half the price of Schmincke. I really enjoy White Nights cobalt turquoise (a teal-leaning PB28) and it's much cheaper than other brands. It's nice to have a couple more affordable versions to play with.
Beautiful as always Kim the cats eyes are mesmerizing. I like the colors you used,I have three cats I wish I can paint them but I don't do well with animal drawing. Do you sell prints? I really love this painting😊
Thank you I appreciate your kind comment! I've been struggling with my printer deciding to jam everything this week, but I did just list the original affordably as well as printable files at www.kimcrick.com/search?q=cat+grass I keep practicing painting wild cats trying to build confidence in painting my own cats. I feel like it's really hard to do my own cats, kind of like people's portraits, since I know how they look so well it would be so glaring to me if I messed up. Sometimes I get frozen in the lack of confidence that seems to strike me before painting, but one day I'll try :D
Wow, there was a huge difference in the Schmincke Cobalt green pure Tube vs Pan. I'm curious about the Turner cobalt green (it looked really weak compared to the others), is their viridian also like that? I'm very interested in checking out Turner watercolors, and wondering if it is a good alternative to more expensive brands? Same goes for Lukas as well. Those two go on sale often at Jerry's so I'm very tempted to give them a try.
I have really mixed feelings about both Turner and Lukas, because some colors are just OK while others are really nice. I'm still working on writing down all of my experiences and swatching colors from them both. I noticed that Turner sometimes seems to lack granulation and flow, but their paints are very strongly pigmented. Lukas offers some amazing prices on normally expensive pigments, but can sometimes be a bit shiny and a little weaker than other more expensive brands. Definitely brands that I'd have to figure out which colors specifically are really worthwhile from them.
@@KimberlyCrick I really liked Lukas verona green earth but haven't tried many of the other tubes. Also, I noticed the same thing with some of my Turner watercolors, I might just add some ox gall to it to help with the flow. I am definitely looking forward to any future videos about these two brands:)
Hello! What browns do you recommend that granulate? I have a hard time finding the pbr11 you talked about in a different video, are there others browns that work or is it entirely up to the second color you mix into it?
Technically there will be some level of color separation using any brown, but the dramatic texture will be more subtle the smoother the brown you get is. There are a lot of granulating browns, often labeled as Mars Brown, Raw or Burnt Umber, PBr6 or PBr7. If you have access to Schmincke I like their Mahogany Brown for unique color separation and texture. White Nights and Maimeri Blu brands both have a good "Mars Brown". Daniel Smith and Roman Szmal have several granulating brown options, including their PBr11. if you're having a hard time find DS or RS brand, I think Jackson's ships worldwide - www.jacksonsart.com/?___store=jacksonsart_us&acc=c0f168ce8900fa56e57789e2a2f2c9d0
@@KimberlyCrick thank you very much! I do have a pbr7, just had a very hard time finding the pbr11. I will try if this works for me, if not i will look into the pbr11 paints. Again, thank you!
I'm curious your opinion of not only single pigment palettes but transparent ones. I've real a LOT of conflicting view points. I'm guessing due to your appreciation of granulation you don't feel it's an issue?
It really depends on your goal. I set up a mix palette where I understand each colors job. For example if you put a pan of white gouache on your palette, you'd only use it when you want to make highlights or create opaque pastel-like colors. You wouldn't use it for layering/glazing like you might a transparent primary trio. I use granulating pigments to create single-layer color separating mixtures where I want texture or a unique background. If you only paint a certain way, like relying on transparent colors to do a layer, waiting for it to dry before painting on top of it with another deeper value layer, and so on for multiple layers building depth you would focus on transparent colors in your palette.
It really depends on your technique and what you would like to achieve. Last year I tried painting with a transparent triad in thin glazes. It was interesting and turned out well, but it was totally different from my usual process: I did not have to get the perfect tone on the first try, but could build it up gradually not fearing that the paint would lift. On the other hand, I had to paint textures myself - something that a granulating paint would do for me. There are several transparent organic pigments that don’t stain, and those blow my mind Oo
I love this color combo so much. Do you subscribe to Lindsay Victoria Lee on UA-cam? In her most recent paintings she’s been using a lot of fantastic vibrant green combos
These are definitely more subtle than mixing a granulating with non-granulating. I've been really disappointed with how much Schmincke is abusing the PG50/PB29 combination, making an excessive amount of similar blue mixtures for their "super granulating" line, which are so easy to achieve with the single pigment colors that would be more versatile to own. A lot of people seem to appreciate the pre-made mixtures though.
Thanks for your work on these pigments Kimberly. Very informative and thorough. Since you asked, I'm just getting used to these, but my current view is that I love the SG colors for an "as needed" effect color with the repeatbility that I can depend on like a convenience color. I normally prefer single pigment colors in most cases but love what these do in landscape washes and am not interested in mixing them each time I want the effect. Painting time vs experimentation/mixing time in other words. Several of the single pigments making up the SG range I don't have or use normally, so that versatility is lost on me. The investment would then be similar or even more for me. So far my work flow has been to put out a small amount on a side ceramic dish just for that painting. I don't wish to incorporate these into my existing go to palettes, although I'm considering a dedicated small supplementary palette just to contain my favorites of these (currently about 9 or so) and pull out as needed. I may be wrong, but so far I've not seen a mixed version match the dramatic separation these premixes create but that could just be my perception. I wonder if Schmincke fiddled with the granulation size to increase separation.
I can understand that, especially if your chosen subject matter doesn't always call for having a lot of granulating pigments on your go-to palette. Since I always keep things like potters pink and cobalt teal on my palette, I found that some colors like glacier green weren't worth additional investment. It may be my mixing ratio accuracy in replicating the Tundra Green that looked less dramatic in granulation, but for example when I mix Schmincke's pr233+pg50 together it looks the same as glacier green in granulation and particle size. I don't think they did anything special to the pigments, but getting the ratio perfect can definitely be too much work when you just want to sit down and paint. For anyone who already owns (or thinks they'll get a lot of use from) the roughly 6 to 8 crucial granulating single pigment colors, there is always the option to pre-mix them into a pan and stir it up with a toothpick. That way you can take your time to perfect the ratios, have a convenience mixture pan ready and possibly save yourself the temptation of extra purchases. Thanks for chiming in :)
@@KimberlyCrick Good point. Some of my viewers said they can’t replicate the mixes, but there could be a hundred reasons for that. I may try and mix a couple of these myself as an experiment from my Schmincke dot card. Thanks again.
What a glorious use of these colors! That cat’s eyes are amazing!
My first thought regarding the color separation was that would drive me nuts, but really works well in some applications, this being one of them.
I wholly agree, Jill!
I came here to say that exact thing! The eye colour separation works so well!
Love how in-depth these pigment videos are, and seeing your deft brushwork when mixing
That is really disappointing about Daniel Smith's PG19 since I love the granulation, but I can't see spending the money for a paint that won't be stable. Thanks for the info!
I'm torn really.. I love the ability to just reach into a pan and get the color I want, at any concentration I want. Just yesterday I went to the local store and paid way too much for a tiny tube of Olive Green because I was sick of mixing it, as well as one of Permanent Rose even though I have about six PV19's simply because this particular one does beautiful pink flowers basically on autopilot. I can see the value of having an extensive single pigment palette (like the Mission Gold option which keeps calling my name in the wee hours of the morning but is way overpriced IMO in comparison with the rest of their sets as well as the difficulty in replacing single tubes which is the only reason I haven't pulled the trigger)... and I wish more brands would give us single pigment palette options. Where I run into issues is remembering how to get what I'm looking for... maybe that is not enough experience, using too may different paints (there is something to be said for knowing your palette inside and out and brand/pigment "hopping" doesn't help with that), or just my late 40's brain fog issues combined with too much real life stress. I know I can make a mixing chart but some of the mixtures are more than one pigment and it seriously breaks my "flow" to have to fuss with a chart every five minutes. What I KNOW I have no tolerance for are limited palettes where you would have to mix all secondary, earth tones, and neutral.. no thank you, not even a little bit.
Me too about the limited palette. I go a little bonkers without at least a 12 pan set to cover some earths/neutrals and granulating/smooth alternatives. That being said, I also enjoy limited color artwork, where maybe I only pick a couple of those colors at a time to do the whole painting. I think it really depends on subject matter, but it feels terrible to be limited by your supplies if you're struggling to get the color you imagine (totally kills the work flow!). As I continue to work through some experiments, I'm slowly but surely coming up with a palette system that works for me. I don't think it's just you (though I DO relate to the brain fog/life problems). I also have had to simplify my selection over time to help myself remember how to achieve a certain color. Mixing charts drive me a little nutty, a bit tedious to do and reference. I like having a core group of colors, as you mentioned, knowing your own palette inside and out. Once I've got my list perfected I'll do a video about how I got there. Happy painting :)
@@KimberlyCrick I look forward to it. I feel there is an "optimum palette" out there, and it may not be the most common options given by brands. Of course it really depends on what you paint on a regular basis.. one person's "optimum" is probably quite different than others. I find myself going for muted natural shades 90% of the time which means I have to adapt pretty much every "standard" shade in my sets. I'm making huge dents in my yellow ochre and sap green which are my go-to's for mixing, underpainting, or using straight. This particular painting you did is a prime example, only two pigments but one is an earth and the other is a deeper secondary leaning to the blue side. My current work around involves two porcelain flower palettes, mixing multiple shades before I even wet my paper, and while it's working it's a bit of a hassle.
To me this granulating mixtures are so beautiful and magical. They remind me of the effects what can you achieve in mixed media with waxes and they are just dreamy.
I appreciate how you explain information. Your point about pigment codes referring to the chemical formula for a pigment, not necessarily a color (like PG50 in your example), was an excellent description. Glad to hear about the ability to mix your own version of these colors... they seem nice, but that wet to dry shift scares me. Hopefully I can mix a version that is less volatile. As always, great info and gorgeous artwork. Thanks for sharing!
Your cat painting is gorgeous and what a great idea to use such a granulating mixture as eye color. Definitely adds to the impression of depth. I agree with you that pre mixed colors are not necessary in most cases, regardless of the brand. With the single pigment paints in tubes one can also prepare one's own premixed pans if desired. Having said that, I enjoy getting and testing new watercolors, regardless if they are mixes or not. I will get the whole series and actually since they are made with ready available pigments, I am not as bothered about the limited edition. I just love to test and play with paints from different brands, new pigments/mixes, as well as handmade paints or making my own paint. But for me, this is a hobby that I enjoy and I don't have to earn money with it. Also being in germany, Schmincke paints are way more affordable for me compared with Daniel Smith or others which are extremely expensive. So while the 15 ml at Jacksons would be around 16 euro for me, at Gerstaecker I would get them for 12,69 as a regular price. I am still waiting that they will get the Tundra and Forest series. For the other 3 series, Gerstaecker had for a few months the exclusive selling right, an with the other 2, it is now the other way around. But they will get them in february. Originally it was a series just made for Gerstaecker and they were a little but surprised by the success. The first 3 series should not be produced anymore already but they prolonged it due to the success.
I've been collecting mix information ever since people started accusing other companies of "copying" Daniel Smith, as though they invented colour theory or pigment separation. I always try to buy single pigment paints so that I can mix my own reactions as and when I want them. I could never justify spending £15 on a small tube of paint when I can buy up to 7 (full pan, White Nights
I want to say thank you. I would have watched this video for the cat illustration alone but I really appreciate you’re teaching us how to decipher the paints.
I appreciate hearing that, thank you so much for your kind comment! I'm glad to help, happy painting :)
DANG! Such good information, as always. And lovely painting! Like you, I prefer to purchase the components and mix myself. That gives me more control. Sure, when I was new to watercolor, mixing was intimidating. There was a learning curve. But now? It's intuitive and fun! You're still running my favorite channel on the UA-cams! Keep it up, girl!
So very helpful, as usual. Currently, I'll use just about any paint and mixture as long as it doesn't annoy me, but I have found that I'm starting to get more picky about my color choices and how many pigments each color has in it, so I suspect as my watercolor knowledge and experience grows, I will be using a lot more single-pigment colors.
I like single pigments. This cat is just so great!!
What a wonderful cat portrait!
I'm so happy to see a new video from you.
My dad died last week unexpectedly following a heart attack. And I am very sad.
Your cat portrait brought a smile on my face. My dad loved cats. Thank you
I am so sorry about your loss and so glad that I could bring you a smile in this tough time. I hope you can also find some comfort in your creativity, I know sometimes on hard days even the simple act of swatching and mixing new colors makes my life a little better. I appreciate you taking the time to comment, thank you :)
After seeing all the demonstrations on the multi pigment blends AND getting a dot card of the Schminke Super Granulating colors, I will just be adding the single pigment options as I prefer having the versatility of being able to mix my own "super granulating" colors. Thanks for your information.
Thank you! Always a pleasure to see your videos.!
Oh man, I really love both DS cobalt green pale swatches at 01:39 - they're beautiful. The fact that the paint is so unstable is a bummer, but it's one of those things I personally don't necessarily mind if I like the deteriorated versions as well. Absolutely not a paint I'd ever rely on as a staple, but something I could still enjoy using a lot. I'd still much prefer to buy one tube of each colour in a stable formulation, but 🤷♀️
Honestly the whole super granulating range was quite underwhelming to me. I have absolutely no issues with convenience mixtures, in fact I think there's a bit of an unnecessary obsession with single pigments in a lot of corners of the online watercolor community, but these just feel so basic to me. Almost all of the component colours are ones I already have or want on their own, so there's nothing about these mixtures that tempts me.
Anyway. I love your painting, as always, that cat is gorgeous!
Thanks for sharing such great info. I’m pretty new to watercolour and no idea about the different numbers. It’s really interesting info and I look forward to binging through your other vids xx
I will definitely pay the extra to just buy these convenience mixes, although I won’t buy complete sets. I want to pick and choose the colors I want from each set. I already own a few. I feel the same about some of my favorite Daniel Smith primateks. They are amazing and just can’t be duplicated to look the same. I can’t imagine painting landscapes and my greenery without them.
Thank you for the video.
I love your videos, they are always packed full of useful info and up close, easy to understand visual examples. Thank you for making these crazy amazing videos for us here on youtube...Much love♥️
Thank you, I appreciate you taking the time to comment and the positive feedback is great to hear. Happy painting :D
The cat painting is so pretty and your technique is superb.
Thank you very much for another informative video. I only have PG50 cobalt green. Personally, it really annoys me when binder comes out before the pigment so I decided not to purchase DS Cobalt Green Pale, thanks to this video.
I choose single pigment colours except for when I buy multiple pigment ones by accident or for my first Daniel Smith set I bought to try some of more Daniel Smith-y fun colours when this brand was not as easily available as it is now in Japan.
What I love to do, when a brand launces a new series or set, I check the pigment/s and try mixing it by myself to see what kind of world they want to express by this very series or the set. It's a good way to learn about
pigments as a beginner like me and also very satisfying.
Yes, that binder issue is very annoying! I wish I had done more mixing as a beginner, but instead I had collected a ton of pre-mixed colors before I discovered the satisfaction of color mixing myself. It is really good to look at new paints pigment ingredients as a recipe guide and see what you can mimic first. In this case I've found that even if their mixture says to make it with PG19, that PG50 was a very good alternative. I'm thinking about making more videos where I attempt to make similar mixtures, not always following a strict pigment ingredient list. I like that there is always a chance we may stumble onto creating our own new favorite mixture and on occasion make these improvements for even cheaper than the product that inspired it :D
@@KimberlyCrick Huge fan here! Thank you so much for all your research. It's the most fascinating resource I've seen since starting my watercolor journey. Do you have an opinion on the new Winsor & Newton Cobalt Green Deep which is PG26? I'm wondering if it would be a good substitute for some of the greens you used in mixes in this video.
@@jenniferalvarez4041 I absolutely love W&N Cobalt Green Deep, but it's darker. It will have the same sort of granulation, but the green color separation will be a deeper value. It'll still be lovely, just will result in a darker brown mixture when combined with those lighter brown pigments. Happy painting :)
@@KimberlyCrick Thank you so much for answering! I'm definitely ordering it now.
Your videos are really helpful.. I do prefer to have almost 100% single pigments, as the possibilities are endless. However, I got intrigued by the Daniel Smith granulating color separating paints and almost ordered way too many. Then I found your videos and have saved enough money to buy a new brush! Thanks!!! Very lovely line and ink paintings, as well, quite inspiring.
Very useful info, thank you - love the demo painting, it's impressive how many values and tones you were able to achieve with just those 2 paints :) Well, I like cobalt colours a lot, so this whole video was eye candy for me!
I absolutely love this mixture! Thank you for showing us the multiple variants.
I love these type of videos!!
I wasn't a real fan of cobalt green until I realised it's value in mixes!
As always…love your videos…always helpful and your artwork is excellent
Wow! Thoroughly enjoyed the cat painting. Beautiful and very educational watercolor painting video. Thanks a lot for sharing. Let's stay connected #LipsitaArt
So I'm very excited because I have a tube of art spectrum Australian Turquoise which is a very blue shade of pg 50. So I mixed it with magenta and it made such a pretty super granulating, separating colour. Woot woot my first one. Thanks for explaining how all this works ❤️
Thank you for this video, now I know what I want! Of all the demo paintings I have seen you do, this is my favorite, tfs
I most definitely prefer my single pigments. I learn more, when mixing too.
I prefer premixed when it’s a colour I use a lot like Cascade Green but the super granulating colours would be less used so I love that you shared so many ways to mix some. Those cat eyes look incredible 🥰
Super informative, thanks Kim!! I also prefer single pigment colors for the same reason, being able to mix them, and if/when I find a mix I love and using alot then I can just make my own mix in a pan to dry. I've definitely turned into a pigment nerd!☺️ I'll now be adding that PBr33 to my (slowly) growing collection.. thanks for the tip!!
I'm so glad to hear that, my thoughts exactly about mixing my own pans if I find a mix I love! I appreciate you taking the time to leave me kind comments, happy painting :)
@@KimberlyCrick You're most welcome:) Thankyou for taking the time to make such awesome videos!💖
I was curious if you think there's a need too have a P048 in your pallet for mixing? Specifically the one from Roman Szmal, I believe it's called Quinacridone Burnt Sienna..
@@lindsayjayne2169 I do like PO48, particularly mixed with PY150 for the standard "quin gold" replacement. Paired with Ultramarine Blue that makes one of my favorite Daniel Smith mixtures - Undersea Green. Other than that I haven't run into the need for it, but that may change based on subject matter painted. I will be investigating it's usefulness compared to other orange-browns in the future.
@@KimberlyCrick Thankyou Kim, that's helpful! I appreciate you taking the time to answer. I'll keep eye out on your ever growing list!😊
Another great video from the Queen of Pigments! Thank you very very much :D I have that colors (cobalt green and mars brown) so I'm going to play a little bit! Responding to your question: I also preffer to have all the pigments seperated because it's more versatile, it's always more interesting to make your own mixes, better for finding your own style. Greetings from the Canary Islands!
Thank you so much for your kind comment. Totally agree, making my own mixtures has really helped me find my own style and really admire the pigment properties individually. Happy painting :)
Thanks for your research. I’ve only been painting 4 years but it’s ridiculous how many paints I have that never get used.
You and me both. I understand the demand for convenience colors, but there comes a point when our collections get so vast that you just won't use them all up in your lifetime. I'm definitely finding the value in having a core selection of the most useful single pigments. Happy painting :)
Very useful. I've been reserching and premixing tons of colours. It works better for me. Watercolours and gouache in empty half and full pans. Schmincke is also ridiculously overpriced here in Canada I can get Daniel smith cheaper! So I've been investing more in base colours and making my own mixes. I recommend lunar black (or any mars black) for making dusky highly granulating interesting colours.
The more colours I can open and fan out nearby the faster and more I actually paint!
The cat's eye's look amazing in that mix!
There does appear to be some special pigment versions used by Schmincke in these super granulating ranges. The Volcano Red, in particular behaves very differently to any of the regular versions of cad red. The only thing that I can think of that makes any sense is that this dullish cad red pigment is a more coarsely ground pigment version leading to greater granulation than it typical of PR108. I like the difference.
In this older video and all prior past releases that came before Volcano, Shire and Desert - all of the colors are mixtures using their normal single pigment ingredient. The new releases including PR108 and PY159 have the first instance of unique new single pigments. There is likely a larger particle size, but also binder additives given to Volcano Red and Volcano Yellow to force the particles to flocculate further apart. Aside from Volcano Red and Yellow though, no other color in the entire range requires you to use Schmincke brand specifically to replicate the mixtures. Their new extra granulating PR108 is the only one absolutely needed though, since PY159 behaves similarly in mixtures if using W&N or Kremer's versions as well. Happy painting :)
I got about 7 tubes from the first 3 supergran. sets as a gift (i chose them myself), but I really feel no urge to buy any more. They are too expensive for what they offer and I have enough alternatives to mix them myself. And... and... if I don't know, I can come and learn here :)
Thanks for the enlightening video.
I usually just swirl some together in a pan if I want a pre-made mix. I like variations so I don’t do a totally smooth mix.
I love your art! Nice video thank you
I found the Kremer Pigmente's Cobalt G. Bluish (PG19) is very similar to the Schmincke's Cobalt G. It comes in a full pan and is very strong color too.
I would be so thrilled if you would post separately a real time version of your sample paintings.. preferably with a voice over or text to give us some idea of what you are doing but if that is too time consuming I understand. You already have the footage of the painting itself. It's so fast it's really hard to see how you are achieving what you do sometimes, and your work is beautiful. I've thought about purchasing some of your line drawings on your site but it would really help if I had the demo to assist.
Thank you for your feedback, I'll keep that in mind for the future. I've been struggling a bit with having time to create videos. I appreciate the encouragement though :)
ah yes - one other thing. good idea to mention, to try other sorts of brown just to see, how the mixes turn out. I didn't even try that.
I only love some of those supergranulating ones in some abstracts. I am not that good, e.g. to use deep sea grean as one of the blue shades on snowy mountains - as I did see another artist use on schminckes channel. althoug I love to sea that colour. I only can use it in abstracts, where I want to play with different colour fields. I have seen an italian youtuber drawing a picture of some of the greens for a painting of woods of trees and bushes. it was actually a great video, becuase the first time I could see, how something would turn out, just using those. it did look like a dreamy landscape. a little bit, like in a fairy land - but a dreamy one. actually something I am not into, but I could see, how it could be used - maybe in the background. I had the idea, it would look great for distant treas and then more non granulatings closer to the front. but I am not good in painting. still learning a lot. regarding buying the ready mixes - I would rather mix the supergranulatings as well. I already have the colours I would need to mix at least 4 of them. and those 4 I like.
I try to buy as many single pigment colors as I can. And after seeing how easily you not only recreated, but in some cases improved upon the Schmincke super granulating (I'm looking at you Lukas!) I will NOT be buying them. Already had it in my cart for my next Jackson's order. Thanks for that.
Wow, the cat is beautiful! And thank you for the comparisons! I especially appreciated the mini-comparison of granulating browns, and am really looking forward to that video! ☺️
Really appreciate you sharing the info. I’m a real beginner and your tutorials are so helpful. Thank you ☺️
recently got my own cobalt green from Roman Szmal after watching this, loving it, thank you~ :D
Oohh, you've touched on a concern. My DS paints are in the states and I can't get to them, so am so worried my pigments will ruin in the many months of separation. Erg, will worry about that later. Just found your channel and LOVE it! Awesome info! Oh wow, will I be back! 🥰🎨 Cheryl
On the bright side there are very few pigments that have this bad of a problem when left alone in long term storage. Rest assured most of your collection is likely fine! Happy painting :)
@@KimberlyCrick That's all I can hope for, and very nice in-depth knowledge you offer! I'll be back a lot! 🥰 Cheryl
I recently got the Roman Szmal Goethite and i LOVE IT! :)
It’s Such a lovely granulating brown :)
My daniel smith tube is almost petrified.🌚. I squeezed out the paint with pliers. Broke the tube. (Sorry for my Google translate). Color is beautiful.)))) Where to get normal cobalt of this shade?
i got some of the superGran colors (desert and tundra, couldn't resist, i'm a bit obsessed on that topic) and TUNDRA GREEN is... well, it's HARD to make granulate. it swings between thick green coverage and cauliflowering with the pigments running to the edges and leaving it weak and flat at the center. *rarely* can i get it to do its green/brown thing. idk if they didn't get much brown in this batch or what.
so, i'd say it's one of the most finicky of the 2 sets (also including galaxy pink and forest brown, as i got those singly. these sets are $$ but i happened to catch a sale!) THEN there's TUNDRA VIOLET. this requires *precise* control to get the right effect. it's easy to get it too thick which looked neat while wet and *ugly* when dry. like.... who knew a bluish violet with brown could look so gross? anyway, more water is the trick and it does great in very light washes too. then it's a pretty, slightly grey violet with plenty of variation.
likewise, TUNDRA BLUE has the same range and granulates great either thick or thin application, but fascinating textures and effects with this one!! looks like the mineral *sodalite* with the white veining on blue/black mottled stone. unlike tundra violet, it pretty much looks great at any thickness of pigment though it can go a little bit weird when super thick. just a clashing color tone is all but not too bad.
finally, TUNDRA ORANGE and DESERT ORANGE are by practical means identical. they are basically the same base tone. tundra shows a little bit of yellow floating on top however. and BOTH are finicky to make granulate. DESERT BROWN is also in this same basic tonal range but slightly more towards sepia with the undertones. it granulates more though, and a bit easier. the separating colors on top are a chocolate brown and an orangish brown of the same color as the above two - tundra and desert oranges.
((i made a palette out of all my superG colors and some granulating additions. it bugged me to have 3 such similar colors unbalancing the palette and taking up room that could be filled by something that would give more mixining range.))
*PALETTE:
tundra, desert, galaxy pink, desert blue
+ DS verona gold ochre, DS fired red ochre, QOR transparent red oxide, Holbein perylene maroon, DS cascade green, DS cerulean blue, SCH caput mortuum, DS lunar black*
*this was done in an 18 well palette,* but by a miscount i had 19 colors. (all needed though. really can't eliminate any BUT i'd want to eliminate 1-2 of the desertorange/tundraorange/desertbrown. but i want to use them all and see which is the better mixer, for future reference.). i added on lunar black because why not. caput mortuum wasn't fitting in a well. so i have these two in the corners, in the mixing space. for color eliminations in the creation of this i did a lot of mixing tests. with more room i would have loved to keep SCH rare green earth but i could basically mix an approximate color. for the yellow/orange/reddish range, i tried several colors with a lot of mixing and the ones left were more versatile and expanded the palette capabilities. perylene maroon doesn't exactly granulate but the holbein one can be easily made to look like it does. it certainly has properties different from my other fav by WN.
all this to say, TUNDRA GREEN is the most frustrating color.
in the well, you can see the green/brown separation. on the page -- tricky. i think it will take a lot of trials and messing with it to figure what wizardry gets it to act right, so it can be replicated. likewise with the oranges. very hard to make them do anything that separates. they just come out boring. *problem children*. TG reminds me a bit of chromium green oxide. the sort of flat olive green. ironically, fighting with that actual color in an acrylic piece. all the other opaques play nice but THIS one... maybe it's a truer opaque? it's like slapping house paint on. FLAT.
The cat painting is beautiful, i Love it. 😍
This video was really informative, thank you for making it.
(And the cat is gorgeous, I was surprised by the colors but they turned out quite well at the end.)
Beautiful!
Just my luck, cobalt green pale was the FIRST Daniel smith color I ever purchased. I’m glad it didn’t stop me from ever trying the brand again because it really could have. By far Daniel smiths worst watercolor. I even manually removed the binder from the paint (which did solve the yellow/brownishness but then it just rubbed off the paper too easily) but I couldn’t fathom why it was so disgustingly discoloured. The granulation is also really patchy and weird in a bad way and I love granulation. Glad to know it wasn’t just my tube that was like that! Great vid as always!
Ps Winsor and newtons PG50 version of cobalt green is my favourite version now
Oh man, that's terrible that Cobalt Green Pale PG19 was the first DS you tried!!! I was so sad when my tube became so brownish yellow. I keep debating if I should try mixing it with other colors into pans. I'll see if I can find some decent looking mixture combination, maybe then it will be allowed out of the drawer-of-disuse :)
Do you have a list of codes for granulating pigments that are most dramatic? I am waiting for the video on working with mixing single granulating pigments.
Yes, as I continue to make spotlight videos for my top recommended pigments over time (including recent videos like viridian and PBr11 for color separating mixtures) there's a webpage list of my work in progress at www.kimcrick.com/pages/top-lightfast-watercolor-pigments
What I detest is "limited edition" paints. Watercolor companies are not trustworthy about their paint lightfastness, and combining that with "get it now get it now never mind no one can test it independently in time get it now YOU'RE MISSING OUT DON'T YOU HAVE FEAR OF MISSING OUT" always comes off either predatory or like they have something to hide.
Ugh.
Yes, I have wondered about their reasoning behind limited editions. I don't like it when it seems like pressure to not miss out. I wish I thought it was more like testing the water, such as when fast food puts out a limited time new meal to see how much demand there would be, then later adds it to their menu permanently. It would be good of them to say that the most popular colors would become permanent additions, I know a lot of people really loved the convenience of a pre mixed cobalt teal/potters pink combo in glacier green.
What drives me nutty is when they start adding new modern pigment ingredients that have had limited testing into their catalog. These paint makers assume the pigment ingredient manufacturer's LFI rating was good enough to pass it along to us as lightfast without personally testing it themselves. Schmincke really made me mad when they put out PO64 Saturn Red, and now after years have still not updated the rating to reflect how fugitive it is... Rembrandt, White Nights and Roman Szmal all decided to follow suit and add it to their catalogs with top stars right afterwards. Makes me sad I spent so much time doing their job for them. Several brands did the same thing with replicating DS Moonglow. At some point I'll do a video about the misleading LF practices of the paint industry, because it's sad how many people believe them blindly :(
@@KimberlyCrick PREACH
I wonder, how can it be, that hookers green is transparent or semi-transparent in some brands, but opaque fom schmincke. yes, they mark is as opaque. but when on doesn't pay attention, it can be mixed up easily. I wonder, if there are sort of rules or if it doesn't matter, as long, as the colour tone is what usually is known for a colour name.
Cobalt pigment (don't know which specifically) particles weight more than a binder so are prone to separation.
If you're referring to my problem with the Daniel Smith tube, this problem is not just the separation but rather the chemical instability of dying the binder a dark brown color. This has not happened in any of my other cobalt based paints, nor other colors that are heavy pigments.
@@KimberlyCrick oh. Thank you for info.
Wow, this cat 😍
all the genuine cobalts (no matter wich version) are very expensice. I am glad, there are hues coming out. but of course for professionals it is about light fastness. my main set of colours - just in case I produces something I really would put up my walls :-D (basically set up for landscapes/seascapes because I am learning that plus colours I like for my abstract meditational trys) the selection is basically light fast, because I went with the recommended paints of an artist who also has classes. )
Yes, usually very expensive. I love that Lukas offers cobalt green for about half the price of Schmincke. I really enjoy White Nights cobalt turquoise (a teal-leaning PB28) and it's much cheaper than other brands. It's nice to have a couple more affordable versions to play with.
Thank you.
Beautiful as always Kim the cats eyes are mesmerizing. I like the colors you used,I have three cats I wish I can paint them but I don't do well with animal drawing. Do you sell prints? I really love this painting😊
Thank you I appreciate your kind comment! I've been struggling with my printer deciding to jam everything this week, but I did just list the original affordably as well as printable files at www.kimcrick.com/search?q=cat+grass I keep practicing painting wild cats trying to build confidence in painting my own cats. I feel like it's really hard to do my own cats, kind of like people's portraits, since I know how they look so well it would be so glaring to me if I messed up. Sometimes I get frozen in the lack of confidence that seems to strike me before painting, but one day I'll try :D
What an interesting and incredible video about colour separation and “replica”. I subscribe immediately ❤
Wow, there was a huge difference in the Schmincke Cobalt green pure Tube vs Pan. I'm curious about the Turner cobalt green (it looked really weak compared to the others), is their viridian also like that? I'm very interested in checking out Turner watercolors, and wondering if it is a good alternative to more expensive brands? Same goes for Lukas as well. Those two go on sale often at Jerry's so I'm very tempted to give them a try.
I have really mixed feelings about both Turner and Lukas, because some colors are just OK while others are really nice. I'm still working on writing down all of my experiences and swatching colors from them both. I noticed that Turner sometimes seems to lack granulation and flow, but their paints are very strongly pigmented. Lukas offers some amazing prices on normally expensive pigments, but can sometimes be a bit shiny and a little weaker than other more expensive brands. Definitely brands that I'd have to figure out which colors specifically are really worthwhile from them.
@@KimberlyCrick I really liked Lukas verona green earth but haven't tried many of the other tubes. Also, I noticed the same thing with some of my Turner watercolors, I might just add some ox gall to it to help with the flow. I am definitely looking forward to any future videos about these two brands:)
Hello! What browns do you recommend that granulate? I have a hard time finding the pbr11 you talked about in a different video, are there others browns that work or is it entirely up to the second color you mix into it?
Technically there will be some level of color separation using any brown, but the dramatic texture will be more subtle the smoother the brown you get is. There are a lot of granulating browns, often labeled as Mars Brown, Raw or Burnt Umber, PBr6 or PBr7. If you have access to Schmincke I like their Mahogany Brown for unique color separation and texture. White Nights and Maimeri Blu brands both have a good "Mars Brown". Daniel Smith and Roman Szmal have several granulating brown options, including their PBr11. if you're having a hard time find DS or RS brand, I think Jackson's ships worldwide - www.jacksonsart.com/?___store=jacksonsart_us&acc=c0f168ce8900fa56e57789e2a2f2c9d0
@@KimberlyCrick thank you very much!
I do have a pbr7, just had a very hard time finding the pbr11. I will try if this works for me, if not i will look into the pbr11 paints. Again, thank you!
I'm curious your opinion of not only single pigment palettes but transparent ones. I've real a LOT of conflicting view points. I'm guessing due to your appreciation of granulation you don't feel it's an issue?
It really depends on your goal. I set up a mix palette where I understand each colors job. For example if you put a pan of white gouache on your palette, you'd only use it when you want to make highlights or create opaque pastel-like colors. You wouldn't use it for layering/glazing like you might a transparent primary trio. I use granulating pigments to create single-layer color separating mixtures where I want texture or a unique background. If you only paint a certain way, like relying on transparent colors to do a layer, waiting for it to dry before painting on top of it with another deeper value layer, and so on for multiple layers building depth you would focus on transparent colors in your palette.
It really depends on your technique and what you would like to achieve. Last year I tried painting with a transparent triad in thin glazes. It was interesting and turned out well, but it was totally different from my usual process: I did not have to get the perfect tone on the first try, but could build it up gradually not fearing that the paint would lift. On the other hand, I had to paint textures myself - something that a granulating paint would do for me.
There are several transparent organic pigments that don’t stain, and those blow my mind Oo
Wow!
I love this color combo so much. Do you subscribe to Lindsay Victoria Lee on UA-cam? In her most recent paintings she’s been using a lot of fantastic vibrant green combos
I usually prefer mixing granulating colours with non-granulating colours. So these super granulating mixes are a little unnecessary.
These are definitely more subtle than mixing a granulating with non-granulating. I've been really disappointed with how much Schmincke is abusing the PG50/PB29 combination, making an excessive amount of similar blue mixtures for their "super granulating" line, which are so easy to achieve with the single pigment colors that would be more versatile to own. A lot of people seem to appreciate the pre-made mixtures though.