this is super helpful. I've been trying to figure out a good plein air pallete that worked with my brain and a lot of these are colors i was already using/have. good tips about the viridian I think maybe instead of ivory black I will premix a tube of it with some titanium white already in it so im not tempted to use it full power haha. I need to try out mixing it with the yellows. My stuff def looks a little too garish sometimes. thanks for the vid Patrick
Thank you very much. Very informative and clear explanations. I learned a lot and will definitely use it to tweak my own palette. I subscribe to your patreon, and am very grateful for the quality of teaching you provide. Thanks Patrick!
Thank you! I have been playing in the colour space you showed and going through so many debates in my head on ivory black, which secondary blue to pick and which earth colours to pick. you have given some sound reasons for all of your choices and its helped me know what will work for me. I have also ended up with both permanent aliziarin and magenta on my palette but perhaps i can achieve what i want with just magenta.
Thanks! I’m using this palette also, so true about the burnt sienna, so I use the TRO from Rembrandt. Do you have all your colors from the same brand? Which you recommend for burnt sienna?
Great selection… No objective criticisms of your pigment choices. The only thing is that HOLY CRAP that would be an expensive palette to work with (especially in oil paints, where a single smallish tube of a cadmium or cobalt color might run you $35-40. When almost every non-Earth color on your palette is one of those, that’s going to add up like crazy, & if you aren’t an established professional artist or else a millionaire, idk how any ordinary person would afford that (on top of all the other supplies they need too). And I will say, for people who can’t afford every cobalt & cadmium color out there, there are certainly more affordable substitutes for some of them that are still very lightfast & vibrant, & in some cases quite opaque as well, if that’s what you’re going for with those pigment selections). I know the options for acrylics & watercolors better than for oils, but Pyrrol Red is a great alternative to a middle-temperature Cadmium Red. There are lots of good blues, though it’s harder to find very opaque blues outside of the cobalts/ceruleans; which ones I’d recommend depends on what you’re going for in terms of value, color temp, & opacity, but there are lots of lightfast, vibrant or otherwise useful blue options… Yellow is the trickiest in my experience, & if someone can only afford one of these very expensive pigments, in my experience I’d say Cad Yellow (& especially a Cad Yellow Light or standard) is the most irreplaceable of any of these. As much as I love Cad Yellow Deep, & it is a BOMB opaque yellow-orange, there are other at least semi-opaque yellow-oranges of reliable lightfastness, like PY65. On the other hand, there are a lot of light yellows, but very few of the commonly available ones are NEARLY as reliably lightfast or opaque as Cad Yellow Light. Like, PY3, PY74, PY83, all the ones that get crammed into nearly every affordable hue in all the mainstream student grade lines fall extremely flat compared to Cad Yellow Light. They’re mostly very transparent, & more importantly, range from unreliable to just bad in lightfastness. If you don’t might transparency then benzimidazolone medium & light are good, lightfast alternatives, & I use them all the time in acrylics, but they’re so transparent that they really aren’t the same thing at all. At any rate, people can search through pigment databases like Handprint & ArtistPigments for options, but if money is no object, these are certainly top-tier pigments. The one other thing I’d note is that… While Ivory Black does skew towards the cooler side when you mix it with Titanium White, in its pure/near-pure state it really often has more of a slightly brown hue than blue, though my impression is that this varies from brand to brand, possibly? It’s a perfectly fine black to have on your palette, particularly for mixing other colors, but my understanding is that it can be prone to cracking if painted thickly on its own, & people also underestimate how long it’s drying time is & so it can contribute to “sinking in” & shouldn’t be used in earlier, leaner layers? Oil painting is my paint medium of least experience so someone can correct me if the issues are different from that, but that’s how I believe I’ve heard it explained. Long story short, it’s one to be very careful with, & some people prefer to just use a safer black, like Mars Black, especially if they’re using it on the earlier layers or painting it on its own for a solid black. Anyway, your palette already provides its own solution for a lot of these problems, because by mixing a Payne’s/Jane’s Gray (Ultramarine Blue + Burnt Sienna) you can get a whole spectrum of blue-grey to neutral gray Earth tones (so there’s your blue Earth tone to compliment the Yellow Ochre & Burnt Sienna- I think it’s a gorgeous spectrum of options), & depending on how dark your need to go, that mix can also get pretty close to a full-on black, depending on the exact UM Blue & Burnt Sienna you’re using. If someone still needs a genuine black then Mars Black might be a good option (though Ivory Black, with its lesser tinting strength, is arguably the easier option for color mixing), but between Payne’s Gray &, for example, the kind of “neutral tint” you can mix from Viridian + Cadmium Red, you can definitely get some very rich, dark neutrals that get quite black just from the other sets of complimentaries on your palette, & those shouldn’t have the same drying risks, so perhaps saving the Ivory Black for shading other colors on your oilier, laters layers is the best use for it in oil painting. Just things to be mindful of. In other mediums I love Ivory Black with no reservations, but I have just seen warnings from multiple oil painting instructors & sources.
Can you just list out the acrylic colors you would use? Currently using burnt umber, ultramarine, cad red hue, cad yellow med, and yellow ochre, in the Windsor newton line. What am I missing or need to swap out if I want to expand a little?
Great video. You talk about split or extended primaries as a way to achieve brighter saturated mixes with oranges and greens showing this beautifully. However, between the red and blue with quinacridone magenta and ultramarine the magenta area is quite dark. Is this because: a) There are no good bright magenta pigments sold? Or b) There are bright magentas sold but they are not highly colourfast (a problem I find when looking at W&N gouache)? Or c) You simply don’t need bright magentas for your choice of subjects and style? Or d) Something else? Thank you again for such an excellent, thorough, video!
I loev this video but I found your back ground music very distracting. The information is so important but the music clouds your video! Please no more background music.
Ivory black is basically a very dark low chroma blue. If you think of it this way and use it accordingly, you're likely to realize what a useful color it can be
@@PsychoFuji I don't think so. It's a blue neutral. Why is it uglier than any other colour? You can mix neutral greens, flesh tones, a whole range of things with it. I don't think it's particularly uglier than any other colour.
I hope you do more videos like this for beginners like me! You make a superb teacher. Thanks!
Thank you Patrick for this video...was quite helpful in understanding why and how colour mixes turnout the way they do...
Thanks, Patrick. 🎨👍
Lots of info and tips there. Thanks!!!
Great video! Many thanks!
I hadn't thought to keep my mud. Good idea!
Excellent video, very clearly explained thanks.
You can't make violet with red.red is not primary but Magenta is.quinacredone is a magenta
Such a great guide, Patrick! 👍 This will definitely help take my oil painting to the next level. Thanks for sharing informative content! 🙂
this is super helpful. I've been trying to figure out a good plein air pallete that worked with my brain and a lot of these are colors i was already using/have.
good tips about the viridian
I think maybe instead of ivory black I will premix a tube of it with some titanium white already in it so im not tempted to use it full power haha.
I need to try out mixing it with the yellows. My stuff def looks a little too garish sometimes.
thanks for the vid Patrick
Thank you very much. Very informative and clear explanations. I learned a lot and will definitely use it to tweak my own palette. I subscribe to your patreon, and am very grateful for the quality of teaching you provide. Thanks Patrick!
Very well explained. Thank you!
Thanks Patrick, I have to try some of your color mixtures. you touched on some of my constant pitfalls on the greens.
So informative, thank you!
Thank you! I have been playing in the colour space you showed and going through so many debates in my head on ivory black, which secondary blue to pick and which earth colours to pick. you have given some sound reasons for all of your choices and its helped me know what will work for me. I have also ended up with both permanent aliziarin and magenta on my palette but perhaps i can achieve what i want with just magenta.
Thank you
You're my favourite landscape artist
Great tutorial, great colors
Great tutorial, very informative! Thank you
Very helpful and simple!
Well done dude ! Great explanation ❤
Patrick, what brand of burnt sienna are you using?
Thanks! I’m using this palette also, so true about the burnt sienna, so I use the TRO from Rembrandt. Do you have all your colors from the same brand? Which you recommend for burnt sienna?
Great selection… No objective criticisms of your pigment choices. The only thing is that HOLY CRAP that would be an expensive palette to work with (especially in oil paints, where a single smallish tube of a cadmium or cobalt color might run you $35-40. When almost every non-Earth color on your palette is one of those, that’s going to add up like crazy, & if you aren’t an established professional artist or else a millionaire, idk how any ordinary person would afford that (on top of all the other supplies they need too).
And I will say, for people who can’t afford every cobalt & cadmium color out there, there are certainly more affordable substitutes for some of them that are still very lightfast & vibrant, & in some cases quite opaque as well, if that’s what you’re going for with those pigment selections). I know the options for acrylics & watercolors better than for oils, but Pyrrol Red is a great alternative to a middle-temperature Cadmium Red. There are lots of good blues, though it’s harder to find very opaque blues outside of the cobalts/ceruleans; which ones I’d recommend depends on what you’re going for in terms of value, color temp, & opacity, but there are lots of lightfast, vibrant or otherwise useful blue options… Yellow is the trickiest in my experience, & if someone can only afford one of these very expensive pigments, in my experience I’d say Cad Yellow (& especially a Cad Yellow Light or standard) is the most irreplaceable of any of these. As much as I love Cad Yellow Deep, & it is a BOMB opaque yellow-orange, there are other at least semi-opaque yellow-oranges of reliable lightfastness, like PY65. On the other hand, there are a lot of light yellows, but very few of the commonly available ones are NEARLY as reliably lightfast or opaque as Cad Yellow Light. Like, PY3, PY74, PY83, all the ones that get crammed into nearly every affordable hue in all the mainstream student grade lines fall extremely flat compared to Cad Yellow Light. They’re mostly very transparent, & more importantly, range from unreliable to just bad in lightfastness. If you don’t might transparency then benzimidazolone medium & light are good, lightfast alternatives, & I use them all the time in acrylics, but they’re so transparent that they really aren’t the same thing at all. At any rate, people can search through pigment databases like Handprint & ArtistPigments for options, but if money is no object, these are certainly top-tier pigments.
The one other thing I’d note is that… While Ivory Black does skew towards the cooler side when you mix it with Titanium White, in its pure/near-pure state it really often has more of a slightly brown hue than blue, though my impression is that this varies from brand to brand, possibly? It’s a perfectly fine black to have on your palette, particularly for mixing other colors, but my understanding is that it can be prone to cracking if painted thickly on its own, & people also underestimate how long it’s drying time is & so it can contribute to “sinking in” & shouldn’t be used in earlier, leaner layers? Oil painting is my paint medium of least experience so someone can correct me if the issues are different from that, but that’s how I believe I’ve heard it explained. Long story short, it’s one to be very careful with, & some people prefer to just use a safer black, like Mars Black, especially if they’re using it on the earlier layers or painting it on its own for a solid black.
Anyway, your palette already provides its own solution for a lot of these problems, because by mixing a Payne’s/Jane’s Gray (Ultramarine Blue + Burnt Sienna) you can get a whole spectrum of blue-grey to neutral gray Earth tones (so there’s your blue Earth tone to compliment the Yellow Ochre & Burnt Sienna- I think it’s a gorgeous spectrum of options), & depending on how dark your need to go, that mix can also get pretty close to a full-on black, depending on the exact UM Blue & Burnt Sienna you’re using. If someone still needs a genuine black then Mars Black might be a good option (though Ivory Black, with its lesser tinting strength, is arguably the easier option for color mixing), but between Payne’s Gray &, for example, the kind of “neutral tint” you can mix from Viridian + Cadmium Red, you can definitely get some very rich, dark neutrals that get quite black just from the other sets of complimentaries on your palette, & those shouldn’t have the same drying risks, so perhaps saving the Ivory Black for shading other colors on your oilier, laters layers is the best use for it in oil painting. Just things to be mindful of. In other mediums I love Ivory Black with no reservations, but I have just seen warnings from multiple oil painting instructors & sources.
Holy Crap!!!! you need to get a life away from YT. Comments should be one-liners not a college essay
Can you just list out the acrylic colors you would use? Currently using burnt umber, ultramarine, cad red hue, cad yellow med, and yellow ochre, in the Windsor newton line. What am I missing or need to swap out if I want to expand a little?
Great video. You talk about split or extended primaries as a way to achieve brighter saturated mixes with oranges and greens showing this beautifully. However, between the red and blue with quinacridone magenta and ultramarine the magenta area is quite dark. Is this because: a) There are no good bright magenta pigments sold? Or b) There are bright magentas sold but they are not highly colourfast (a problem I find when looking at W&N gouache)? Or c) You simply don’t need bright magentas for your choice of subjects and style? Or d) Something else?
Thank you again for such an excellent, thorough, video!
Wich brand do you use for painting? Where do u get your single pigment oils? Thank u !
Great information. Thank you.
Does your physical palette have a tight seal ? Does the paint stay wet? Where did you get it ? Thank you.
Thanks so much for all this great explanation of the colors you use. My burnt sienna isn't as dark as yours. May I ask what brand you use?
Hi, I'm a newbie to oils...how long can your paints last that is on your palette...and what is it called?
They make permanent alizarin crimson now, so may be worth looking into that.
The half tone on alizarin is better than permanent crimson. It's not as chemical looking in mixes.
What brands of paints?
Please add persian subtitle
1st like 1st comment
I loev this video but I found your back ground music very distracting. The information is so important but the music clouds your video! Please no more background music.
most of those color are way too expensive, especially if you're just trying to learn to paint
why don't you use a mix of brown and blue (ultramarine) to make a black? ivory black is very ugly!!
Ivory black is very versatile. It's blueish tint makes it a convenient color to have around.
Old masters used it all the time. They developed some techniques of using it tooo
Ivory black is basically a very dark low chroma blue. If you think of it this way and use it accordingly, you're likely to realize what a useful color it can be
@@pedro_candelaria ok but it s very ugly no?
@@PsychoFuji I don't think so. It's a blue neutral. Why is it uglier than any other colour? You can mix neutral greens, flesh tones, a whole range of things with it. I don't think it's particularly uglier than any other colour.