I totally agree with you about Kings Blue. I discovered it by accident about three years ago and I am in love with it. We have very similar almost identical preferences when it comes to the colors you purchased. They are all on my palette and I love them. I found that I love adding raw umber to my shadows, mountains, and even a bit in the sky when I am painting dramatic skies. You are a great Artist and Teacher!
Thank you! I like to start out a painting more desaturated and select focal points for the most dramatic saturations. Raw umber and ivory black help out in this methodology.
i went to oils from acrylics and its like driving a honda and your pal gives you the keys to his porsche for the weekend and says...try not to kill yourself.
I like the enthusiasm about your new paints because I’m the same whenever I get fresh new art supplies. Oh boy, it’s always like christmas when I order something from internet and have to wait them to be delivered, I become a 6 years old kid all over again. That’s why I love art haul type videos, they are so exciting to watch lol I’m an admirer of Rembrandt’s transparent red oxide too, really awesome color. It makes the most beautiful and easy to work with black color when mixed with ultramarine blue, super useful for dark tones and shadows, definitely prefer it over natural burnt sienna. Would love to see your complete palette someday! By the way I have to say I’ve never seen someone with more cool looking dreadlock hair than yours, it definitely suits you and gives you a really badass charisma. Piercing and tattoos are even more lit 🔥 Liked it!
I love YOUR enthusiasm! Thanks for the encouragement, we're having a great time making these videos! Glad to have your good energy in this community! Stay tuned for the next one, I think you'll like it!✌
I buy online from Jerry's since they have a Jerry's store about a 30-minutes drive away, they have most paint brands in open stock on the shelf. Empty tubes are great to have in the studio; pre-mixed neutrals, tinted grays, etc....
Thanks for sharing your goodies. Today I picked up 6 tubes of paint as I’m moving away from grinding my pigments. Hmmm we don’t need Kings Blue but Yes. I have fun with it.
Also, for those that are worried about Cadmium and other c@ncer inducing paints (that is how Bob Ross got c@ncer) there IS safe alternatives that you cannot tell the difference with!
Great video-I’m also a HUGE Sap Green fan, love the advice to use with TR Oxide- thanks. As an advancing oil painter, still learning, it was an aha moment for me to realize the importance of transparent colors, Sap being one of them. The intense almost black you can achieve with transparent colors was astonishing to me. I wish more artists like yourself would point that out for new painters- thoughts?
Understanding the pigments on your palette is so crucial for growing as a painter. Each pigment is so unique, and can be used in very particular ways. With that being said, It is hard to express every quality and use of each paint, but I think it is good to know generalities among pigments so that you can see an effect happening on your own canvas. If you lack the language to describe what is happening, sometimes it can be near impossible to see the effect of a specific mixture. This is why having a mentor or a teacher is crucial to expediting technical development.
I just found your channel and have been watching your videos with interest - you definitely know your stuff. I wanted to mention, and you may have figured this out by now, that Michael Harding has phased out Zinc White and removed PW4 from all of the mixed colors which previously had it. I think they made this change around 2018, but no doubt stock with PW4 still existed a couple years ago when you made this video, and may still be available today. I have the King’s Blue Light and it is now just PW6 and PB29. I never used it when it had PW4, so I can’t compare the opacity. I know that in 2018 Michael Harding said that they were looking for a more permanent replacement for the Zinc, but using Titanium for the time being. No doubt other manufacturers have King’s Blue in their line ups, but some of them use Cobalt Blue or even Phthalo Blue, so it wouldn’t be the same. Gamblin does have a “Radiant Blue” which is just PW6 and PB29, and it is a nice convenience color, but lighter than the MH King’s Blue Light.
I do have a question, I really love Michael Harding paint for its colour vibrancy, fluidity and huge efficiency and was wondering how do W&N artist and Rembrandt tubes compare in those aspects? Thanks
Winsor and Newton and Rembrandt are great paints. I think it's all about how you use them, as they can be immensely powerful and beautiful given the right technique. Richard Schmid and Daniel Sprick are two painters that used and use W/N and Rembrandt. If they are good enough for Dan, they're certainly good enough for me!
U gotta love a good shipment from Jerry’s! Even just the quality and design of the shipping box adds to the enjoyment of opening it… Hey I’m no expert whatsoever more of a pigment nerd that paints on occasion when I actually make time but I have read and heard from experienced, knowledgeable artists that zinc has not been found to cause archival problems as long as it’s less than 25%. As you stated, since white does have a uniqueness to it visually and it also has its own working properties (as with all single pigments), it actually can have some benefit being added to titanium white. It can help with the absolutely overpowering tint strength that titanium can have. Specifically when lowering the value of a color. It makes it look chalky (which is why lead white is the best for color tinting. You can’t tell that white has been added but with titanium you generally can). But zinc is added to some titanium whites for that reason. It makes it more usable. In many ways. With tinting and it helps with the stiffness and kind of dryish feel that titanium has. Sometimes one may prefer straight titanium, for whatever reason they might have. But as far as I know, zinc truly does not cause any negative effects when mixed in at lower concentrations. The problems that have been made known to us in modern times are generally referring to the use of zinc in place of titanium. Which many old paintings did use. Straight zinc white no titanium. Before they knew of its problems. But I think it kind of became exaggerated like a wives tale over the years that you shouldn’t touch it to your canvas. So don’t be afraid of paints that have zinc in them. I’m sure that zinc is probably a reason that you do like that kings blue. It acts a bit more like lead in its value lowering quality. In fact, you can even use straight zinc white from a tube just for mixing into colors. You might get some effects that you surprisingly like. And think about it, Michael Harding is no joke he wouldn’t put zinc in it if it was a problem. You don’t even need to worry about using that kings blue soaringly. Because that tube probably only has like 15-20% zinc. (I could be talking out of my ass but I’m pretty sure🤣) So even at full strength, kings blue, nothing else, you should still be safe archivally. Best regards! EDIT!! - So, I saw the comment stating that pw4 was removed from Michael Harding paints. Shows how much I know. But, I would imagine it was more of a demand thing. Unless of course there was too much pw4 in his paints but I kinda doubt it. People just probably didn’t want to see that “pw4” on the back. Now I have to look into it. But I’m still confident that 20% of zinc added to mixtures is safe.
You seem to be very knowledgable on the subject. If you have not already, I would recommend you reach out to George O’Hanlon for clarification on this subject. He owns Natural Pigments and has a great Facebook group called Painting Best Practices.
@@tannersteedart Right on. I’ve actually watched a handful of his talks between him and his wife on UA-cam. To be honest a good portion of the information that has stuck with me was from Jason Walcott on his channel Jason Walcott Fine Art. It’s a shame because he stopped making videos a few years ago now. But he had a great way of communicating his knowledge in a real sort of way which was very interesting to me and out of many of the creators out there, I really like his way of thinking regarding safety and pigment characteristics, etc. many people have fears about certain pigments and while there are risks with some, many of the fears are overblown. Especially regarding subjects such as lead white, etc. That kind of stuck with me. It was probably his influence that made me into more of a pigment nerd. I find it fascinating and I probably have spent more time just tinkering with paints, pigments and mixes than I have anything else. I dig your channel as well. Keep it up. I hope to get some brushes wet this winter. Thanks!
Have you tried Williamsburg Kings Blue? It doesn't contain Zinc, so it probably handles differently: PW6, PB29, and PB15.3. Probably a bit grittier than you like.
You are wrong about Zinc white. Few studies show it is strong in mixes and did not crack. The cracked paintings from the past are due to 100% Zinc white in the ground layer, as well upper layer passages close to 100% Zinc white. Zinc alone is indeed not a good idea, but mixes 50/50 are fine. Also Zinc, PW4 is almost always present in Titanium whites because it didn't really harm the structural integrity, but helps a lot with drying times.
Great video! Michael Harding oil paints are simply marvelous. I'd be so happy if I could buy a 225ml tube of Cremnitz White in walnut oil off somebody since they don't have any shops here in Canada lol
You will have to go to an event where they are selling them so we can buy that tube together! I'll be at the portrait society of America conference in DC, PlEinair conference, and the Oil painters of America conference next year as well. Michael Harding should be there.
@@tannersteedart I'd love to go but am unable to travel right now due to health reasons unfortunately :( That's why I was hoping to find somebody I could purchase it from directly
@@tannersteedart the tube does not say but it smells like linseed oil. Thank you for the tip about zink. I also liked your tip on another video about pronounced brush strokes on the bright colors (light side) and smooth strokes on shadows or dark side. Tips, tricks and encouragement. I'd like a video on peinair painting as I have trouble with values when painting outdoors . Thanks.
@@tannersteedart I use it to mix mysterious plant colors like sage brush. Or blue spruce. Great water colors too. I’m sure you’d get amazing skin tones too. And in a sky at sunset.
I've got an almost identical color from mixing emerald green, cerulean blue and titanium white from a Mexican brand named Atl Óleos. They are VERY inexpensive and some of they have quality compared to winton, other colours not so much, but if you ever come to Mexico you should grab some Atl oils
You're right, as long as you don't have gamsol on your skin, the oil shouldn't pass through your skin. It's gamsol/ solvent that is what makes cads toxic on skin.
That first crack of a new tube of color... magnificent!
🤌👍👍
I totally agree with you about Kings Blue. I discovered it by accident about three years ago and I am in love with it. We have very similar almost identical preferences when it comes to the colors you purchased. They are all on my palette and I love them. I found that I love adding raw umber to my shadows, mountains, and even a bit in the sky when I am painting dramatic skies. You are a great Artist and Teacher!
Thank you! I like to start out a painting more desaturated and select focal points for the most dramatic saturations. Raw umber and ivory black help out in this methodology.
You're like an excited kid at Christmas. I love it.
Keep it upppppp, you beast. This video made me hungry for colors
Lol, you've got to try kings blue and naples yellow! They're such great shortcuts!
i went to oils from acrylics and its like driving a honda and your pal gives you the keys to his porsche for the weekend and says...try not to kill yourself.
The difference is truly insane!!
Thanks for all your informations on every piece of the tubes bro 🙏🏾
Loved this video, have you tried to mix a kings blue? Any suggestions for that
Love your channel Tanner!!!
Thank you! I am so glad you're enjoying the content!
for me transparent red oxide is the same as raw sienna; best is from rembrandt. there are many iron oxide pigments, from light ochre to black
I like the enthusiasm about your new paints because I’m the same whenever I get fresh new art supplies. Oh boy, it’s always like christmas when I order something from internet and have to wait them to be delivered, I become a 6 years old kid all over again. That’s why I love art haul type videos, they are so exciting to watch lol
I’m an admirer of Rembrandt’s transparent red oxide too, really awesome color. It makes the most beautiful and easy to work with black color when mixed with ultramarine blue, super useful for dark tones and shadows, definitely prefer it over natural burnt sienna. Would love to see your complete palette someday!
By the way I have to say I’ve never seen someone with more cool looking dreadlock hair than yours, it definitely suits you and gives you a really badass charisma. Piercing and tattoos are even more lit 🔥 Liked it!
I love YOUR enthusiasm! Thanks for the encouragement, we're having a great time making these videos! Glad to have your good energy in this community! Stay tuned for the next one, I think you'll like it!✌
@@tannersteedart looking forward to it! Also, subscribed! Keep up the good work friend
great video. i love kings blue too. I make it by mixing Rembrandts transparent white and ulramarine blue
Fun video. You have such great tips!
Thank you! Just filmed another one today, so stay tuned and ring the bell to be notified for when it comes out!
I love ultramarine blue with titanium white for sky’s
I buy online from Jerry's since they have a Jerry's store about a 30-minutes drive away, they have most paint brands in open stock on the shelf. Empty tubes are great to have in the studio; pre-mixed neutrals, tinted grays, etc....
Jerrys is my favorite!
i love zinc white, it's the only white i use.
I ordered some of that titanium white by your recommendations from your other video!
It's incredible! I hope you enjoy.
Thanks for sharing your goodies. Today I picked up 6 tubes of paint as I’m moving away from grinding my pigments. Hmmm we don’t need Kings Blue but Yes. I have fun with it.
I've thought about grinding my own as well. Do you find that particular colors are a good place to start, perhaps titanium white?
Also, for those that are worried about Cadmium and other c@ncer inducing paints (that is how Bob Ross got c@ncer) there IS safe alternatives that you cannot tell the difference with!
Great video-I’m also a HUGE Sap Green fan, love the advice to use with TR Oxide- thanks. As an advancing oil painter, still learning, it was an aha moment for me to realize the importance of transparent colors, Sap being one of them. The intense almost black you can achieve with transparent colors was astonishing to me. I wish more artists like yourself would point that out for new painters- thoughts?
Understanding the pigments on your palette is so crucial for growing as a painter. Each pigment is so unique, and can be used in very particular ways. With that being said, It is hard to express every quality and use of each paint, but I think it is good to know generalities among pigments so that you can see an effect happening on your own canvas. If you lack the language to describe what is happening, sometimes it can be near impossible to see the effect of a specific mixture. This is why having a mentor or a teacher is crucial to expediting technical development.
Sap green is very versatile. Chrome oxide is good as well, though is toxic.
I just found your channel and have been watching your videos with interest - you definitely know your stuff. I wanted to mention, and you may have figured this out by now, that Michael Harding has phased out Zinc White and removed PW4 from all of the mixed colors which previously had it. I think they made this change around 2018, but no doubt stock with PW4 still existed a couple years ago when you made this video, and may still be available today. I have the King’s Blue Light and it is now just PW6 and PB29. I never used it when it had PW4, so I can’t compare the opacity. I know that in 2018 Michael Harding said that they were looking for a more permanent replacement for the Zinc, but using Titanium for the time being. No doubt other manufacturers have King’s Blue in their line ups, but some of them use Cobalt Blue or even Phthalo Blue, so it wouldn’t be the same. Gamblin does have a “Radiant Blue” which is just PW6 and PB29, and it is a nice convenience color, but lighter than the MH King’s Blue Light.
I do have a question, I really love Michael Harding paint for its colour vibrancy, fluidity and huge efficiency and was wondering how do W&N artist and Rembrandt tubes compare in those aspects? Thanks
Winsor and Newton and Rembrandt are great paints. I think it's all about how you use them, as they can be immensely powerful and beautiful given the right technique. Richard Schmid and Daniel Sprick are two painters that used and use W/N and Rembrandt. If they are good enough for Dan, they're certainly good enough for me!
@@tannersteedart will have to try them out too
U gotta love a good shipment from Jerry’s! Even just the quality and design of the shipping box adds to the enjoyment of opening it… Hey I’m no expert whatsoever more of a pigment nerd that paints on occasion when I actually make time but I have read and heard from experienced, knowledgeable artists that zinc has not been found to cause archival problems as long as it’s less than 25%. As you stated, since white does have a uniqueness to it visually and it also has its own working properties (as with all single pigments), it actually can have some benefit being added to titanium white. It can help with the absolutely overpowering tint strength that titanium can have. Specifically when lowering the value of a color. It makes it look chalky (which is why lead white is the best for color tinting. You can’t tell that white has been added but with titanium you generally can). But zinc is added to some titanium whites for that reason. It makes it more usable. In many ways. With tinting and it helps with the stiffness and kind of dryish feel that titanium has. Sometimes one may prefer straight titanium, for whatever reason they might have. But as far as I know, zinc truly does not cause any negative effects when mixed in at lower concentrations. The problems that have been made known to us in modern times are generally referring to the use of zinc in place of titanium. Which many old paintings did use. Straight zinc white no titanium. Before they knew of its problems. But I think it kind of became exaggerated like a wives tale over the years that you shouldn’t touch it to your canvas. So don’t be afraid of paints that have zinc in them. I’m sure that zinc is probably a reason that you do like that kings blue. It acts a bit more like lead in its value lowering quality. In fact, you can even use straight zinc white from a tube just for mixing into colors. You might get some effects that you surprisingly like. And think about it, Michael Harding is no joke he wouldn’t put zinc in it if it was a problem. You don’t even need to worry about using that kings blue soaringly. Because that tube probably only has like 15-20% zinc. (I could be talking out of my ass but I’m pretty sure🤣) So even at full strength, kings blue, nothing else, you should still be safe archivally. Best regards!
EDIT!! - So, I saw the comment stating that pw4 was removed from Michael Harding paints. Shows how much I know. But, I would imagine it was more of a demand thing. Unless of course there was too much pw4 in his paints but I kinda doubt it. People just probably didn’t want to see that “pw4” on the back. Now I have to look into it. But I’m still confident that 20% of zinc added to mixtures is safe.
You seem to be very knowledgable on the subject. If you have not already, I would recommend you reach out to George O’Hanlon for clarification on this subject. He owns Natural Pigments and has a great Facebook group called Painting Best Practices.
@@tannersteedart Right on. I’ve actually watched a handful of his talks between him and his wife on UA-cam. To be honest a good portion of the information that has stuck with me was from Jason Walcott on his channel Jason Walcott Fine Art. It’s a shame because he stopped making videos a few years ago now. But he had a great way of communicating his knowledge in a real sort of way which was very interesting to me and out of many of the creators out there, I really like his way of thinking regarding safety and pigment characteristics, etc. many people have fears about certain pigments and while there are risks with some, many of the fears are overblown. Especially regarding subjects such as lead white, etc. That kind of stuck with me. It was probably his influence that made me into more of a pigment nerd. I find it fascinating and I probably have spent more time just tinkering with paints, pigments and mixes than I have anything else. I dig your channel as well. Keep it up. I hope to get some brushes wet this winter. Thanks!
Have you tried Williamsburg Kings Blue? It doesn't contain Zinc, so it probably handles differently: PW6, PB29, and PB15.3. Probably a bit grittier than you like.
I have not!! But I can not wait to pick up a tube to try it out. Thanks for the tip!
You are wrong about Zinc white. Few studies show it is strong in mixes and did not crack. The cracked paintings from the past are due to 100% Zinc white in the ground layer, as well upper layer passages close to 100% Zinc white. Zinc alone is indeed not a good idea, but mixes 50/50 are fine. Also Zinc, PW4 is almost always present in Titanium whites because it didn't really harm the structural integrity, but helps a lot with drying times.
Good to know. I'd refer to George O'hanlon for more information.
Great video! Michael Harding oil paints are simply marvelous. I'd be so happy if I could buy a 225ml tube of Cremnitz White in walnut oil off somebody since they don't have any shops here in Canada lol
You will have to go to an event where they are selling them so we can buy that tube together! I'll be at the portrait society of America conference in DC, PlEinair conference, and the Oil painters of America conference next year as well. Michael Harding should be there.
@@tannersteedart I'd love to go but am unable to travel right now due to health reasons unfortunately :( That's why I was hoping to find somebody I could purchase it from directly
The Rembrandt Kingsblau is made with pb28 / pw6. Should be ok then?
Yes, that should be better. What oil do they use?
@@tannersteedart the tube does not say but it smells like linseed oil. Thank you for the tip about zink. I also liked your tip on another video about pronounced brush strokes on the bright colors (light side) and smooth strokes on shadows or dark side. Tips, tricks and encouragement. I'd like a video on peinair painting as I have trouble with values when painting outdoors . Thanks.
oh may Gad his hair! haha! so funky!
🤪
@@tannersteedart 🤣
Zinc white is best only as a watercolor paint. It sucks for all other mediums! At least that is my experience.
Gamblin’s cobalt teal. I find it most useful.
I'll have to try that one out! Thank you!
@@tannersteedart I use it to mix mysterious plant colors like sage brush. Or blue spruce. Great water colors too. I’m sure you’d get amazing skin tones too. And in a sky at sunset.
I've got an almost identical color from mixing emerald green, cerulean blue and titanium white from a Mexican brand named Atl Óleos. They are VERY inexpensive and some of they have quality compared to winton, other colours not so much, but if you ever come to Mexico you should grab some Atl oils
Cads in paints dont get absorbed into the skin.
You're right, as long as you don't have gamsol on your skin, the oil shouldn't pass through your skin. It's gamsol/ solvent that is what makes cads toxic on skin.
I love this guy but I confess I wonder what that hair is supposed to signal.
🥹
you look like the guitar master guthrie govan
I had not heard of him before your comment... Not going to lie, I can see a resemblance! Lol thanks for that..
a
B
The most boring colours are most used colours..period😂
The eye is in the beholder😉
Good paint should be nothing but pigment and oil.
Technically you're correct
Like this guy. Has got no "edge" and gets to the point. I lose interest with the waffle from some others.