so very true

Awesome! Thank you!

Thank you! It's a pleasure to share this.

Thanks for adding this.

Thanks for that, Cheryl. Your comment made me think of song, "I'd Like to Teach the World to Sing (in Perfect Harmony). Same concept!

You are so welcome!

Thanks! It's a pleasure to do these.

Thank you! You too!

You're so welcome!

Glad you like them! Thanks for watching.

Wow, thank you! We, too, are amazed that we've done 300 of these Tips!

I'm so glad! Thanks for watching.

Thanks!

Thank you! 😃

Thanks!

Thank you for that, May!

Our pleasure!

Thank you! Cheers!

You’re welcome 😊

Glad it was helpful! Thanks for watching.

Yes!

You are so welcome!

I'm familiar with that one, but it doesn't not have the potential in paint that it does in ink.

Thanks.

Thank you for becoming a member!

It's good to get confirmation, isn't it!

You bet!

...however, burnt umber can be mixed with these "bare bones."

..whole heartedly agree.

Same to you!

Close, but a bit pale for a limited, bare-bones palette.

@@IntheStudioArtInstruction Thanks.

yeahh me too using W&N it's affordable and 5 colors works so well

The two blues give a broad range between blue that leans towards violet (ultramarine) and blue that leans towards green (thalo). Yes, the two blues, make available a more diverse range of color mixes when included on the palette with alizarin and a yellow. When we label tube colors according to their hue, then mix them according to what hues do to one another, we can find almost any color we want. So knowing that burnt sienna is a slightly lower-saturated orange, creating the orange with yellow and red, then adding enough ultramarine to it to slightly lower its saturation will give you a "burnt sienna".

I would not recommend student grade. Artist grade are on the whole a single pigment. Student grade are quite often a mixture of pigments to represent their Artist quality counterpart but using cheaper pigments to reduce the cost. That is where the problem comes in and why it is so easy to get "mud" with student grade colours. "Mud" is nothing more than the three primary mixed together creating the neutral "mud" result. So with student colours already having a cocktail of pigments to achieve the colour that is in the Artist quality, but that is a pure pigment, it doesn't take much to have a mess on your hands mixing student grade paints. In the Artist grade mixing two colours is mixing two pigments, predictable results. But in student grade mixing two colours could be mixing as many as 6 pigments, very unpredictable indeed.

@@PetrikNZ , great, convincing explanation. Thank you very much.

And once you explore its potential, you'll be surprised at how few colors you'll need to expand your palette of colors.

Thanks! And thanks for being a subscriber.

What's important is that we find what works for us.

Thanks for that input, Amy.

You are welcome!

You are so welcome!

No, Reza I wouldn't. Cerulean blue is much lighter and more opaque that thalo.

Very much the same. M. Graham and Winsor Newton acrylics have all these colors. Tube color names vary so much among all available brands of acrylics that I might be able to guide you if I know the brand you prefer.

@@IntheStudioArtInstruction i usually buy golden or liquitex artist grade

Always welcome

😊

You bet!

If it works, it works...

You're welcome!

Thanks for the congrats! About Prussian Blue, it is a lovely color, but I took it off my palette decades ago because I found that I could mix its equivalent. It can be mixed with any other pigment with differing results depending upon the pigment it's mixed with. It is one of those pigments that is preferred according to the artist's sensibility.

Thalo blue + alizarin crimson + a bit of yellow can come very close to black.

@@IntheStudioArtInstruction and it creates a much more interesting black than a black squeezed out of a tube.

Yes. The colors on my watercolor palette are very much like those on my oil palette. The except is there is no white on my watercolor palette.

I don't keep phthalo blue on my palette, but do find occasions when it's the blue to use. This kind of barebones palette is one of those, especially since my Rembrandt Viridian is not available everywhere.

zorn palette is mostly portrait based its incredibly limited it has its benefits but you can’t get strong colours as using the primaries but zorn palette has speed and easy to use

Let me add to Shri Vivaldi that the Zorn palette is wonderful for winter landscapes as well.

True. By adding white to ultramarine blue, you get very close to cobalt blue.

Not with the phthalo blues because they lean towards yellow so at best will give you a slightly neutralized purple. Let me qualify that by saying that I don't have experience with all those variations of Phthalo Blue, but the if the foundation pigment is phthalocyanine, one can expect it to lean towards yellow in hue.

Two reasons: these quinacridone colors are higher in saturation than alizarin, plus they are more light-fast than traditional alizarin.

Prussian blue is lower in hue saturation than ultramarine or thalo blue. On the color wheel it tends to lean towards the greens whereas ultramarine leans a bit towards the purples. It is not the ideal tube color to have if one is choosing just one blue because of its lower saturation. A better substitution for ultramarine would have been thalo blue because when alizarin is added to it, it can be made to lean towards the ultramarine hue range, though more neutralized. Darkening yellow depends upon whether the yellow leans more towards orange or green. At any rate, it darkens well with its exact complement or with a raw umber.

@@IntheStudioArtInstruction thank you for your advice. I am very grateful.

@@IntheStudioArtInstruction Thanks for the tip about using Raw Umber to darken yellow. I've tried everything, including violet (as complementary). I've struggled a lot with this, and your suggestion works great!

Thanks for watching.

Prussian blue is a bit less saturated than Phalo.

Paul, I've not used Ultramarine green shade, so can't answer that, but I suspect it will give you muted greens.

Thanks for pointing that out although I was trying to give a sequence that folks in all media might follow. Folks working in watercolor and pastels wouldn't be misting the canvas. I would be delighted to work with you in a private coaching session. By the way, we share the same birthday month.

@@IntheStudioArtInstruction and almost the same year

But that's not really so much fun.

Rosemary Series 274

@@IntheStudioArtInstruction Thank you so much for your reply!

The problem with the cheaper paints is that they are not pure color. The cheaper it is, the more likely it contains fillers to stretch out the color. I think Gamblin's prices are good and its quality is high. It's better to buy a few basic colors and learn to mix them for the colors you need. See Quick Tip 300 for my recommendations. Then go to the homepage, kzfaq.info , click on Videos in the menu, then click on the magnifier icon to bring up the Search bar, and type Color there, then hit your Enter key. That will bring up all the Tips I've done on color.

@@IntheStudioArtInstruction thank you 🙏🏻 I already follow your channel about 2 year your channel and afew more and i learn good from you bow to mix paint Thankyou

No pointers except to be aware that acrylics dry very fast, so you have to adjust your technique to that.

Keep your oil brushes well away from acrylics!

@@spoddie I inherited lots of expensive but used brushes. I have no idea if she painted with oil or acrylic. Can the brushes be used for acrylics if they have been used in oil but cleaned.

@@patsyjohnson3963 Short version, keep oil paints and their tools (brushes etc) and acrylic stuff separate. Brushes for oil painting are usually natural fibers which gives them their unique qualities of sucking up paint and releasing it, oil and the solvents are fine with these natural fibers. Acrylic paints are quite literally made of plastic and will coat all the natural fibers in oil brushes with plastic and ruin them. Also oil paint and oil paint solvents ruin acrylic paint. acrylics. Use synthetic brushes with acrylics, in my opinion cheap brushes are fine with acrylics. As Dianne said, they dry quickly, keep your brushes moist or you'll get a solid piece of plastic!

@@spoddie Thank you. Most informative.

Yes. It's a lovely palette to work with.

Very similar...you will hit the good range of RV-V-YG, but your chroma will lack in the RV-YR area.

@@richiejourney1840 Thank you for your reply. I mainly do landscapes, so the RV-YR in a lower chroma I think would still work. I wouldn't have to buy new colors just to try a Bare-bones palette and see how it does. Thanks again Richie!

Very close. The only hue you'd sacrifice is in the red range because Quinacridone Magenta leans towards red-violet.

@@IntheStudioArtInstruction Thank you Dianne for replying. Concerning the the Red values, unless I were to incorporate bright reds for flowers in the composition, I would be using desaturated reds in a landscape scenario. I'm definitely going to try out your Bare-bones palette and see how it works for me. Great lesson as always, Dianne. Thank you!

shadowstarr7 you are absolutely correct! As a natural Landscape, Still life, and portrait artist you can actually get away with Cad Red Med (preferably a more carmine or crimson paint though such as AC), a Cad Yel Light or lemon, and Ultramarine blue and white to meet 99% of the hue range needed in the natural ranges. I would add a convenience of burnt sienna or the umbers (and personally-though not needed- i am not afraid to use black-which is just a very low chroma blue usually). Thus, even if we can’t hit that brightest red or orange...we can make it read bright within the context of our painting (if we are not doing hyper realism)

People have different reasons for the pigments they use, so I think that would have to be answered by the folks making those choices.

Prussian is an adequate sub for Phthalo, although it is less saturated than Phthalo.

Thanks 🤗