Limited Palettes

[@DerBingle1]

This is by far the best discussion of limited pallet on the internet. Once again, learned a lot. Thank you professor!

[@walcottfineart5088]

Thanks for such a nice comment and for watching! :)

[@DerBingle1]

This is my favorite mixology lesson. It made me remove a lot of tubes from the table into the "rarely used" bag. Some of them were on the table so long that the brand changed the design of the labels more then once.

[@walcottfineart5088]

Thanks so much for watching and for the very nice comment! :) But don't feel you have to remove tubes unless you really want to. Limited palettes aren't for everyone, each artist should find what works for them.

[@Dr10Jeeps]

I love your videos Jason. You are so talented, knowledgeable, and unassuming. Keep them coming sir......I look forward to them.

[@walcottfineart5088]

Thanks so much for the nice comment! I'm so glad you've enjoyed my channel. :)

[@sejanashines]

12:45 THANK YOU for the visual and verbal explanation of the split primary palette! Appreciate it

[@walcottfineart5088]

I'm so glad you found the video useful! Thanks for watching. :)

[@kevincase2473]

Best description I’ve seen on the palate that I use, plus earth tones. Thank you!

[@walcottfineart5088]

Glad you enjoyed it :) Thanks for watching!

[@muhlenstedt]

The video I most needed! It will bring clarity to my palette and to my mind, I can hardly wait to experiment with these colors tomorrow.I do not know how I have survived as a beginner painter before knowing your channel.I had a lot of information before , but everything was flying around my head.All solid knowledge about color and its application i am accumulating now, I have received from you.THANK YOU!!!

[@ROXCANADA2023]

Excellent video thank you again Jason. You are so calmed and humble, it is a pleasure listening to you

[@walcottfineart5088]

Thanks for watching and for the nice comment! :)

[@1sacoyle]

Back when I was teaching, I recommended the 6 color paint palette for my students to purchase. As you have demonstrated in this video it is the best and most practical palette to work with. I wish paint manufacturers would box paint like this as starter sets to get beginners off on the right foot. You might want to do a follow up video expanding on this palette by explaining color bias in paints and why if the 2 colors you are mixing have all 3 primaries, such as in the case of ultramarine blue and cad yellow medium you end up with a de-saturated color as a result. The bias in paint is tricky and can really mess up your color mixing if you are not aware of it. THANK YOU FOR THIS VIDEO!!!!

[@walcottfineart5088]

Thank so much for the nice comment and for watching! I'm glad you enjoyed the video so much :) I do have a video talking about the color bias in mixing as you mentioned, You can view it here: kzbin.info/www/bejne/qqCxd2tthtN0o8ksi=mw5Cg8GKfL_0RSRQ

[@burak5601]

What a coincidence! I just completed and bought all of the essential colors for my limited palette today. It took pretty long for me to decide which colors I should buy and took even longer to replace my student grade paints with artist grade paints. Since there is no ‘perfect’ primary color I use a split primary palette, one warm and one cool biased color for each primary color, with addition of titanium white (safflower) and 2 browns (one for warm brown like burnt sienna or burnt umber, mine is tranparent oxide brown, and one for cool brown like raw sienna or cassel earth, I chose van dyck brown). I’m pretty satisfied with the gamut I can mix with these colors. Oh I commented before watching because I was so excited by the coincidence :D didn’t see you’ve already mentioned same things I said :P By the way I find cadmium lemon (py 37) too pale for cool yellow choice, I’d prefer cadmium yellow lemon (py 35) or lemon yellow (py 3). I think py 37 makes color mixes a little bit dull and it looks like it has a little bit white mixed in it.

[@walcottfineart5088]

Thanks for watching and for the great comment! I am probably using Cadmiun Yellow Lemon (PY35) here...I know there's a greener version but it's not common. Most paint makers just call it Cadmium Lemon to differentiate it from Cad. Yellow Light. Any lemon yellow will work for the split primaries. :)

[@davefaulkner6302]

For the split primary palette, I would substitute Burnt Umber for Black. Burnt umber is more versatile as you can make warm/cool blacks by mixing with Ultramarine and it can be used to de-saturate other colors esp in landscapes. Convenient secondaries that I prefer include chrome green, dioxazine purple and cad orange. Diox is a good start for landscape shadows.

[@jeffmoodie6144]

It seems that most often I get to watch the best videos AFTER I discover what I am looking for so they are more of a confirmation rather than initial information. After watching so many other video tutorials explaining the artists’ palettes and playing around with them I settled on three primaries, burnt umber and white. Then I have added a second blue due to starting with ocean scapes. I have a pair of alternate yellows a pair of alternate reds with a green, purple, orange hiding in my paint bag along with a few other random “I like this colour” tubes. My plan is to just keep the first 6 tubes out and use the others only if I need to. I have swatched out the combinations to be able to see what I might expect, varied their tints, added medium for transparency tests. So finally down to actual painting.

[@walcottfineart5088]

Sounds great!! Your set up is a good one and the less ovewhelmed you feel by color choices the more easily your painting process will flow. Once you get to know your palette it will become second nature. Thanks for watching! :)

[@AmyFlannigan27]

I have to say that from watching I'm very intrigued by Zorn's palette. I kind of like the idea of total minimalism. And what he could make of it is stunning

[@walcottfineart5088]

I know what you mean. Someone pointed out that he may have also included some green on his palette from time to time, but I'm not sure. Thanks for watching!

[@meercreate]

@@walcottfineart5088 he often added Veridian and Ultramarine when needed, among other colors

[@NarsilRenewed]

Excellent video as always, thank you very much!

[@ComeHobbyWithUS]

I am so glad I found your youtube channel. You explain things in such an easy to understand way. I haven't painted in oils for years, having gone to strictly acrylic. However, I've decided I want to go back to oil painting. Your videos are inspiring me, reminding me, and also informing me of new products on the market. I've never heard of a split primary palette...but it makes so much sense. Thank you for all your useful information.

[@walcottfineart5088]

Thanks so much for the nice comment and for watching! I'm glad you found my video useful. Happy painting! :)

[@charlesreidy2765]

Excellent palette demonstration. It's amazing how many colors you can get from it. What is the color in the lower lefthand corner of your palette?

[@liliboulanger6615]

I have been painting for 2 years now. when I start work, usually I have 2 shades of each color : 2 different reds, 2 different blues and 2 different yellows. If need, I add some secondary colors: green, usually olive green and orange ( I have only cadmium orange, there is no so much choice on the market I guess), no violet cause it's too expensive. And this palette really works!

[@walcottfineart5088]

Yes! You are basically using a split primary palette :) Thanks for watching!

[@AMBELLINA_X]

Really enjoyed this video as it helps me to refresh my colour theory (my brain is a sieve haha). I definitely agree with the split palette! For me, I avoided cadmium colours to start with as they are generally expensive. Instead, I went with high key modern colours, and actually used Gamblin's palette suggestion. I use Hansa Y Light, Napthol Scarlet, Quin Red, Phthalo Blue, Manganese Blue Hue. I still need a warm yellow, Hansa Yellow Medium, but I get by with mixing Hansa Light with a touch of Napthol Scarlet for now haha! I also have Phthalo Emerald for mixing with Quin red to make chromatic black (and also because I just LOVE the colour), Diox purple, Raw Umber, Burnt Sienna, and of course Titanium White.

[@MariaRevArt]

Niamh Gabrielle I use Pyrrole Red instead of Cadmium Red and I only caved on the Cadmium Yellow (student grade) because I needed an opaque yellow.

[@nickfanzo]

Cadmium colors are worth it. They are more archival.

[@MariaRevArt]

Nicholas Fanzo Aside from the yellow, I actually wouldn't spend the money on Cadmium Red, because I wouldn't use it enough to justify the cost. And Pyrrole Red works just fine for the few times I use that over Quinacridone Rose. Thanks though.

[@AMBELLINA_X]

@@MariaRevArt Totally agree. I don't NEED my works to be archival right now. The modern colours I have right now are still very archival, just the napthols are a little less. (Plus as a disabled person, I definitely cannot afford to drop £20+ on a tube of paint hahaha!)

[@MariaRevArt]

@@AMBELLINA_X I just go with pigments that have good and excellent lightfastness ratings. There is one Napthol Red that has good lightfastness, but the Hansa's are supposed to be lightfast as far as I know. And I love my Quinacridones. You could also try a Pyrrole Red instead of the Napthol Red. The Pyrroles are very nice and have the opacity of a Cadmium pigment. I don't sell my work yet, so I can't justify paying an average of two to three hundred dollars on one tube of paint. That's just crazy.

[@stormmoster]

There is a self portrait by Anders orn in the National Museum where he has the four colours of the Zorn palette on his palette, but researhers have been able to identify more colours i used. Analyses have shown he used cobalt blue, chrome oxide green and cadmium yellow. I assume he used the Zorn palette for portraits so people saw him use those colours, whiile it was less common that someone saw him paint landscapes.

[@icarusmoth5713]

I love the range of colours like in Henry Raeburn's work. All I use are white, yellow ochre, Prussian blue, scarlet lake and burnt umber. I start by preparing a black with blue, umber and lake. It dries quickly too.

[@walcottfineart5088]

Thanks for the great comment! Yes, every artists should find what works best for them. Thanks for watching! :)

[@C.C-e4n]

I personally decided to go with the CMYK palette along with titanium white and burnt umber. Haven't started my painting journey yet but I'm excited to try the palette out soon :)

[@walcottfineart5088]

Great place to start! You can always add more colors if need be. Thanks for watching :)

[@nickfanzo]

All I use is White Ultramarine blue Alizrian crimson Cad yellow Burnt umber.

[@walcottfineart5088]

Thanks for the comment and for watching! :)

[@ibanez2010]

My current - burnt umber, ultra blue, viridian green, cad red light, cad yellow light, yellow ochre, and white. About the only thing I can't do is pure violets. Not super limited I guess, but way slimmed down from what it used to be. Love all your content.

[@walcottfineart5088]

Thanks so much for the nice comment! Whichever palette works for you is the right one. I don't use any tubed violet on mine either as I find I can mix an excellent one if needed. Thanks for watching :)

[@billgrandone3552]

I really like this! I'm getting back into painting after a long hiatus. But could you comment on the best transparent colors to use for glazing in both warm and cool colors.

[@walcottfineart5088]

I'm so glad you enjoyed this! Thanks for watching and for the nice comment. :) There isn't really a "best" color for glazing since it depends on the color scheme of your painting, but two really good ones would be Transparent Oxide Red (warm) and Ultramarine (cool)

[@burak5601]

Bill Grandone yellows: all arylide (py3, py74 etc.) and benzimidazolone colors (py65, py154 etc.) are transparent or semitransparent. I suggest py3 (lemon yellow or hansa yellow light) or py154 (azo yellow light) for ‘cool yellow’. Py65 and py150 are both great transparent-semitransparent substitutes for warm cadmium yellows, you can use it as your warm yellow for glazing. Warm reds: napthol red (pr112), scarlet lake (pr188) or pyroll scarlet (pr255) Cool red: simple all quinacridone or lake colors will do. I highly suggest madder lake deep (pr264), magenta (pr122) and quinacridone rose (pv19). Avoid of using alizarin crimson (pr83). Cool blue: pthalo colors (pb 15:1,15:3,15:4,15:6, pb16) or prussian blue (pb27) but i highly recommend you cerulean blue (pb36) or manganese blue hues. Warm blues: ultramarine blue (pb29), cobalt blue (pb28). Cobalt blue may change up to the brand and pigment manifacturer although it is mostly considered as a ‘middle’ tone blue, you can use it as cool blue as well.

[@muhlenstedt]

@@burak5601 thank you for the information.I have the impression that cobalt blue and cerulean blue do not possibilite good glazes, but it can be a manufacture qualitiy.Following a suggestion from this channel, I began to use idanthrone blue, (sorry if I have wrote it uncorrectly and I do not have the pigment nummer by hand now),called Delft Blue by some brands.It is neutral and transparent.A viewer recomended syntethische indigo also...there are so many pigments out there, I am grateful for having this kind of guidance here.

[@MarkWhippy]

I think Zorn used lamp black or ivory black though right? I heard ivory black has more blue than other blacks so you can get more blueish colours if you use it in the Zorn palette.

[@walcottfineart5088]

I think it was Ivory Black? You are correct that Ivory Black is cooler and is more bluish in tone. Thanks for watching! :)

[@davefaulkner6302]

Regarding the Zorn palette, you cannot use any black. Zorn used an Ivory Black, which is very blue especially when mixed with plenty of white, and can be used as a blue when mixing. Other black pigments do not have this property and will not work.

[@walcottfineart5088]

Yes, you are right! Sorry if I neglected to specify that in the video. Thanks for watching :)

[@maxlinesartist]

Another real good tutorial thanks Jason appreciated

[@r.a.8582]

Excellent semi limited palette idea. Thanks alot!

[@walcottfineart5088]

Glad you like it! Thanks for watching :)

[@MariaRevArt]

Interestingly enough I like my palettes on the more limited side with regards to colours, but allowing for more earth tones. My basic palette is Tit White, Cad Yellow (Lt or Med), Quinacridone Rose, Ultramarine Blue, either Burnt Umber or Trans Red Oxide and a side of Yellow Oxide. I rarely reach for my Pyrrole Red or Black and find Phthalo Blue to unweildly. I pretty much have Pyrrole Red for Zorn palette studies. So interesting how preferences can vary so much.

[@walcottfineart5088]

Thanks for watching! Yes every artist has their own tastes and there is no one "right" palette. I always encourage experimentation to see what you like!

[@MariaRevArt]

Walcott Fine Art I couldn't agree more. At least having tried the split primary palette I know I personally don't need it. And your suggestion of Quin Rose/Magenta instead of Alizarin Crimson is a major reason I choose the colour as my original second red, which quickly became my go-to. It's such a lovely colour.

[@jordih1000]

Thank you very much, Mr. Walcott, for whom we begin, is a very very useful and very useful information and very well explained

[@walcottfineart5088]

Thanks for watching and for the nice comment! I'm so glad you found my video useful. :)

[@edwardjohn5]

Great and informative video! Greetings from Indoensia. I have a question though, what if I have the 2 blues, but only the cool red and yellow? Could I still get my way around?

[@walcottfineart5088]

Yes, you will mostly be OK except for making a good bright orange. An orange made from the cool red and yellow will be slightly dull. Thanks for watching!

[@edwardjohn5]

@@walcottfineart5088 Thank you so much!

[@rafanadhil]

Hiii thank you so much for the video!!! it really helps, but unfortunately i already bought my paints, I bought primary magenta, primary yellow, and primary blue from georgian and I also got my cad yellow medium, cobalt blue, and cad red light from winton, also white and burnt umber and I don't buy black because I really rarely use black. Should I bought anymore colors?

[@walcottfineart5088]

Great question! Actually you are fine. You bought what is called a "split primary palette" which is the one I recommend. Those paints you listed should be plenty to give you what you need. Good call! Thanks for watching :)

[@gingersam851]

Concise and clear, as usual.

[@walcottfineart5088]

Thanks for watching! :)

[@masterpainters1706]

Interesting as always. For some reason KZbin hasn't been showing me your new videos for a while, I think I must have unsubed by accident. So I'm glad to be watching your again. Hope you're OK and I'm really glad to see how many new subscriptions you have since I last looked. Great channel that oh and the music is ace, always makes me smile

[@walcottfineart5088]

Glad to see you back! Thanks for watching and for the nice comment. :) I'm glad you enjoyed this!

[@zak4641]

💖🌻💖🌻💖🌻💖🌻💖🌻💖 hi Mr Walcott thank you for the video, i'm just wondering if could i switch the quinacridone magenta into the alizarin crimson !

[@walcottfineart5088]

Yes, but just be aware that Alizarin Crimson is far less lightfast than Quinacridone and not as clean of a mixing color. But you should use the palette that works for you. Thanks for watching!

[@zak4641]

ok thank you so much Mr@@walcottfineart5088 🤗😄😊🥀⚘🌷🥀⚘🌷

[@InLawsAttic]

Thanks so much! Excellent lesson~great!

[@adelehammond1621]

i think of pthalo blue (green shade) being cool since it makes pretty great greens and not so great purples and i see ultramarine as a warm colour since it makes pretty good pruples

[@walcottfineart5088]

Yes, well it's partly perception so there are arguments for both ways. It doesn't really matter as much as knowing how to use the colors to get the mixes you want. Thanks for watching! :)

[@chrisgriffith1573]

Very helpful. I could see the palette I had, and didn't know it!

[@walcottfineart5088]

Glad it was helpful! Thanks for watching :)

[@richiejourney1840]

Well done! Thank you for quashing the “warm/cool” blue conflict! LOL. The important point is that your viewers know what system your using so that they understand what you are saying.

[@walcottfineart5088]

Thanks for watching! I suspect there will always be two camps on Ultramarine vs Phthalo being warm or cool. LOL

[@patriciozazzini8302]

I warn you the colors could be very vibrant depending the brands.use pyrule red and the pinks are more vibrant same with the ochre.depends on the brands.

[@walcottfineart5088]

Yes, the color can vary from brand to brand. The best way to get familiar with the paints you like is to create color charts so you know how they mix. Thanks for watching! :)

[@patriciozazzini8302]

@walcottfineart5088 thanks. I have to finish my charts.

[@bazzinator7477]

excellent video, thanks. I do have a question though. I use a pallet very similar to your "split pallet" but I use cobalt blue instead of phalo blue. what are your thoughts on this? I also sometimes add yellow ocher as well. I should mention the reason I try to stay away from phalo blue or phalo green is because to my eye they make colours that look fake to me.

[@walcottfineart5088]

Thanks for watching and great question! Cobalt Blue is somewhat opaque and is more of a "neutral blue". It's not as greenish as Phthalo Blue so you won't be able to get quite the same range with Cobalt Blue specifically when mixing blue greens and bright yellow greens. The most important thing to remember is to use what works for you. If your palette is giving you the results you need, there's no reason to change :)

[@PeterChorao]

Can we all just get along on which blue is the warm/cool please? :)

[@walcottfineart5088]

If only! LOL Thanks for watching!

[@crystalthursby2808]

I'm so 😕 confused with warm and cool, loved the video!

[@walcottfineart5088]

@@crystalthursby2808 Thanks for watching! I'm glad you enjoyed this video.

[@richiejourney1840]

Crystal Thursby Temperature issue is a relative thing. It’s whatever you associate a color with and how it feels to you. Alone-color has no temperature-it has to have a context in which to put it. Science uses the visible color spectrum and says Red’s are the coolest where as the Violets are the warmest. But in Nature it can be as different as night is to the day. Winter to Summer, Spring to Fall, the look of a cool ocean compared to the look of a warm ocean, a “warm” Summer Green “warmed” in Light to a “cool”-yet still “warm”-Summer Green in Shadow and yet as the “cool” Morning colors transform to “warmer” colors as the Day progresses to it’s warmest point then starts to cool and the SAME colors progressively become “cooler”. Does the color change or is it just the luminance that changes making the color SEEM to change? Well, the “color” changes but the “hue” remains the same as long as no new type of light with a different hue is introduced. So in my opinion, in Nature, what changes is the luminance factor (light to dark)-for the most part-and the local Hue only changes in color by this factor outside of the Hue changes due to the Seasons and Geographic Locations. Temperature can be both complicated and simple...it all depends on how complicated one wants to make it or not. This makes it a system that is confusing to use when using it to describe Hue Bias but in general, most of us agree that colors that tend to show Green to Blue Violets seems to be cooler than colors that tend to show Yellow to the Red Violets. Thus for me, I split the wheel straight through Yellow and Violet as a GENERAL guideline to color Temperature and the lighter and brighter the color, the “warmer” it is, and the duller and darker the color, the “cooler” it is. The Season and Time of Day and the Actual Local Color of a specific objects of the subject dictates my starting Hue’s and then you can adjust them however you like to make them “warmer” or “cooler” to YOU! You can simply use tints, tones, shades, and direct compliments to adjust the light (warmer) and shade or shadow (cooler) OR you can shift the actual Hue in any direction that seems warmer or cooler to YOU! But IF you are going to use “Temperature” to describe “Hue Bias” then YOU need to decide which is your warmest color on the wheel and which is your coolest and stick with it but you will always need to explain that system to those you are talking to about Hue Bias so that you are on the same page and understanding. A “Split Primary” system is great to explain Hue Bias and can be done without association of “Color Temperature” but alas, the “Temperature” has become an integral part of it. What you simply need to understand is that every Hue has an certain influence of another second “primary” in it more so than the third “primary” and we tend to call the “primaries” RYB or CYM or RGB for light and vision (it is a fact that your eyes are alway’s influenced by all 3 “primaries” of RGB in differing amounts of wave length stimulation. Magenta is the “color” our brain “sees” when Green waves are NEAR zero influence.). What you need to learn is where your Hue/Color pigment lives on the wheel and follow the simple rules of the following: 1. In General, the further apart 2 mixing pigments are apart from each other, the greater the chromatic saturation costs (duller darker colors will be mixed between them) provided that the 2 pigments are not “true compliments” where in you just neutralize your color without shifting hue. 2. Is just the opposite of #1. The closer they are together the less amount of a chromatic saturation cost and you will get the lightest and brightest chromatic mixes between them that is possible with those 2 specific pigments. I say “in general” because there are pigments in the Yellow to Green range that do not follow a lesser chromatic rule in a decreasing curvature but rather an increasing one gaining it’s highest chroma in the YG area. If you don’t know where your pigment “lives” on your color wheel and how it will react with other pigments then I suggest that you visit handprint.com and look at the CIE color lab charts, etc.,. But you don’t really need that. You should make your own color charts and see what you get in various proportional mixes with your pigments irregardless of the system you are using to determine Bias or “Temperature” but a GREAT place to start is with Mr. Walcott’s “Split Primary” limited palette where you know the Bias and the chromatic results. You can easily determine the Bias of a pigment visually with most pigments and nailing down the ones you are unsure of involves experimentation mixing. Have fun with it.

[@walcottfineart5088]

@@richiejourney1840 Thank you for that WONDERFUL comment! Handprint.com is a great site. Thanks for watching!

[@rezahosseinzadehnasser993]

Very useful. Thank you. Perhaps you can change black by burnt umber which gives more lively black when mixed with ultramarine blue. just an idea.

[@walcottfineart5088]

Yes you could certainly use the Burnt Umber in place of black! I use Chromatic Black (Gamblin) which is a mixed black made from complements so it has that same effect. Thanks for watching! :)

[@richiejourney1840]

Reza Hossein many blacks can be made but then again a tube black can be “adjusted” to be the same things we look for when mixing other blacks. Most of them are already “lively” being that they do have a hue bias. The black that is being mixed with BU and Ultra simply seeks a chromatic neutral. From a “colorists” perspective that is a “dead black” so how is it any more “lively” than any other black-especially if it is adjusted with other hue’s to become “lively”? It’s “lively” because it is not proportionally mixed to neutral as many pigment blacks are close to. The question is which black (mixed or tube) I want to use to achieve the color that I am looking for? Do I need to adjust the black or is it neutral enough to achieve the tone of a specific hue color I want? This is why Gamblin and Williamsburg make excellent neutral chromatic black and grey’s so that one can easily achieve straight line neutral hue colors or easily make hue shifts without monkeying around with the already biased tube black pigments. Black does not need to be lively but just used correctly, and if it needs to read more of a specific higher hue chroma-thus “lively”-then that is correct, but if it needs to be more neutral and “deader” then that is correct. It all depends on what the Artist see’s themselves. Are they going for “realism” in the color like a Realist or are they going for “color” for the sake of color as a Colorist usually does or are they going for representation of value differentiation like most artists do and could care less if the hue shifts a tiny bit one way or the other as long as it still reads a darker color within the same hue family? I say add Burnt Umber and others like them to the basic palette because these are essentially convenience pigments that are used a lot but they should not be added right away...they need to be learned how to mix them so they understand where they live on the wheel and how to use them besides knowing how to make them in a pinch, and they NEED to learn how to use black period even when they can be taught to make black with RYB that even my 8 year old can do but black is an essential learning pigment and cheap and needs to remain non variant in the beginning.

[@walcottfineart5088]

@@richiejourney1840 Thanks for that excellent and well thought out comment! :)

[@jeffhreid]

Great video Jason. Super accessible information. Thanks for sharing

[@walcottfineart5088]

Thanks for watching! I'm glad you liked it.

[@chriswhitehouse8982]

I'm still trying to figure out how to mix a bright warm yellowish green? Didn't see that in this video...

[@walcottfineart5088]

You could try cadmium yellow light with a touch of phthalo green. Use more yellow than green to keep the warmth. Thanks for watching!

[@lumi3726]

Hi Jason,first I want to say thank you for making those awesome videos.I learned a lot from them . I started painting acrylic and watercolor last year so I know how the quality of the paints can make a huge difference.Right now I’m a beginner oil painter, I started by using Winton oil paints and I bought Bob Ross paints (I bought Indian yellow paint but just one day later I found you said Indian yellow tends to fade over time)ㅜㅜ. I want to try to buy some Blue Ridge paints as you said they have premiered quality and artist level price. I was thinking to buy Q magenta (PR122), cobalt blue (PB28),yellow orche(PY42), phthalo blue green shade(PB15:3), phthalo green yellow shade(PG36),and ultramarine PB29, maybe I should think about get a cadmium lemon yellow too. My student grade paints leaking oil a lot and that annoyed me. I will be more than happy if you can take your time to answer it.

[@walcottfineart5088]

Thanks for the nice comment! I'm glad you enjoyed my video. Your color choices are very good, but I would suggest adding a Cadmium Yellow Lemon and a Cadmium Red Light to that list. That way you have a warm and cool of each primary. With Yellow Ochre as your only yellow you will have far less range of colors you can make. Having a warm red like Cadmium Red Light is essential for for painting warm still life objects, portraits and landscapes. With the Cadmium Lemon, you could even forgo buying any greens as Cadmium Lemon and Phthalo Blue GS will make a bright green. Although the Phthalo Green is convenient to have on hand, it's not necessary. Hope that helps! :)

[@lumi3726]

Walcott Fine Art Thanks a lot ! I’ll add cadmium red light and cadmium lemon yellow .Btw do you think Blue Ridge is better than Lukas 1862?

[@walcottfineart5088]

@@lumi3726 Blue Ridge colors might be a tiny bit more pigmented, but I actually really like the Lukas 1862! Blue Ridge paint tends to be slightly "looser" whereas the Lukas 1862 is more buttery. Why not try a small tube of the same color from each brand and see what you think? Go for an inexpensive color like yellow ochre that you'll use anyway. :)

[@lumi3726]

Walcott Fine Art Thank you for answer my question. Blue Ridge offer free shipping for $150 or more which is so easy to achieve ,I noticed Lukas 1862 cadmium red light is PO20, cadmium red deep is PR108

[@walcottfineart5088]

@@lumi3726 Yes, PO20 and PR108 are both genuine cadmium pigments, they are just different shades. I would stick with the Cad Red Light as the "deep" shade tends to gray down a lot when you mix white with it.

[@antonioj358]

¡Thank you very much for sharing your knowledge with us!. Sure you spent a lot of time, effort and money to get it. This is exactly what I've been looking for!. I like the way you explain, and the info about the pigments and their origin. By the way, what happened with the polo in the "Green Oil Paint" video?. If it's green, it's a kind of blueish green or my monitor has a horrible calibration.

[@walcottfineart5088]

Yes, every monitor is a bit different. Also, my camera doesn't reproduce color that well. I still hope to upgrade someday! Thanks for watching and for the nice comments! :)

[@acaciarogersart]

I just refer to my blues as natural blue and power blue

[@richardoakley6560]

I think i will try a version of what Tischler uses... at least for landscaping.

[@walcottfineart5088]

Yes, his range is a great one for making most of the colors you need! Thanks for watching! :)

[@richardoakley6560]

Walcott Fine Art btw, i’m glad to see you posting more again.

[@desotopete]

I really like these color experiments.

[@walcottfineart5088]

Thanks for watching! :)

[@shaindarkart5412]

great video as always. jason, what can you tell me about michael hardings vine black.....i bought a tube but not sure if its warm or cool or how i should use it on my pallet.

[@walcottfineart5088]

Thanks for watching! I have never used Michael Harding's Vine Black so I can't really tell you anything about it. The best way to figure out how it works is to start by tinting it out with white. That will show you if it leans towards warm or cool. Consider making a color chart with some of your other colors mixed with the Vine Black...that will give you an idea of its range.

[@farzadmajidi3200]

There is a disappointing misconception about the Zorn palette. Zorn like many artists did use many colours on his palette but he produced a number of portraits with the limited palette. look at that painting mentioned at 7:19. someone tell me how could you mix those vibrant greens with yellow ochre and black?!

[@walcottfineart5088]

Thanks for watching! Yes, I've heard he occasionally did use other colors, so I'm not sure about that particular painting. It can be hard to tell from a photo. It's amazing though the range that you can get from that palette.

[@user-pr3ip6em1i]

I havnt seen any new videos from you later. Are you doing o.k. your my favorite youtube artist.

[@walcottfineart5088]

Thank you so much for such a kind comment! I am doing fine. I stopped making videos during the pandemic and never got started again. I hope to make more someday but I'm not sure when yet. Thanks for watching! :)

[@keykey1401]

Thank you 🙏🏻 can you please explain about lights and shadows and mid tone!!! 🙏🏻

[@walcottfineart5088]

Thanks for watching! :) Are you asking about values? I can do a video on that.

[@JackRainfield]

Such a great explanation! Thanks very much!

[@walcottfineart5088]

I'm so glad you enjoyed the video :) Thanks for watching!

[@Kleinbiology]

This was very gapped Jason! I have been using the zorn palette for quite some time but tomorrow I am going to try the split primary! Thank you

[@walcottfineart5088]

Thanks for watching! I'm glad you enjoyed the video.

[@richardoakley6560]

have you already talked about premixed versus pure pigments?

[@walcottfineart5088]

I think I've mentioned it in various videos but that might make a great video subject to explain it more in depth :) Thanks for watching!

[@venetiancat]

Would LOVE to see a comparison of Vasari's Ancient Earth Color Set www.vasaricolors.com/collections/artists-oil-colors/products/ancient-earth to the Rublev counterparts. WONDERFUL information, really love the Split Primary Palette concept, never heard of it until you explained it on another video, and it has been enormously helpful, even to an experienced painter like me. Thanks once again Jason, much love from New Mexico USA!

[@carlosroque9039]

Thank you for sharing this information. I have a question, can i use french ultramarine blue?

[@walcottfineart5088]

Yes! French Ultramarine is basically the same thing. It's just another name for Ultramarine. Thanks for watching! :)

[@beachlife2968]

Another great informative video. Thanks!

[@chriswhitehouse8982]

Which one or two earth tones would you recommend adding to the split primary palette?

[@walcottfineart5088]

As a minimum I would say Burnt Sienna and Burnt Umber. But Yellow Ochre is useful as well. :) Thanks for watching!

[@nikkinikki4403]

Jason could you help me understanding cool and warm please? I tried to guess before you said and got the bottom blues wrong. Which is typical of my errors. I think with more instruction I could get it

[@richiejourney1840]

Nikki Nikki that’s because temperature does not actually work for hue bias. You need to stop thinking Temperature and think Hue Bias: is there more Red in that Yellow than Blue? Is there more Blue in that Red or more Yellow? Is there more Red in that Blue than Yellow? To make the Temperature work as an imperfect “bias” tool we must realize that Yellow Red to Red Violet seems to be “warmer” than Yellow Greens to Blue Violets. If you split the color wheel in half straight through Yellow and down straight through Violet then anything on the YG to BV is “cool” and anything on YO to RV is “warm” where Yellow is the “warmest” and Violet is the “coolest”. When you deviate from a “pure” yellow then you go either “warmer” (yellow with a red bias) or “cooler” (yellow with a blue bias). When you deviate from a “pure” violet you go either “warmer” (that is violet with a redder influence) or “cooler” (violet with a blue influence). You can “cool” and “warm” a Hue simply by making it darker or lighter as well. In this way Black is coolest and white is warmest. Most people think in terms of Day and Night...warm/cool. As for the Yellow being warmest and violet the coolest is based on the old Black Metal being heated in a Black Smiths Fire where a purplish hue shows up first and progresses through red to yellow then white (but this has been taken further in modern science where Blue Blue Violet is considered the hottest but most people do not compare temperature to color as does science and mostly compare it to nature and relate it to many things). Any way, Ultramarine is a cooler blue than Phthalo Blue. Ultramarine has a Violet bias or as we say a Redder influence but it does not cross the “chosen boundary “ of Violet and into the Red Violet. Ultramarine is a BV and even “seems” to “feel” cooler than a Phthalo to most people and this is also why the Designers also hold Ultramarine to be cooler. In this way ALMOST ANY HUE can have an opposing “temperature bias” (the exceptions being Violet and Yellow where they are neutrally treated). The Yellow and Violet are taken care of by the direction of bias being either on the “warm” or “cool” sides of things. If we did not do that then Yellow has no where to go but to cool and Violet no where to go but to warm. This is essentially Mr. Walcott’s system and is divided this way on most used color wheels. But you can say whatever colors you want are the warmest and coolest. The principle is the same but it changes how one speaks of blue and it’s temperature direction. As long as you understand what system is being used and you understand what Bias direction the Blue is going you will be good to go.

[@nikkinikki4403]

Richie Journey thank you

[@adelehammond1621]

the way i think about it for example is the blue closer to purple(warm) or green (cool)

[@emmalouie1663]

zorn art is so beautiful, the palette on it's own is not inspiring, VERY interesting video, limited palettes might be a good idea for people who like to hoard paint and colors like myself

[@anonymousano3430]

How does one know that a given colour “ leans “ towards blue or whatever it leans towards. ?

[@walcottfineart5088]

Well, it just depends on comparing the color to others in the same range. For example a greenish yellow would lean towards blue and an orangey yellow leans towards red. It does take some practice to get really familiar with seeing color that way. If you are new to this, a color wheel might be a good tool to explain it better. Thanks for watching! :)

[@Cashious]

What are your thoughts on alizarin crimson to replace quinacridone magenta?

[@walcottfineart5088]

I don't recommend it! Alizarin Crimson is not permanent enough for long term artist use. This is a known fact, yet people still tell others to use it. If Quinacridone Magenta is too saturated for you, I would recommend Rembrandt's Permanent Madder Deep. It's a great alternative that's much more lightfast. Thanks for watching!

[@Cashious]

@@walcottfineart5088 thanks so much for the advice and quick response!

[@peterangel6463]

Thanks. What black are you using?

[@walcottfineart5088]

I am using Gamblin's Chromatic Black, but you could use Ivory Black if you have that. Thanks for watching!

[@kainatkhanbabar422]

You are great man

[@walcottfineart5088]

Thanks for the nice comment and for watching!

[@parisdblack1711]

Thank you. Very informative!

[@if7613]

Very nice video my friend! Thanks

[@justdefacts]

I'm confused by your reference to cobalt teal or cerualuen as the blue in the printers palette. Is the blue not meant to be pb28 which is cobalt blue in the range I use? I seem to recall you stating this one before

[@walcottfineart5088]

@@justdefacts I was referring to my video on "True Primaries" which mentions the offset printer's CMYK palette. You could use that for painting as an alternative to the traditional Red Yellow Blue primaries. In printing they use a color called Cyan which is close to Cobalt Teal and/or Cerulean Blue. Cobalt Blue would be the more traditional primary blue to use.

[@justdefacts]

@@walcottfineart5088 Thank you. The blues get confusing! My goal is to focus on seascapes and seaside scenes so getting a grasp of their use is important. I had a look through your videos to see if that is a topic you've covered since your teaching style is so straightforward but couldn't find one. Perhaps a future topic?

[@walcottfineart5088]

@@justdefacts Glad the video was helpful! Good idea about the seascape video! Thanks :)

[@acaciarogersart]

Is that a sock?

[@walcottfineart5088]

I am always using old worn-out clothes as painting rags! LOL Thanks for watching.

[@acaciarogersart]

@@walcottfineart5088 hahaha

[@joseluisrojasmontiel1468]

Have you ever used van dyck Brown? What about it? Thanks a lot

[@walcottfineart5088]

Thanks for watching! Genuine Van Dyke Brown (aka Cassel Earth) is not really made anymore. It was an organic pigment that was not that permanent. Modern "Van Dyke" browns are hues made from earth colors. :)

[@joseluisrojasmontiel1468]

@@walcottfineart5088 pr101 Plus black them?. I think that van dyck is burnt Siena or transparent Ted oxide plus black. Thanks

[@walcottfineart5088]

@@joseluisrojasmontiel1468 Yes, you can mimic Van Dyke brown that way, but the tubed Van Dyke browns are usually PBr7 which is a form of Umber.

[@joseluisrojasmontiel1468]

@@walcottfineart5088 pbk11 in old holland. Thank you . I hope some videos about pigment with less popularity. Excuse my English. Un salido

[@gilberthoste4315]

Thank You.

[@walcottfineart5088]

Thanks for watching!

[@ATINKERER]

Thanks! I learned a lot.

[@walcottfineart5088]

Great! I'm glad you found it useful :) Thanks for watching!

[@asharma6358]

Beautifullly explained.

[@shahzadqurashi7728]

Very nice video again , what should be the ideal color of pallete and why, please make us wiser!

[@walcottfineart5088]

Thanks for watching! There is no one right or "ideal" palette to use. The split primary I mentioned here can be very useful but in the end it's really up to the artist to find the colors that work for him or her.

[@richiejourney1840]

Shahzad Qurashi An all encompassing, most bang for your buck, strategically located pigments, STARTING secondary palette can be found in handprint.com but even the Artist/theorist and paint manufacturers who put it together even vary their own palette’s. Every Artist has their own tastes and needs like Mr. Walcott is saying.

[@shahzadqurashi7728]

Sir i mean what should be the color of pallete surface , white , gray like yours or brown?

[@richiejourney1840]

Shahzad Qurashi That depends. If your just looking at color itself or starting with a blank white canvas then I go with a white background palette. The purpose of a tinted background these days is to help you judge color VALUE. For me, the brown ones seem to be to dark and the neutral grey i like the most because it not only helps with value determination but effects how you see and judge your colors in a more neutral fashion instead of with a “brown” influence. Now you can-as I have done and still do-make a glass palette with interchangeable backgrounds. Why? It’s the influence of the reflected color surface mixing with the reflected color of your mixes, getting to your eyes. The different backgrounds under your clear palette helps you judge what your color is going to look like before you put it on the canvas. This is a major help. So the background for my painting starts with the same tinted canvas that I am starting with and eventually moves to the neutral grey one. In general though, I use the grey one. Do a simple color experiment which you can find in most color theory books: Paint several squares with various toned backgrounds that you use and might use. Then paint a dot or circle (whatever) within that painted square with a different color all along your background samples. You will see a definitive change. There are times I do this BEFORE my paint hits the canvas. Better on the palette then dealing with a problem on the painting itself. But since everyone see’s color in not quite the same way and not everyone has an issue judging value (most important thing to the eye) etc., a palette background is a simple matter of personal choice but you should note that most palettes these days are clear, neutral grey, or white with the brown wooden ones becoming somewhat rare but used a lot with more traditional painters. Could it be that they simply learned painting that way or is it because their backgrounds are usually a dull toned brownish color etc.? Or was the brownish wooden ones just a cheap and light and sturdy material issue in the first place and modern technology has just made them obsolete? I’ll let you research that and decide for yourself. There is just one thing that I can’t stand like many others can...working on a palette that is never cleaned off. I don’t know how they put up with a non smooth surface and all of that color confusion!

[@shahzadqurashi7728]

@@richiejourney1840 thank u so much for such a detailed explanation , stay blessed!

[@mauriceboucher2221]

Very informative!!

[@walcottfineart5088]

Glad you enjoyed it! Thanks for watching. :)

[@xxxorg]

WOW, I saw this one kzbin.info/www/bejne/eoqqmmRuipl3aq8 about limited palette a few years ago and I thought I was golden, then I run across you and that Zorn palette and I fall in love with another cool limited palette!! Thank you! I must now investigate this Zorn fellow!! OK BYEE!! Oh, and, what are your views on using burnt umber also, with all limited palettes?

[@walcottfineart5088]

Burnt Umber can be a great color for adding darks and neutral tones. Zorn was a genius, but I would find his palette too limiting for me personally. Thanks for watching!

[@mehdinadimi6241]

Would you please teach us a still life from beginning to end . The lemon or pomegranate would be great. I love the way you teach I am learning very much by watching your videos.🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏✌️🌍👌

[@walcottfineart5088]

Thanks for watching! I'm still trying to work out how to do a long video like that.

[@joseluisrojasmontiel1468]

Thank you!!!

[@walcottfineart5088]

Thanks for watching!

[@arammagied3266]

Thank you

[@walcottfineart5088]

Thanks for watching

[@nickfanzo]

Why chromatic black?

[@walcottfineart5088]

Thanks for watching! Chromatic Black is a mixed black, so it darkens colors in a slightly different way. Mostly it doesn't kill the vibrancy as much or make mixtures look dirty.

[@th-hannibal]

Walcott's recommendation starts at 12:43

[@walcottfineart5088]

Thanks for watching!

[@oilpaintsmixing]

صاحب این کانال کجاست

[@svenfigenschou7345]

Someone told me that a cool red and a warm blue makes the best purples

[@walcottfineart5088]

Try not to get too hung up on "warm" versus "cool". Those terms are relative and can cause confusion sometimes. The best way to think of it is, which two primaries contain the secondary color you are trying to mix. So for purple you would want to mix a red and blue that both already lean towards purple such as Ultramarine and Quinacridone Magenta. Thanks for watching! :)

[@canalcerrado2433]

The sock🤣

[@walcottfineart5088]

LOL! Yep, for an artist anything fabric is fair game as a painting rag! Thanks for watching. :)

[@canalcerrado2433]

Walcott Fine Art great idea, thanks for your color videos, changed many of the colors on my palette

[@walcottfineart5088]

@@canalcerrado2433 I'm glad you enjoyed the video!

[@JamieRobles1]

23:00 too late :D

[@walcottfineart5088]

LOL We've all been there! Thanks for watching :)

[@cristianoandrades]

Hey, I love your videos and I always learn about but I have a suggestion, please, loose the socks, it doesn’t belong in a professional video like yours. Cheers

[@walcottfineart5088]

LOL Thanks for watching!

[@johncowburn4444]

Your video looks to be good but I can't stand the background music ALL the time! My hearing isn't great and I am struggling to catch everything you say as the background music interferes with your voice. It just isn't necessary, if what you are saying is good info, that's all we need. I will persevere but please, please remove it!

[@walcottfineart5088]

Sorry to hear that. I've stopped using music in my more recent videos. Thanks for watching!

[@jameyatesmauriat6116]

You’re wasting so much paint

[@vasileiosdervenis5331]

Then when you paint.......don't..

[@richiejourney1840]

JameYates Mauriat be thankful that he is providing it to demonstrate for you and you don’t have to pay for it. But really it’s not that much paint.

[@HScorching]

For someone who has never painted before I would just recommend black and white oil paints. Reason being is that the person should learn about values first. Also, the person may not even like the medium. This will keep the cost down and less money wasted. Just get black and white, a set of brushes, canvas paper, mineral spirits, jar/s, and old rags or paper towels. For watercolor, it would be much different. I would just recommend one or two colors. Burnt Sienna, Payne's Gray, or Neutral Tint. No need for black and white watercolors because I personally don't use them at all. I use the white of the paper for whites and for black, I just mix my own and or try and get as close as possible to it.

[@richiejourney1840]

Fred Gregory Shtevensh Herbert what if they already know about Value’s from drawing or they already know basics of color from drawing with colored pencils, crayons, etc.? I see your point though. But you are assuming that they know nothing. With RYB and Bk and W they can learn it all and cheaply. One does not need to spend a ton to learn value and basic mixing and theory at the same time. Day 1 Value Scale and a Value painting(s) with a simple geometric shape like a cube. Day 2 we start with color.

[@bio-plasmictoad5311]

The best thing to do is just do it. People get caught up with all the technical sides of the medium and puts them off.