Paul Ingbretson Demonstrates Premixing Colors on the Palette

[@larrymarshall9454]

This is an example of the adage that a picture is worth 1000 words. This vlog clarifies so much what you've said about color notes and "searching" for them. Thanks sooooo much.

[@mairibudreauartnaturally4259]

Hi Paul, Thanks so much for the demo. You answered my question! That is the premixing I meant; to match colour notes, not premixing colour strings. Thank you for going to the trouble to set this up and show us - much appreciated. It was easy to understand how your viewpoint differed from the camera. Best, Mairi

[@deanwhite6064]

Watching all the videos in order, this was helpful. Love the idea of adjusting and comparing the notes on the palette

[@PaulIngbretson]

Glad to hear both! :)

[@louisemuelhaupt1055]

Awesome demonstration Paul ... thanks

[@jimk4570]

Wow, thanks Paul, this is very helpful. What a process you go through. I am currently taking Camille Przewodek's online course in painting wooden blocks in sun and cloudy days. I think she studied under Hensche.

[@partingmist8550]

A picture is worth a thousand words. I needed to see that so I can tweak how im laying my colors on the pallet a bit. Also I was tripping myself up by doing drawing , I was trying to draw the floating points in there proper color from the start. Now I will set the palette before dealing with the first points and angles. Great stuff Paul thanks a million. Something about seeing the Red pile of color with its own redder ,bluer, and yellower version- seeing the yellow pile with its own yellower,bluer, and redder versions- and like wise with the blue made it more clear to me.

[@PaulIngbretson]

I am very glad to hear about this, PM!

[@heyihan9071]

What an excellent lecture and demo. Just perfect for where I'm currently at with the disciplines of value, chroma and colour. Thanks.

[@PaulIngbretson]

Glad it was helpful!

[@AidenCassaroArt]

Glad I found this channel.

[@brostonmash9556]

Woooow, the heavens have opened and thine master has revealed himself with paint .

[@silvahovhannesian4762]

Thank you!

[@canvasengineer]

Im a digital painter who tries not to color pick off of my painting for a note. The issue is i have to recreate the note, which i suppose has been an excellent excercise in observation but it is tedious. Now that i know traditional painters are really able to relay back to the same note the way a digital painter would by picking from what they already have, i can feel less worried about the possibility of letting the tools pull the weight.

[@allenvoss7977]

What I benefited from was , trying to find your color on the pallet first working side-by-side with colors before you put it on the canvas. I will use this system. Thank you !

[@PaulIngbretson]

Glad I could help! Definite gives you greater control

[@thefordezmo]

Amazing. Do you carry on this note adjustment technique into other stages of the painting or only setting the palette? As in, are you adding note adjustments in this very same way during the second skin stage or what changes in later on in the process?

[@PaulIngbretson]

Yes, although you become more efficient with the amount of time you have into the picture. less 'pig in poke'

[@RonToto555]

Thanks so much for the demonstration. When you said you're brushes were dirty if this was a real painting how would you have cleaned them? I have heard you say that you don't like to use turps and i know of other artists who clean brushes in non drying oil. Thanks again

[@PaulIngbretson]

Just meant that the one I had in my hand had other dark pigment in it. If I need to, in the process of working I simply wipe it with a towel. I don't object to turps if you clean it out thoroughly though I would just use linseed oil while painting if the towel isn't enough.

[@kevinrice6245]

Thanks Paul! This is very helpful. It definitely helps me to better understand what you mean when you talk about hitting the color notes in relation to one another and not just trying to copy the colors. How though do you get over the white of the canvas messing with your perception of the colors and values? I tend to have a lot of trouble at the beginning because of the bright white messing with my perception of the colors. They tend to look wrong at first even though they may actually be pretty close. I sometimes find myself trying to correct a color based on this false impression and later realize it was a mistake and I have to go back and fix it.

[@PaulIngbretson]

Hi Kevin, Welcome. Forget who I am quoting but someone of value said that one of our most important skills is that of seeing just the things you are thinking about. Like when isolating the major effects to be able to see the arabesque (figure created by that group) or when looking at just the reds to get them right to each other. After this part and before filling the canvas I place the key color notes side by side with their edge quality expressed and compare them right through the white of the canvas. You are possibly still too literal about what the notes represent and not tuned to what they do to each other.

[@kevinrice6245]

New England Ateliers Of Drawing and Painting Thanks for the reply. I think I get what you’re saying. Yes. I do think I tend to be too literal. I’ll have to try to focus more on comparing just the colors to each other and try to ignore the white if the canvas.

[@jackmontmeat9173]

HI Paul, I was just wondering if you could keep working on this painting for a few more episodes and talk about the process? Also, I was trying to tell if that was ivory black on the far left of the palette? How do you use ivory black in a painting, and how do you feel about Monet not using it during most of his career? Thanks

[@PaulIngbretson]

Hi Jack, Really didn't set up a 'painting' but I can proceed to make some of the key 'joints' ... Would rather actually have a decent still life to work from if I am to push it further. Does look like a viable approach to demonstrating: doing this in short shots like this. I have found black in Monet but I understand his sometime rationale since our spectrum doesn't include it. It works better, what he does, if you aren't mixing colors AT ALL on the canvas. Broken color. I alluded to preferring to be able to mix the dark reds as dark reds initially and not struggle to overcome blues. By the way, I am not a 'simple' adherent to Monet any more than were the Boston School Painters or Sargent, say, but finding best ways of getting what I see on the canvas with all the needs considered including those related to surface, edge quality, atmospheric flatness, etc.

[@jimqartworks]

Hi Paul, thanks for the awesome information and teaching, is the color palette your using for your portrait/flesh colors? thanks

[@PaulIngbretson]

Exactly and without exception or addition. Outdoors we add permanent green and sevres blue for their heightened intensities in those colors. The model is that every area consists of the effective combination of varying degrees of red, yellow and blue. My palette is designed to be able to achieve highly intense colors as well as weaker ones like flesh tones. That is simply a management problem. Hope this helps.

[@greggreen6532]

Have you done a start to finish video yet? Please !!!! I'd like to see all the info stitched together then go back and watch all the videos over again. Thanks for all this; you are approaching demi-god status. Thank you.

[@PaulIngbretson]

You are funny, Greg. The GBA Timelapse on youtube is being turned into something more like that but no assurances when it will be available. Know it's needed.

[@canalcerrado2433]

Thanks! My only issue is you have an old masters palette 😊 which is brown and a white canvas which is white (impressionist) the idea if having a tone canvas is so you match your wood palette . Usually that was the case as the masters worked from middle tone, to add lights and darks they didnt think of color visually but more simbolically and relationally...by the science ofperception and after images which occur all the time and the tricks of relations wouldn’t be better to have a white palette to match the white canvas from the go? The color will always appear darker on your lighter canvas and lighter on your dark palette. Or you have a secret method?🤔

[@PaulIngbretson]

I have used many and find I like the middle value of a wood palette. This is one thing you just get used to. Once the canvas is covered the white question would disappear in any case. No secrets. :)

[@MakhdoomSadiqKhan]

definitely enjoyed that

[@robhead22]

That was great!! Thank you!

[@PaulIngbretson]

You're welcome!

[@BizRasam]

Would not help to tone your canvas for better judgement from your dark palette?

[@PaulIngbretson]

That's reasonable but I find my eye easily adjusts to whatever value palette I use. Might better use a white palette than a dark canvas if you like not dimming your undervalue.

[@nickfanzo]

I’d like to see more painting in action videos.

[@scottscott9150]

That's all everyone wants.