I’ve found that it’s a good idea to periodically review the paints in my palette. Not only do I consider which ones I’ve made good use of and which I haven’t, but I also find it helpful to update my charts that show how they interact with one another. While doing that this fall, I made some discoveries that will help in my paint choices for the coming year. Among other things, I have found that there are several paints that could be dispensed with or be replaced with a more satisfactory alternative.
Of my five yellows, I found that three are very similar in color but behave differently in use. The yellow ochre, a semi-opaque that tends to muddy my mixes, will not be replenished when it runs out. The similar raw sienna is more transparent and poses less of a mixing problem. It provides a more subtle and slightly warmer underwash than the third similar color, quinacridone gold, which is stronger and more lively for mixing with other colors. New gamboge is also a rich, warm, more intense yellow that is good for mixing. And the bright, cooler Winsor lemon is needed for the lightest, clearest yellows applied over reserved white.
In the brown realm, burnt sienna is my standby, supplemented by burnt umber for my darkest darks (often mixed with indigo) and the more red-toned brown madder, which I also love to pair with indigo. I’ve tried sepia but found that that’s another color I can dispense with.
It has perhaps been a mistake to rely too heavily on the transparent reds—permanent alizarin crimson and permanent rose, more recently supplemented with the lovely quinacridone red and quinacridone magenta. Being transparent, these are fine colors for mixing, but I find the quin red a bit wimpy on its own. I need a good rich red to punch up a painting. A transparent scarlet lake is a new acquisition that I hope will fill the bill. It has a warmer cast than the cooler reds I’ve been using.
Though I have a purple (Winsor violet), I seldom use it, usually preferring to mix my own from the colors used elsewhere in the painting. This helps to maintain a sense of color unity throughout, rather than introducing an unrelated hue.
Of my blues and greens, Payne’s grey (which I consider a very muted blue) is my least used. Cerulean, being opaque, doesn’t blend well with most other paints (though permanent rose transforms it to the startling and lovely hue my father used to call “sky-blue pink.”) Cerulean is fine as a sky color but is largely limited to that use. And I find that the hue is very similar to that of Winsor blue (green shade), which is more amenable for mixing. French ultramarine blue and cobalt blue, on the other hand, are both workhorses and must-haves, as they are both useful for skies, water, shadows, and blending with other colors. The muted indigo (a premixed blue blend that can be subtle despite its powerful pigments) has become a personal favorite and almost indispensable to me. A new acquisition is Manganese Blue Nova, a Holbein paint, which creates a lovely range of greens when mixed in varying proportions with quinacridone gold. Though I haven’t used them as extensively, I enjoy the liveliness and mixability of my Winsor blue (green shade) and Winsor green (blue shade), from which I can achieve a good range of aquas and turquoises when blended together. Their transparency seems to lend them both to successful mixing with other colors. Permanent sap green has become another of my workhorses, as it is a good supplement to palette-mixed greens and is, in itself, easy to vary for great foliage.
I like the clarity and vibrancy of the transparent colors, particularly the quinacridones. And I’m less concerned now than I used to be about whether a pigment stains or can be lifted off the paper. So, as you see, as my tastes and needs change over time, I expect my palette selections will continue to change as well, both adapting to and contributing to the evolution of my work.