[Aquanet] orphans in the palette

[NitaLeland]

Great suggestions, Annette. I would add just two suggestions to that: first, don't use rose madder genuine in Daniel Smith. It isn't a nice color, in my opinion,  although I generally love DS paints. The other is to be careful about glazing with cerulean, as it can leave a hazy finish. Unless that's what you're going for.

Nita

Nita Leland
nita at nitaleland.com
www.nitaleland.com
http://nitaleland.blogspot.com
  ----- Original Message ----- 
  From: Annette Compton 
  To: Patrick Davis 
  Cc: Aquanet The_digital_Brain 
  Sent: Friday, November 06, 2009 9:31 AM
  Subject: Re: [Aquanet] orphans in the palette


  Great question, Pat. 


  For me, watercolor is interesting because of the various properties of the pigments, not just the hues. Cobalt Blue is a staple in my palette because it is a liftable transparent. It also granulates well and some brands have a more sedimentary quality than others. I love the way it glazes and mixes softness into a variety of triads. The liftable triad I enjoy for a delicate play of color in Winsor & Newton or Daniel Smith pigments is Aureolin, Rose Madder Genuine and Cobalt Blue.


  As for Cerulean, that one can be great for a finish glaze because it is more opaque than many watercolor pigments. Often manufacturers use a white in it so it has a thickness and opacity that lowers light. I like it for water and some skies—just not the brilliant clear blue ones where I prefer my thalos or French Ultramarine. A similar hue to cerulean but with a better body is Sennelier's beautiful "Cinnerous Blue", also known as Bleu Cindre.


  Dioxinine Violet—great staining color that glazes fabulous blacks. I often mix it with Thalo Green for a luminous black that knocks your socks off.


  Have fun with your new found friends, once orphans. And if you don't find you still don't like them, I'll buy all your remaining tubes of these fabulous colors!


  Annette


  On Nov 5, 2009, at 6:11 PM, Patrick Davis wrote:


    Hi, gang.


    Getting back at painting after a long layoff causes me to examine what I am doing... and with what. Looking at my palette, I realize there are certain colours I never or almost never use. Most notable for me are two blues, cerulean and cobalt, the former neglected because it is chalky and the latter because to me it seems gutless. I'm sure some of you do use these, so maybe you'd share with me what you use them for?


    Another orphan is dio purple, but it is shunned for the opposite reason: it does not play well with others.


    Any comments on these?


    cheers
    pat
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  Annette Compton
  Compton ART
  PO Box 162
  Woodstock, VT 05091
  (802) 457-2020
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