I am celebrating one-year anniversary of watercolor painting. Even in such a short time, I gained some experience, some of which surprised me a lot.
For example, I would never believe how much difference in results paper makes! At the moment, I am still balancing on the edge of price/performance rate, letting exclusive brands for later.
But what about paints? I love colors! Do I need to buy every existing tone? NO!
Today I’d like to share how my experience with color selection developed.
Yellow – most popular, most used
I used three full-pans of yellow in a year! Mostly because of mixing greens. After that I decided to add green to the palette, the yellowish-green to be more exact.
Anyway I consider practical having two yellow pans in the palette at the same time. One for mixing with blue and the other for mixing with red or separate use. Otherwise you will wash the pans and money too often.
Both of my yellows are cadmium lemon – not really cold, but certainly not a warm tone of yellow. Although it is nice to have a warm yellow to mix with red, it is horrible to get a nice green with it!
Originally, I had yellow ochre in the yellow scale. I won’t fill it anymore because it can be easily mixed just like orange.
Red – hell or paradise?
If the cold/warm definition matters somewhere, it is definitely red. I am not completely satisfied yet, but I am in the process of trying. On the warm scale of red I am currently using Ruby (PR 170) and it may be subject to change in the future. I am open to your experience and recommendation.
In general, warm tones of red are suitable to mix with yellow to get peach and orange tones, but it is almost impossible to get nice purple with it. Then you need a cold red, whether it is called rose or magenta.
I have Quinacridone Rose (PR 122) and I am extremely satisfied! It can be beautifully mixed with both blue and yellow, even if you don’t get a strict orange.
Blue – my source of green
As a person, I am not a fan of blue. I like turquoise and love everything green, and that’s what my paintings look like.
Originally, I bought only Ultramarine (PB29) and suffered from trying to mix a nice green. Impossible, because Ultramarine has a reddish tone inside. It is better to use it solo or with magenta/rose.
Soon I added Azure Blue, which is turquoise tone of blue (PB15+PG7). I love it solo and in the mix. There are beautiful tones on both, yellow and red (magenta) scale with it.
Today I added Cobalt Blue (PB28) to the palette, which will replace Ultramarine in the future. Cobalt Blue doesn’t have the reddish tone inside, so it is more suitable for mixing. Hopefully.
What’s left? Not necessary, but sitting there
Brown. Originally, I had umbra in my palette, but I was disappointed with its greenish tone inside. That’s why I used to mix brown from red and black. Today I added Mars Brown to the palette and we will see.
Violet. Easy to get it from Rose and Azure Blue. Anyway I added Quinacridone Violet (PV55) today – to complete 12 pcs and to try.
Black. As I said, I used to mix black with red to get browns, and black with azure blue to get misty green like for eucalyptus or sage leaves.
Gold. Metallic color of the Aztecs for special effects.
So, how many of colors do I really need?
Yellow in two pans, red and rose (magenta), azure blue for sure, cobalt blue perhaps. It makes 6 pans. The other 6 are for pleasure. It means you can get a huge number of colors even on a limited budget.
Then, you can spend the money for high quality paper!
In the picture above you can see factory color codes as well as the code of their pigments. The rest are mixed colors or better to say some of them.
Love and hugs,
P.S. Since beginning, I have been using the White nights brand of paints.