I’m a pro artist been painting for 40 years and this guys telling it true. All those saying I’d recommend are recommending poorer quality paints. Talens are ok if you’re using only them but they dull and crack after a few years, they are too shiny , use Daler Rowney student range and you will see Rembrandt are extremely over priced, Rowney student range are similar to talens artist range. Winsor & Newton Gamblin and Utrecht are the go too of exhibiting artists
I have a big tube of Cad Yellow Light on my studio but since experimenting with hansa yellow medium PY74, I don't see reasons to go back to cadmiums. I mean, yes, cads have more opacity out of the tube. But no one talks about the negatives of that. Hansa has such nice mixing qualities with dark colors that cadmiums just can't achieve. Cads yellows are like painting with yellow that has a little bit of white pre mixed with them. Its great if u want that. But for someone painting rich dark tones, a touch of cad yellow may cause if to go much lighter and greyer quickly then if u raise values with a hansa yellow. Also, In my experience, mixing a little bit of white with the hansa (20% white / 80% color) py74 negates all the lack of opacity, while maintaining the richness. So, idk, I certenly would present Cad as an option for begginners, but I would encorage them to at least experiment with hansa yellow since cads are not actually better in every way. I prefer hansas for my style anyway. The PY74 is a little more orange then Cad Lemon, so it will produce a little more saturaded and rich oranges, but be a touch duller on the greens. For me its totally ok because I would rarely need such vivid greens, but, if thats a problem, just keep a small tube of any phthalo in reserve, just for those instances, such as phtalo blue, phtalo green, phtalo green yellow shade, and you will be able to produce explosive acid greens hehe. My 2 cents
I recommend Talens Rembrandt's Permanent Madder Deep as alizarin replacement if you want a single pigment one. It's a strong tinter and almost the same hue.
Galena artist quality aren’t so great, they have a strange mix of binder and don’t mix well with other brands. Madder deep is much browner than alizarin, this is why people use madder along with madder , the pigments mix different, they even wash out different with different undertones. Gamblin is much better quality, I imported gamblin to U.K. because it’s the best . Talents are aimed at hobby artists with money to waste. Van Gogh range is not good but Rembrandt is similar to Daler Rowney student .
Thank you! This is great advice for an old lady on a tight budget who has taken up oil painting later in life. Simple is better for me. I have been frustrated with the “hues” which I bought because they are cheaper. You get what you pay for! Thanks again!
Love it. Limited palettes are the best choice for someone who is starting out, and you recommended really good colors. I’m currently using a split primary palette with some earth colors, 9 colors in total. Not a super limited palette, but the smallest number of colors that I’ve worked with so far.
I LOVE that you touched on some color theory. This is such a valuable video for anyone getting into oil painting and even artist that have been using oils for a while. Awesome!
These days, when I paint, it's more with watercolors. However, years ago when I was more into Oil Painting, once I was doing an exercise from a book and it recommended and earth tone palette: Yellow Ochre (Yellow) , Burnt Sienna (Red) , Ivory Black (Blue) + (Titanium White). I was impressed at the variety of hues that could be obtained and the ease of mixing colors. However, I thought that the Ivory Black was a bit lifeless, so I swapped out Ivory Black for Ultramarine Blue. I must have used this modified earth tone palette (Yellow Ochre, Burnt Sienna, Ultramarine Blue + White) for dozens of paintings. There are many benefits to using this combination: 1) It is easy to mix colors with such a limited palette, 2) they are almost always Series I colors, so they're inexpensive, and 3) they're all very lightfast. If you buy the 200ml tubes during back-to-school, winter, spring and summer sales, you can almost always get a great deal. Also 4) Ultramarine Blue and Burnt Sienna are great for making a wide variety of warm and cool greys.
Hey tanner. I hope you do not mind this personal question. Do you paint full time and make a living from it as well? I’d love to get some pointers from you on how to go about doing that. Watched all you videos, very cool stuff!
Great video. Can you do a video on how to mix a large amount of a particular colour ,say Parisian grey, to cover a large canvas as a background in a portrait?
I still have the Burnt Sienna when they used the Sienna earth. PR 101 is the chemical found in Sienna earth after the earth was burned and the pigment extracted. The original mine has not much of this earth left but the pigment is now factory made. Burnt Sienna artist quality should always be PR 101 , unfortunately even this brilliant pigment isn’t the same as the original earth, the tube I bought in 86 goes from a red brown through a flame orange to a pale yellow when glazed. But you are correct W&N make the best. Another go to used to be raw umber again from Italian soil but again it is not easy to find and the chemical version doesn’t have the same quality but W&N make the best as they had the longest experience making Raw Umber from that mine with green grey undertones to dark earth it was excellent for portraits or for painting cliff faces. Never buy oils with more than one pigment, instead look at the pigments included and use a mix of the equivalent paints to save money on unnecessary paint. Learn colours theory , it’s why Picasso sells and your 5 years old kid does not. 5 years olds make ‘mud’ Picasso was an excellent colourist.
Picasso was a shabby colorist. That’s why he spent years painting only in blue and his masterpiece, Guernica, was in black and white. He excelled in value, form, and ideas, and that’s why we remember him.
I'm a portrait artist and I use Winsor and Newton titanium white, yellow ochre, permenant rose, burnt sienna, brown madder and ultramarine violet for my skin tones. W&N smalt, vandyke brown and naples yellow are also staples for hair color variations
Using the water-mixable oils I can confirm that my 37ml cadmium yellow almost lasted for 2x titianium white 200ml tubes. Same for ultramarine blue, cadmium red went a bit faster. I also like raw and burnt umber. Raw is nice for its greenish tint.
Excellent!! I would like to use non-toxic paints and cleanup in a school setting with sensitive people. Could you please do a similar limited pallete/economical video for non-toxic paints, perhaps including water soluble oil paints that don't need terps, etc for cleaning.
CO represent! Do you go to the first Friday art walk at all? Is your studio in Denver? FUN FACT: Zinc Sulfide pw5 (not zinc oxide pw4), otherwise known as "Lithopone", is a barium sulfate/zinc sulfide co-precipitate and does not suffer from the embrittlement issues of zinc oxide pw4. It is transparent like lead white, but reads cooler like titanium. Rublev has it as its pigment name lithopone, williamsburg has it as porcelain white (though it's ground in safflower). YELLOWS: If you need even CHEAPER, and you dont mind your greens and oranges being a little dirty, go for Mars Yellow. It's a strong tinter, sometimes it is TOO strong, barely dented by a 1:1 mixture with Titanium white (in which case student grade may be an ok option), excellent lightfastness, and it drys quickly. Nickel Yellow Ted-talk: If you're intermediate with your color mixing (which I recommend for this pigment), for a bright yellow consider Nickel Yellow Titanate PY53. It's a weak tinter that tends to gray down in mixtures, which could be considered a negative, but makes for great flesh tones. If you need strong secondaries you can supplement it with a thalo turquoise and a warm red like pyrrol red/transparent red oxide. It is significantly cheaper than cad yellow (for reference: Williamsburg cad yellow is 30$, Nickel Yellow 19$). While it does have lower chroma than cad yellow, and it is more difficult to use in mixtures, it is just as bright in mass tone as cad yellow. So, if you're a glazer like me and just brushing out pure color it is ideal. It is also the most archival, most lightfast, most weatherfast, of all the bright yellows! It's in the same archival category with the Earth pigments, cobalts, etc, (aka humanity can die out and eons later alien archaeologists will find it looking the same as when it was brushed out of the tube). So, if you're a sailor prone to manic episodes and like to hold your paintings up like Simba during rainstorms, it's the ideal yellow.
I prefer Beksinski's asthetic. They really do capture something so awful and so deeply human. They are captivating haunting. But I don't feel fear, I feel intrigued to dive deeper.
Excellent video. But we need a follow up on how to use that limited palette to mix a full range of colors. Or at the very least do a plein air demo using that palette so we can see a practical application.
I bought artist quality paints and I slap them on impasto for my loose style. I pay so much for paint D; but hey im happy doing it and im happy with the outcome. One thing as well, I bought a big tube of cadmium lemon and I almost never use it. It's way too strong. I find that yellow oche is acceptable 90% of the time as a yellow for me, because you still only need a tiny bit to mix with white for a warm sunlight, or yeah just when do you need sickly bright yellow? I used a little for some car headlights but it was such a small amount in the overall piece
Every artist has different needs. I love Cad Lemon. I probably use it in every painting. But rarely right out of the tube. Most colors I do not use straight out of the tube. Everything is mixed to ensure a color harmony. Unless, of course, I need a saturated yellow like the local color of a flower.
@@tannersteedart ah maybe that is a difference because more often than not I am using colour straight from the tube. It is something I picked up from Richard Schmid, he had the philosophy that he wanted other artists to be able to look at his work and easily guess what pigment every colour was.
Hello Tanner, good video for beginners, you should focus on how to mix colors, that is a fundamental part in which many students feel lost. talk a little about the munsell system would be a good topic for another video.
When searching I am seeing Permanent Alizarin Crimson - is that what you said to stay away from? I didn't see a mention of Permanent Alizarin Crimson just Permanent Alizarin. Thank you and thanks for the videos! Edit: Is French Ultramarine Blue suitable from Gamblin Artist line?
Permanent Alizarin Crimson is one of my favorite cool reds! The paint I reccomend avoided is called Alizarin Crimson, the difference being without 'permanent'. French Ultramarine Blue is an additional color on my pallette. I use it in combination with ivory black to neutralize. Thanks so much for watching! I'm glad my channel is a good resource for you. 🤗
@@tannersteedart Thank YOU :) My daughter and I (she's 9) is into drawing and painting with acrylics. Were going to learn oil painting together to see where that takes us.
@@tannersteedart I've used Alizarin crimson and not had any real issues with it. I find it interesting how it's become very demonised. I seen other people do experiments with it showing how if fades over time but these experiments always have the painting or paint in direct sunlight for months - who in their right mind would put a painting of any medium in direct sunlight for months? Lol. But it's all down to preference and what you use it for I guess.
how about a video on color temperatures, just the temperature transitions and what they mean to add a "warmer" or "cooler" color, what makes it those temps and where mostly applied. :)
Thanks for the videos and info. Curious your thoughts on the WN titanium white (artist grade) having the dreaded PW4 zinc pigment. I rarely do anything impasto, and have other brands of whites I use, but it seems hard to tell what percentage of filler are being used unless you are making your own paint.
If you are working with heavy impacts you really to need be aware of the use of zinc white, but ultimately eliminating it is best. My favorite titanium white is my williamsburg, but being more expensive some may feel apprehensive about trying it. I suggest if you do not want your paint to crack, then try it out. The consistency of the paint is excellent, and it has a low yellowing rate compared to other brands..
@@tannersteedart An alternative white is the PW5 ( lithopone, or porcelain white). I think that it's better for mixing than pure Titanium ( it gives more saturated results) or semi- transparencies. It's not as white as Titanium, though. It's less bright, it reminds me of the moonlight glow, somehow..
@@tannersteedart I thought I'd start with your basic palette suggestions, but now I'm not about the WN titanium white (artist grade) - is it toxic, or what?
@@druidobianco9734 alizarin Crimson is a horrible color to use because it’s fugitive . It’s best to make your own out of colors that don’t fade. you can make the color by mixing burnt sienna and magenta without the problems of alizarin Crimson.
@jarodiking2559 those are fine when you are just getting started with oils. But as you run out of your colors, I would begin to replace them with Winsor And Newton
Burnt Sienna is much more useful than burnt umber. Raw umber if you can get Winsor and Newton version from the 80s and 90s is amazing but now it’s not the same pigment.
Interestingly you suggest lemon and not light. If Lemon, a cool yellow, is mixed with ultra, a warm blue, won't that make slightly grayed greens? How do you get an intense spring green?.
Great question. Whether you use lemon yellow or yellow light, color is always relative to the colors you place beside them. I have found that for a limited palette, lemon yellow does the job well enough when you place complimentary grays beside it to influence your perception of the temperature. Of course if you prefer yellow light, absolutely place that color on your palette. I now work with a much more extensive palette, which I will make it’s debut in an updated video. Indian yellow is one color I have added that I can use to tint my lemon yellow to a warmer mixture while still retaining its light value. Hope this helps. Thanks for your question.
you need cad yelow medium , red light , cerulean and ochre added to those 5 in order to cover 90% ...especially for abstract unless you make only portrait
They create a hue of a pigment because the hue is the closest to original color with a better lightfast rating. Alizarin crimson is fugitive so they create alizarin crimson hue to try to replicate the original without it being fugitive.
I've used Alizarin crimson and never had the issues with it and when they do experiments with it they shove the oil painting in direct sunlight for months - come on let's be honest who would stick an oil painting in direct sunlight or any painting for that matter.
Is it really better as a beginner to buy expansive tubes? I know they are more potent and have more pigment, but (as a beginner myself) i find that’s easy to waste colors exactly because i’m not an expert. Maybe i mix too much, or i mix it wrong and need a fresh start. Also tecniques like painting with palette knives use A LOT of color and i don’t think you’d get your money back not in quality nor in durability using artist grade with a spatula. I don’t feel limited by my student grade paints. In italy we have a great price/performance brand, maimeri classico, the student line of maimeri, where every color is the same price and almost none of the 77 color is a hue. I can buy a 20ml tube of cad red or cad yellow made with real cadmium pigment, not a hue, for 3.50€, that’s hard to beat. For the cost of that single cad yellow artist grade tube i made myself a palette of titanium white, cad yellow lemon, cad yellow medium, cad red medium, alizarin permanent, cyan blue, cobalt blue (hue), ultramarine blue, yellow ochre, burnt umber. The worst limitation with this range is the phtalo blue, i had to pick cyan that has phtalicyanine and cobalt blue hue because there is no phtalo blue in the range, but still a pretty respectable start for 35€. Colors are also pigment rich and creamy, of course not as pigment rich and creamy as the artist range, but not so far behind.
A lot of artists use winton and you can do anything with them. It's one of the better qualities in a grade student line. I would start with a basic set of those and then upgrade as you use the paint up
I think student grade has its place. Even Daniel Sprick uses them sometimes! I wish I could rename student grade to "less pigment". Buying a higher pigment paint will last you much longer and save you money long term. Use what works best for you. Happy painting!
Yes definitely. Especially if you are working on portraits/figures. Your landscapes will be very muted. So if you want to expand your palette, you can add ultramarine blue.
I love your style of making videos. No offence, but there is a bit of positive craziness! While I have a huge collection of colours, I found my very basic palette consist Primary colours and Zorn palette. I use variety of manufacturers, even student ones (like Georgian from Daler Rowney, which I love). And true, some colours are last way longer than others!
Hues are not dyes...they are just different pigments that replicate the look of the original pigment they try to imitate due either to the cost of pigment, toxicity etc. If they were hues they wouldn't be lightfast.
Thank you for calling me out on this! I misspoke In the video, and you are absolutely correct. A color with hue in the name is made with a pigment that mimics the color of the original potentially toxic pigment. It is not necessarily worse rather it may not be as lightfast in SOME circumstances. Thanks again.
I'm glad you enjoyed the video! But dang, that kinda hurt. I used to use my hair as a social filter because it revealed who people were right away. I'm sure you are a very nice person, but you'd never be able to meet someone with a "good personality" if you never spoke to someone who looked like me. I've cut my hair now, so I can go undercover. See you in the wild. ;)
For everyone's benefit would you care to elaborate? I certainly don't know what you're talking about, so to make such an accusation without actually giving reasons why is a pretty troll move dude. You speak as though what he said was an offense to you, but don't even bother to attempt to educate the rest or us poor uneducated? Thanks!
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I’m a pro artist been painting for 40 years and this guys telling it true. All those saying I’d recommend are recommending poorer quality paints. Talens are ok if you’re using only them but they dull and crack after a few years, they are too shiny , use Daler Rowney student range and you will see Rembrandt are extremely over priced, Rowney student range are similar to talens artist range. Winsor & Newton Gamblin and Utrecht are the go too of exhibiting artists
Apart from the price do you like Rembrandt? Because here in Europe they are not very expensive. How about Schmincke Norma?
@@deliciouscoloursthey are expensive in Alaska, in Chile, in Japan and Australia. Everywhere. Some stuff is expensive anywhere.
I am a self taught Artist and Art teacher, and I have thoroughly enjoyed your video! Keep up your good work! ❤️
I have a big tube of Cad Yellow Light on my studio but since experimenting with hansa yellow medium PY74, I don't see reasons to go back to cadmiums. I mean, yes, cads have more opacity out of the tube. But no one talks about the negatives of that. Hansa has such nice mixing qualities with dark colors that cadmiums just can't achieve. Cads yellows are like painting with yellow that has a little bit of white pre mixed with them. Its great if u want that. But for someone painting rich dark tones, a touch of cad yellow may cause if to go much lighter and greyer quickly then if u raise values with a hansa yellow. Also, In my experience, mixing a little bit of white with the hansa (20% white / 80% color) py74 negates all the lack of opacity, while maintaining the richness. So, idk, I certenly would present Cad as an option for begginners, but I would encorage them to at least experiment with hansa yellow since cads are not actually better in every way. I prefer hansas for my style anyway. The PY74 is a little more orange then Cad Lemon, so it will produce a little more saturaded and rich oranges, but be a touch duller on the greens. For me its totally ok because I would rarely need such vivid greens, but, if thats a problem, just keep a small tube of any phthalo in reserve, just for those instances, such as phtalo blue, phtalo green, phtalo green yellow shade, and you will be able to produce explosive acid greens hehe. My 2 cents
I recommend Talens Rembrandt's Permanent Madder Deep as alizarin replacement if you want a single pigment one. It's a strong tinter and almost the same hue.
I'll have to try that out. I live so many other pigments from Royal Telans, so I'm sure it will be an enjoyable experiment.
Galena artist quality aren’t so great, they have a strange mix of binder and don’t mix well with other brands. Madder deep is much browner than alizarin, this is why people use madder along with madder , the pigments mix different, they even wash out different with different undertones. Gamblin is much better quality, I imported gamblin to U.K. because it’s the best . Talents are aimed at hobby artists with money to waste. Van Gogh range is not good but Rembrandt is similar to Daler Rowney student .
Thank you! This is great advice for an old lady on a tight budget who has taken up oil painting later in life. Simple is better for me. I have been frustrated with the “hues” which I bought because they are cheaper. You get what you pay for! Thanks again!
Love it. Limited palettes are the best choice for someone who is starting out, and you recommended really good colors. I’m currently using a split primary palette with some earth colors, 9 colors in total. Not a super limited palette, but the smallest number of colors that I’ve worked with so far.
I totally agree! My palette is slowly expanding as well. It is just too fun to try out new colors.
Split primary 9 color palette is so versatile… white, 2 yellows, 2 reds, 2 blues, yellow ochre (or raw sienna) and burnt umber
I LOVE that you touched on some color theory. This is such a valuable video for anyone getting into oil painting and even artist that have been using oils for a while. Awesome!
The best information, this is invaluable for someone who is self learning....My palette is about to get a makeover with just these colors! Thank you!
Glad to help!
These days, when I paint, it's more with watercolors. However, years ago when I was more into Oil Painting, once I was doing an exercise from a book and it recommended and earth tone palette: Yellow Ochre (Yellow) , Burnt Sienna (Red) , Ivory Black (Blue) + (Titanium White). I was impressed at the variety of hues that could be obtained and the ease of mixing colors. However, I thought that the Ivory Black was a bit lifeless, so I swapped out Ivory Black for Ultramarine Blue. I must have used this modified earth tone palette (Yellow Ochre, Burnt Sienna, Ultramarine Blue + White) for dozens of paintings.
There are many benefits to using this combination: 1) It is easy to mix colors with such a limited palette, 2) they are almost always Series I colors, so they're inexpensive, and 3) they're all very lightfast. If you buy the 200ml tubes during back-to-school, winter, spring and summer sales, you can almost always get a great deal. Also 4) Ultramarine Blue and Burnt Sienna are great for making a wide variety of warm and cool greys.
Hey tanner. I hope you do not mind this personal question. Do you paint full time and make a living from it as well? I’d love to get some pointers from you on how to go about doing that. Watched all you videos, very cool stuff!
Great video. Can you do a video on how to mix a large amount of a particular colour ,say Parisian grey, to cover a large canvas as a background in a portrait?
FYI winsor and newton's burnt sienna actually uses pr101, which is transparent red oxide. That's why it's such a lovely warm color :)
Good to know! Thank you!
I still have the Burnt Sienna when they used the Sienna earth. PR 101 is the chemical found in Sienna earth after the earth was burned and the pigment extracted. The original mine has not much of this earth left but the pigment is now factory made. Burnt Sienna artist quality should always be PR 101 , unfortunately even this brilliant pigment isn’t the same as the original earth, the tube I bought in 86 goes from a red brown through a flame orange to a pale yellow when glazed. But you are correct W&N make the best.
Another go to used to be raw umber again from Italian soil but again it is not easy to find and the chemical version doesn’t have the same quality but W&N make the best as they had the longest experience making Raw Umber from that mine with green grey undertones to dark earth it was excellent for portraits or for painting cliff faces.
Never buy oils with more than one pigment, instead look at the pigments included and use a mix of the equivalent paints to save money on unnecessary paint.
Learn colours theory , it’s why Picasso sells and your 5 years old kid does not. 5 years olds make ‘mud’ Picasso was an excellent colourist.
Picasso was a shabby colorist. That’s why he spent years painting only in blue and his masterpiece, Guernica, was in black and white. He excelled in value, form, and ideas, and that’s why we remember him.
I'm a portrait artist and I use Winsor and Newton titanium white, yellow ochre, permenant rose, burnt sienna, brown madder and ultramarine violet for my skin tones.
W&N smalt, vandyke brown and naples yellow are also staples for hair color variations
I enjoyed the video. The music, transitions and video artistic style fits the Steed team. Thanks for sharing budget tips.
Our pleasure! Glad you enjoyed it.
Using the water-mixable oils I can confirm that my 37ml cadmium yellow almost lasted for 2x titianium white 200ml tubes. Same for ultramarine blue, cadmium red went a bit faster.
I also like raw and burnt umber. Raw is nice for its greenish tint.
Really kool as video thanks from New Zealand 🇳🇿
Titanium white is also so potent compared to different whites, that it also makes the tube last longer
Winsor Newton Burnt Sienna is made from PR101, iron oxide, not dirt as other other companies do (others usually use PBr7).
Excellent!! I would like to use non-toxic paints and cleanup in a school setting with sensitive people. Could you please do a similar limited pallete/economical video for non-toxic paints, perhaps including water soluble oil paints that don't need terps, etc for cleaning.
Why? Is the same information. The pigments are what matter.
CO represent! Do you go to the first Friday art walk at all? Is your studio in Denver?
FUN FACT: Zinc Sulfide pw5 (not zinc oxide pw4), otherwise known as "Lithopone", is a barium sulfate/zinc sulfide co-precipitate and does not suffer from the embrittlement issues of zinc oxide pw4. It is transparent like lead white, but reads cooler like titanium. Rublev has it as its pigment name lithopone, williamsburg has it as porcelain white (though it's ground in safflower).
YELLOWS: If you need even CHEAPER, and you dont mind your greens and oranges being a little dirty, go for Mars Yellow. It's a strong tinter, sometimes it is TOO strong, barely dented by a 1:1 mixture with Titanium white (in which case student grade may be an ok option), excellent lightfastness, and it drys quickly.
Nickel Yellow Ted-talk: If you're intermediate with your color mixing (which I recommend for this pigment), for a bright yellow consider Nickel Yellow Titanate PY53. It's a weak tinter that tends to gray down in mixtures, which could be considered a negative, but makes for great flesh tones. If you need strong secondaries you can supplement it with a thalo turquoise and a warm red like pyrrol red/transparent red oxide. It is significantly cheaper than cad yellow (for reference: Williamsburg cad yellow is 30$, Nickel Yellow 19$). While it does have lower chroma than cad yellow, and it is more difficult to use in mixtures, it is just as bright in mass tone as cad yellow. So, if you're a glazer like me and just brushing out pure color it is ideal. It is also the most archival, most lightfast, most weatherfast, of all the bright yellows! It's in the same archival category with the Earth pigments, cobalts, etc, (aka humanity can die out and eons later alien archaeologists will find it looking the same as when it was brushed out of the tube). So, if you're a sailor prone to manic episodes and like to hold your paintings up like Simba during rainstorms, it's the ideal yellow.
Tanner what do you think of Beksinski and Laurie Lipton...i did a few knock offs of the former, he is just so cool...
I prefer Beksinski's asthetic. They really do capture something so awful and so deeply human. They are captivating haunting. But I don't feel fear, I feel intrigued to dive deeper.
Thank you! This helps out a lot!
Excellent video. But we need a follow up on how to use that limited palette to mix a full range of colors. Or at the very least do a plein air demo using that palette so we can see a practical application.
Great suggestion!
Thanks - I was just about to buy a set of the Gamblin 1980 as I'm a total beginner but maybe I'll invest in the W&N artist level instead.
I recommend getting artist grade paints. They will last longer than student grade
Hello man, love your videos. I've a question: Does your wooden palette have a protective coat or varnish? cause it shines. Thanks
Yes it does. The palette is from a company called New Wave. I have two of the, and love the finish.
I bought artist quality paints and I slap them on impasto for my loose style. I pay so much for paint D; but hey im happy doing it and im happy with the outcome. One thing as well, I bought a big tube of cadmium lemon and I almost never use it. It's way too strong. I find that yellow oche is acceptable 90% of the time as a yellow for me, because you still only need a tiny bit to mix with white for a warm sunlight, or yeah just when do you need sickly bright yellow? I used a little for some car headlights but it was such a small amount in the overall piece
Every artist has different needs. I love Cad Lemon. I probably use it in every painting. But rarely right out of the tube. Most colors I do not use straight out of the tube. Everything is mixed to ensure a color harmony. Unless, of course, I need a saturated yellow like the local color of a flower.
@@tannersteedart ah maybe that is a difference because more often than not I am using colour straight from the tube. It is something I picked up from Richard Schmid, he had the philosophy that he wanted other artists to be able to look at his work and easily guess what pigment every colour was.
Awesomeness ❤
Glad you enjoyed
Love it, caught somethings I didn't know.
Where did you get that beautiful palette!
It's a New Wave palette. I got it at my local art shop Meininger's in Denver, Colorado.
This was what I needed. Thx a lot.
Hello Tanner, good video for beginners, you should focus on how to mix colors, that is a fundamental part in which many students feel lost.
talk a little about the munsell system would be a good topic for another video.
When searching I am seeing Permanent Alizarin Crimson - is that what you said to stay away from? I didn't see a mention of Permanent Alizarin Crimson just Permanent Alizarin. Thank you and thanks for the videos! Edit: Is French Ultramarine Blue suitable from Gamblin Artist line?
Permanent Alizarin Crimson is one of my favorite cool reds! The paint I reccomend avoided is called Alizarin Crimson, the difference being without 'permanent'.
French Ultramarine Blue is an additional color on my pallette. I use it in combination with ivory black to neutralize.
Thanks so much for watching! I'm glad my channel is a good resource for you. 🤗
@@tannersteedart Thank YOU :) My daughter and I (she's 9) is into drawing and painting with acrylics. Were going to learn oil painting together to see where that takes us.
@@tannersteedart I've used Alizarin crimson and not had any real issues with it. I find it interesting how it's become very demonised. I seen other people do experiments with it showing how if fades over time but these experiments always have the painting or paint in direct sunlight for months - who in their right mind would put a painting of any medium in direct sunlight for months? Lol. But it's all down to preference and what you use it for I guess.
how about a video on color temperatures, just the temperature transitions and what they mean to add a "warmer" or "cooler" color, what makes it those temps and where mostly applied. :)
Great idea! Stay tuned.
Thanks for the videos and info. Curious your thoughts on the WN titanium white (artist grade) having the dreaded PW4 zinc pigment. I rarely do anything impasto, and have other brands of whites I use, but it seems hard to tell what percentage of filler are being used unless you are making your own paint.
If you are working with heavy impacts you really to need be aware of the use of zinc white, but ultimately eliminating it is best. My favorite titanium white is my williamsburg, but being more expensive some may feel apprehensive about trying it. I suggest if you do not want your paint to crack, then try it out. The consistency of the paint is excellent, and it has a low yellowing rate compared to other brands..
@@tannersteedart An alternative white is the PW5 ( lithopone, or porcelain white). I think that it's better for mixing than pure Titanium ( it gives more saturated results) or semi- transparencies. It's not as white as Titanium, though. It's less bright, it reminds me of the moonlight glow, somehow..
@@dimitrispapadimitriou5622 I'll have to look into that! Thank you for the suggestion!
@@tannersteedart I thought I'd start with your basic palette suggestions, but now I'm not about the WN titanium white (artist grade) - is it toxic, or what?
@Growing it's not toxic. It contains some zinc which could lead to cracking. My favorite white is Williamsburg titanium white.
I love this channel!
Thanks man!
Great info thank you sir.
Great comment you're welcome sir.
Most excellent I would add burnt umber and yellow ocher . 🙌
Mee too, and avoid burnt sienna… a cad yellow medium, cad red medium or phtalo blue would be more useful than burnt sienna
@@druidobianco9734 you can’t get rid of burnt sienna because you need to mix it with magenta so you can create alizarin Crimson .
@@allenvoss7977 but you already have alizarin crimson on the palette, there is no magenta
@@druidobianco9734 alizarin Crimson is a horrible color to use because it’s fugitive . It’s best to make your own out of colors that don’t fade. you can make the color by mixing burnt sienna and magenta without the problems of alizarin Crimson.
@@druidobianco9734 oh alizarin Crimson , such a beautiful color. What a shame it’s not light fast.
Give me a good oil painting palette with the ochers and umbers and related paints for really muted landscape and seascape paintings
are the van gogh paints decent?
@jarodiking2559 those are fine when you are just getting started with oils. But as you run out of your colors, I would begin to replace them with Winsor And Newton
Burnt sienna instead of burnt umber? That's interesting... Thank you!
Burnt Sienna is much more useful than burnt umber. Raw umber if you can get Winsor and Newton version from the 80s and 90s is amazing but now it’s not the same pigment.
Interestingly you suggest lemon and not light. If Lemon, a cool yellow, is mixed with ultra, a warm blue, won't that make slightly grayed greens? How do you get an intense spring green?.
Great question. Whether you use lemon yellow or yellow light, color is always relative to the colors you place beside them. I have found that for a limited palette, lemon yellow does the job well enough when you place complimentary grays beside it to influence your perception of the temperature. Of course if you prefer yellow light, absolutely place that color on your palette. I now work with a much more extensive palette, which I will make it’s debut in an updated video. Indian yellow is one color I have added that I can use to tint my lemon yellow to a warmer mixture while still retaining its light value. Hope this helps. Thanks for your question.
@tannersteedart great to know, thank you for this video and these helpful and thoughtful replies!
you need cad yelow medium , red light , cerulean and ochre added to those 5 in order to cover 90% ...especially for abstract unless you make only portrait
Very useful. Thank you.
Glad it was helpful!
They create a hue of a pigment because the hue is the closest to original color with a better lightfast rating. Alizarin crimson is fugitive so they create alizarin crimson hue to try to replicate the original without it being fugitive.
I've used Alizarin crimson and never had the issues with it and when they do experiments with it they shove the oil painting in direct sunlight for months - come on let's be honest who would stick an oil painting in direct sunlight or any painting for that matter.
Thank you for your tips
Is it really better as a beginner to buy expansive tubes? I know they are more potent and have more pigment, but (as a beginner myself) i find that’s easy to waste colors exactly because i’m not an expert. Maybe i mix too much, or i mix it wrong and need a fresh start. Also tecniques like painting with palette knives use A LOT of color and i don’t think you’d get your money back not in quality nor in durability using artist grade with a spatula.
I don’t feel limited by my student grade paints. In italy we have a great price/performance brand, maimeri classico, the student line of maimeri, where every color is the same price and almost none of the 77 color is a hue. I can buy a 20ml tube of cad red or cad yellow made with real cadmium pigment, not a hue, for 3.50€, that’s hard to beat.
For the cost of that single cad yellow artist grade tube i made myself a palette of titanium white, cad yellow lemon, cad yellow medium, cad red medium, alizarin permanent, cyan blue, cobalt blue (hue), ultramarine blue, yellow ochre, burnt umber. The worst limitation with this range is the phtalo blue, i had to pick cyan that has phtalicyanine and cobalt blue hue because there is no phtalo blue in the range, but still a pretty respectable start for 35€.
Colors are also pigment rich and creamy, of course not as pigment rich and creamy as the artist range, but not so far behind.
A lot of artists use winton and you can do anything with them. It's one of the better qualities in a grade student line. I would start with a basic set of those and then upgrade as you use the paint up
I think student grade has its place. Even Daniel Sprick uses them sometimes! I wish I could rename student grade to "less pigment". Buying a higher pigment paint will last you much longer and save you money long term. Use what works best for you. Happy painting!
Thank u lovely video
My pleasure. Thanks for watching.
ALL SHADOWS have more of the color already there, it's complimentary color and blue, BLUES IN ALL SHADOWS IN LIFE, how GOD THING is that?!
🙌🙌
Crazy question but who makes your apron?
Not crazy at all. The brand is Vulcan Work wear.
Is the "Zorn Palette" good for a beginner?
Yes definitely. Especially if you are working on portraits/figures. Your landscapes will be very muted. So if you want to expand your palette, you can add ultramarine blue.
@@tannersteedart Awesome! Thanks so much for your fast reply!
water mixable oil review
I love your style of making videos. No offence, but there is a bit of positive craziness! While I have a huge collection of colours, I found my very basic palette consist Primary colours and Zorn palette. I use variety of manufacturers, even student ones (like Georgian from Daler Rowney, which I love). And true, some colours are last way longer than others!
Is you Palette custom made?
It is not. It is by New Wave
U said alizerin crimson but prior not to get that one
Get alizarin permanent, not alizarin crimson. The key is to get the permanent version.
9:12 - Alizarin Crimson?
Buy big tubes of primaries and mix your own colors. That way you can afford artist-grade paints.
That's a great idea when you first start. The disadvantage of just using primaries is that you can not get quite as dark compared to this palette.
Hues are not dyes...they are just different pigments that replicate the look of the original pigment they try to imitate due either to the cost of pigment, toxicity etc. If they were hues they wouldn't be lightfast.
You're correct! I misspoke. Thanks for the correction.
Wish cad lemon was $35 in Australia 🤣
How much is it there?? 🤔
@@tannersteedart I paid $70.95 a few days ago
@@matthewemanuel8748 that's insanity. I would definitely order elsewhere if you can!
Tanner, this is a great vlog, but you are wrong about "hue" oil paints. They are NOT dyes. ALL oil paints are pigments.
Thank you for calling me out on this! I misspoke In the video, and you are absolutely correct. A color with hue in the name is made with a pigment that mimics the color of the original potentially toxic pigment. It is not necessarily worse rather it may not be as lightfast in SOME circumstances. Thanks again.
😀😀🥰🤘🤘🤘👍
Bro amazing video
You are such a great guy
Please get rid of those dread locks man
It really feels unclean on such a great personality
I'm glad you enjoyed the video!
But dang, that kinda hurt. I used to use my hair as a social filter because it revealed who people were right away. I'm sure you are a very nice person, but you'd never be able to meet someone with a "good personality" if you never spoke to someone who looked like me.
I've cut my hair now, so I can go undercover. See you in the wild. ;)
its all fun and games until you try to paint a sky without having the blue u need, and you have the one that cant copy it.
Way too much rambling. Almost the entire video holding an empty palette. Puts first dob of paint on at the 11:50 mark.
Tanner you are clueless about ivory black. As well as your supposed black from a mix you are even mor clueless.
For everyone's benefit would you care to elaborate? I certainly don't know what you're talking about, so to make such an accusation without actually giving reasons why is a pretty troll move dude.
You speak as though what he said was an offense to you, but don't even bother to attempt to educate the rest or us poor uneducated? Thanks!