I used a limited palette years ago for quite a while. You've gotten me excited about trying it again. Never used Thalo blue in it before. Thank you so much!
In the Studio Art Instruction I prefer Pthalo blue as it is more blue less purple. In skies here in Australia and seas it is great. Always add it to the white or other mix, in tiiiiny amounts! I also use quin magenta as my red, might try Alizarine, for some reason it is to dull to begin with when I can always dull it down. Yellow I’ll switch around to have one pure plus an earth ochre or tro
Dear Dianne! I REALLY like your tutorials/quick tips!! Your way of teaching is just sooo great!! :) But the best part is YOU!!! :)) ...just one question: Alizarin Permanent is not a cool color? Will it not produce cool colors only when mixed? Thank you for your channel!!
definitely going to try these three primary colors combination for a limited palettes practice. thanks for your video instruction. I am enjoying your channel!
Terrific tips as always, thank you, Dianne! Frustrated by the "orangeyness" of the alleged cad "yellows", I thank you also for the reminder of the purity of Hansa Yellow.
One thing we have to watch for Hansa Yellow is the variation among manufacturers. For example, Utrecht's Hansa Yellow light is the closer to Gamblin's Hansa Yellow Medium.
Hello, Mrs. Mize. Thank you for all your hard work and your talent (both for painting and teaching). I would like to know: What is the correct way to approach clothes, visually and technically, the way the old masters (e.g. the flemish and italian painters of the 15th centruy) did? You see all these delicate folds, all that playing with the values, etc. that makes the cloth look almost alive. I would like to understand those techniques. Thank you!
It's just technique. Knowing how to do smooth gradation in the direction of the folds plus the value relationships as folds move from light into shadow. I'll put your request on our schedule. (Note: we film these several weeks in advance so it might be January before this Tip will be published, but hang tight.)
You can get a neutral transparent yellow by tinting Indian Yellow with Green Gold/AzoGreen (py129). Both gorgeous colors, but, like you said, it won't be nearly as saturated. There's also Bismuth Vanadate Yellow but it's a unicorn pigment that costs more than Cadmium Yellows and is more of a lemon yellow from what I've read.
It's all a matter of colour bias of each primary. With pthalo blue you'll get richer greens when mixed with cad yellow pale (or better still cad lemon yellow as it has the purest green bias which will match the pthalo green bias), whereas sticking with ultramarine will yield the purest violets. I'd use the pthalo if painting a landscape, and the ultramarine if painting a portrait. For the purest primaries in themselves of course it's got to be cad yellow lemon, quinacridone rose and a cobalt turquoise - or perhaps a good quality cerulean. This trio doesn't yield very deep blacks however as quinacridone rose is lighter in value than alizarin, so a richer black may have to be mixed from alizarin and one of the aforementioned blues. With every limited primary palette there are shortcomings. One problem is brown. No brown equivalent to the dark rich and warm brown that is burnt umber can be mixed from the three primaries, so I use the usual three primaries plus burnt umber.
Ultramarine blue is warm, it makes good purples when mixed with a cool red like alizarin. Warm colours lean towards red, cool colours lean towards blue, or in the case of blues themselves the cool blues are slightly greenish.
May I take you a step further--no tube color can be determined to be warm or cool without being juxtaposed with another color. Ultramarine blue does lean towards red, but thalo blue leans towards yellow which is also warm. The question then becomes, which is warmer--red or yellow? Blues that become greenish lean towards yellow, blues that are purplish lean towards red. When you look at a burning pile of wood, which color is closest to the hottest part of the flame? Yellow or Red?
@@IntheStudioArtInstruction The convention of calling colours cool or warm is not literal, and has nothing to do with the colour of actual fire. Blues which lean towards green, or yellow, are cool, yellow is a cool colour unless it leans towards orange, which is nearer to red. It's purely an artistic convention based on the colour wheel and colour theory and helps with both colour mixing and the mood of a piece.
I loved this. I used a limited palette for a while - transparent yellow (only W&N and Rembrandt make this pigment), thalo blue, and permanent rose (W&N PV19). it worked very well. My only complaint is that the yellow is a weak tinting strength. I will try it again and substitute the Utrecth Hansa Yellow Light. Love Utrecth anyway. BTW, I am an impressionist and mix my colors on the canvas.
@@IntheStudioArtInstruction The transparent yellow and permanent rose makes a beautiful true red. I even wrote an article once, Red and Blue are Not Primary Colors.
Good to go, guess I don't get out much,... I didn't even know other possibilities existed for the primaries. Which phthalo blue. A red or green shade? As the "old masters" movement keeps going ,....curious if Caravaggio would still be making and using a margoer medium if he could run out and grab some walnut alkyd medium and lavender spike or Canada balsam? Love and look forward to all of your quick tips Dianne.
Great video. I love how you make things very easy in oil painting. I share your videos with my oil painting students here in the San Francisco area. I teach a similar limited palette using Alizarin Crimson, Cadmium Yellow Med. and Ultramarine Blue. Maybe you could do a video using those pigments? Because Thalo Blue is so intense, and stains everything it touches, I teach using a more forgiving UMB pigment. Can you could share your thoughts on the benefits of Thalo vs UMB. Keep those great videos coming.
VIP ART EVENTS, I use color according to what it can do. Ultramarine blue leans towards violet in hue, and thalo blue leans towards green. Each has an important use in mixing colors, depending upon what is needed. Rather than use thalo blue in oils though, I prefer Rembrandt Viridian which is very close in hue to thalo green and when mixed with ultramarine will cancel out its violet bias, but a controllable tinting strength. This gives a broader range of potential for zillions of greens which ultramarine alone cannot yield.
I, myself, have not used water soluble oils, but over the years, several of my students here have used them. My opinion is that they are not a bad choice for folks who prefer not to work with solvents. The same pigments are used to make oils, water soluble oils, watercolor, acrylic, gouache and pastels. What's important is that each artist choose the medium that work best for their sensibility, then master the techniques required for that medium. The composing principles don't change, regardless of the medium.
Wonderful video - thank you...is the Phthalo blue Red Shade or Green Shade? I am assuming Red Shade. Thank you again. Do you have any videos using water soluble oils?
Dear Dianne, On your palette, you always has quite a lot of the colors red, orange, yellow etc. They look always the same, very fresh, so my question is how you can keep them looking as humide and fresh, all the time? Do you really use all that color in a day, or do you add something to them? Is it oil or acrylic?/ My very best regards and thanks a lot for this video!
For folks wondering about thalo blue green shade and thalo blue red shade, there is not much difference. Thalo blue, green shade, is the traditional shade. However, the red shade doesn't vary that much; it is NOT an ultramarine.
Ona Gustafson there are literally a dozen of alternatives on the market right now. Each paint manifacturer creates its own unique formula and claims that theirs is the best. I highly suggest Rembrandt’s Permanent Madder Deep which is a single pigment paint, it is made of PR264 I believe, and frankly I like it even more than genuine alizarin crimson. If you want something more versatile in mixes since alizarin is really dark in mass tones, a little bit contaminated by the touch of blue and low on chroma, then just go for PV19, mostly known by the name of ‘permanent rose’. You can create your own alizarin crimson with mixing permanent rose with just a little bit of yellowish green like pthalo green yellow shade. PR177, PR264 and PV19 are the most common alternatives to replace alizarin crimson but some manifacturers prefer combining two or three pigments to get the alizarin crimson hue. It’s all depend on your personal taste and preference so you gotta search well before getting one.
For me a palette using primary colors osn't a limited palette (at.least.if we use magenta cyan yellow. Of cours with red an blue instead with yellow it will be limited).
I get that, but when we speak of a limited palette, we are really referring to limiting the number of tube colors that we put out for a painting. To aim for those to yield the most potential color possibilities if a part of the consideration.
When u pick a limited pallet like this do the colors u choose always all biased the same way like here they seem to all biased cool or neutral.? If so why is that important . Thank you for your reply
No, Phthalo blue, also called Thalo blue, has no other name. Prussian blue is a denser, less saturated blue and indigo leans more towards red rather than towards yellow.
You mention opaque and transparent, could you do a quick tip on opaque + transparent, opaque + opaque, and transparent + transparent? I remember a similar quick tip but can’t find it, so if you already have done this quick tip, my apologies
Yes that makes sense because phtalo blue is close to cyan and alizarine is close to magenta and so your colors mix are bright and various. Very nice choise.
Diane thanks so much. I am in isolation on an island during the Pandemic. I have been painting and drawing for 46 years. I have taught pastel painting for over 25 years. Yet just hearing you go through the basics of a limited palette has been inspiring to me. Do you have any helpful hints about working with an inexpensive acrylic set I found at Walmarts? The reason I ask is because I am used to pastel and oils. Acrylics dry so fast and my brain is slower now. Please keep on especially during this difficult time.
I have a request. Can you explore how the old masters used geometry to frame and paint their subjects? I'm sure you know what I'm typing about without a need to explain further. You can get a beautiful chocolate brown by mixing orange with dioxazine purple =)
The main "geometric" tool the old masters used was the golden ratio. I have a Quick Tip on that coming up on December 4. It is QT 46 and called "The Sweet Spot". Look for it then.
I love your videos. I've been watching for a few years now and consider you one of my favorite teachers! You're a got damn national treasure Dianne!
Wow! Thanks.
Learning and relaxing all rolled into one, thanks again Dianne.
You are so welcome, Kevin!
Great video Dianne. Thank you as always. You are a treasure.
😊
I used a limited palette years ago for quite a while. You've gotten me excited about trying it again. Never used Thalo blue in it before. Thank you so much!
I'll be interested in what you think about using Thalo as the blue once you try it.
In the Studio Art Instruction I prefer Pthalo blue as it is more blue less purple. In skies here in Australia and seas it is great. Always add it to the white or other mix, in tiiiiny amounts! I also use quin magenta as my red, might try Alizarine, for some reason it is to dull to begin with when I can always dull it down. Yellow I’ll switch around to have one pure plus an earth ochre or tro
I just started painting and I’ve watched several of your videos. Thank you they are very helpful!
I'm so glad!
Thank you Dianne...love you for the way you teach and of course because you are you.
Thanks, Alka.
Another excelente classes!! Dianne you are amazing. Thanks for sharing that
Thank you. It's my pleasure to share these.
Thank you Dianne - wonderful experimentation using three primary colours - will certainly try this .
Let me know how it works for you.
Such incredible insight! Thank you for sharing your expertise. ♥
Thanks, Paul. It's a pleasure to do these.
I shall mix my own colours now. Thank you so much for showing me how
My pleasure. Have fun!
I can't thank you enough for this tip. I learned so much today!
I am delighted!
You are so talented... Love your channel
Thank you so much 😀
Really enjoyed the tutorial Diane, thanks a million!
My pleasure. Thanks for watching.
Dear Dianne! I REALLY like your tutorials/quick tips!! Your way of teaching is just sooo great!! :)
But the best part is YOU!!! :))
...just one question: Alizarin Permanent is not a cool color? Will it not produce cool colors only when mixed?
Thank you for your channel!!
Ah, thanks!
definitely going to try these three primary colors combination for a limited palettes practice. thanks for your video instruction. I am enjoying your channel!
Have fun with it and thanks for watching.
Terrific tips as always, thank you, Dianne! Frustrated by the "orangeyness" of the alleged cad "yellows", I thank you also for the reminder of the purity of Hansa Yellow.
One thing we have to watch for Hansa Yellow is the variation among manufacturers. For example, Utrecht's Hansa Yellow light is the closer to Gamblin's Hansa Yellow Medium.
Wonderful!! You're just so great!! Thank you kindly for this. I'm just starting out and appreciate it tremendously
😊
Fabulous quick tip Diane, you're not only a great teacher, you're super sweet and lovely too. Thank you.
😊
Thank you. You’ve convinced me Dianne!
Good! Can't hurt, that's for sure 😊
Hello, Mrs. Mize. Thank you for all your hard work and your talent (both for painting and teaching). I would like to know: What is the correct way to approach clothes, visually and technically, the way the old masters (e.g. the flemish and italian painters of the 15th centruy) did? You see all these delicate folds, all that playing with the values, etc. that makes the cloth look almost alive. I would like to understand those techniques. Thank you!
It's just technique. Knowing how to do smooth gradation in the direction of the folds plus the value relationships as folds move from light into shadow. I'll put your request on our schedule. (Note: we film these several weeks in advance so it might be January before this Tip will be published, but hang tight.)
@@IntheStudioArtInstruction Wow, thank you so much for your answers! Have a blessed day!
You can get a neutral transparent yellow by tinting Indian Yellow with Green Gold/AzoGreen (py129). Both gorgeous colors, but, like you said, it won't be nearly as saturated. There's also Bismuth Vanadate Yellow but it's a unicorn pigment that costs more than Cadmium Yellows and is more of a lemon yellow from what I've read.
Thanks for adding this. There are so many tube colors available that all sorts of combinations can do exciting stuff.
Of course! And thank you for your tips!
A limited pallette gives really nice color harmony to all your paintings as well because you’re not bouncing around with different hues.
Yes!!!
Thanks Dianne , i learnt the same three primary colours
It's good to experiment with variations of a primary palette.
Wow, this is very helpful. Thank you so much!😊
You're so welcome!
It's all a matter of colour bias of each primary.
With pthalo blue you'll get richer greens when mixed with cad yellow pale (or better still cad lemon yellow as it has the purest green bias which will match the pthalo green bias), whereas sticking with ultramarine will yield the purest violets. I'd use the pthalo if painting a landscape, and the ultramarine if painting a portrait. For the purest primaries in themselves of course it's got to be cad yellow lemon, quinacridone rose and a cobalt turquoise - or perhaps a good quality cerulean. This trio doesn't yield very deep blacks however as quinacridone rose is lighter in value than alizarin, so a richer black may have to be mixed from alizarin and one of the aforementioned blues. With every limited primary palette there are shortcomings. One problem is brown. No brown equivalent to the dark rich and warm brown that is burnt umber can be mixed from the three primaries, so I use the usual three primaries plus burnt umber.
Thanks for adding this Lytton33.
I also draw pictures. Your video has become a study. Thank you. 🌸🌸🌸
Great. That's what they're meant to be.
As usual , love your videos. Thank you and God bless you.
Thanks!
Ultramarine blue is warm, it makes good purples when mixed with a cool red like alizarin. Warm colours lean towards red, cool colours lean towards blue, or in the case of blues themselves the cool blues are slightly greenish.
May I take you a step further--no tube color can be determined to be warm or cool without being juxtaposed with another color. Ultramarine blue does lean towards red, but thalo blue leans towards yellow which is also warm. The question then becomes, which is warmer--red or yellow?
Blues that become greenish lean towards yellow, blues that are purplish lean towards red. When you look at a burning pile of wood, which color is closest to the hottest part of the flame? Yellow or Red?
@@IntheStudioArtInstruction The convention of calling colours cool or warm is not literal, and has nothing to do with the colour of actual fire. Blues which lean towards green, or yellow, are cool, yellow is a cool colour unless it leans towards orange, which is nearer to red. It's purely an artistic convention based on the colour wheel and colour theory and helps with both colour mixing and the mood of a piece.
You are awesome! Love all your quick tips!
Thanks for watching.
Excellent demonstration! So appreciated!
Thanks for watching.
Love your site!
Thanks.
Amazing tip yet again!
Thanks!
Thank you for this terrific video!
My pleasure.
Lots of possibilities! Thanks for sharing!!
Always a pleasure.
I loved this. I used a limited palette for a while - transparent yellow (only W&N and Rembrandt make this pigment), thalo blue, and permanent rose (W&N PV19). it worked very well. My only complaint is that the yellow is a weak tinting strength. I will try it again and substitute the Utrecth Hansa Yellow Light. Love Utrecth anyway.
BTW, I am an impressionist and mix my colors on the canvas.
Let me know how you like using the Utrecht Hansa Yellow light rather than transparent yellow.
@@IntheStudioArtInstruction WIll do!
@@IntheStudioArtInstruction The transparent yellow and permanent rose makes a beautiful true red. I even wrote an article once, Red and Blue are Not Primary Colors.
Awesome tutorial
😊
Thanks so much for this another great tutorial!!!
My pleasure.
9:08 "I have a little bit of the blue still in the brush." LOL On the positive side, a small tube of phthalo will last a lifetime.
And it will follow you wherever you go LOL
Good to go, guess I don't get out much,... I didn't even know other possibilities existed for the primaries. Which phthalo blue. A red or green shade? As the "old masters" movement keeps going ,....curious if Caravaggio would still be making and using a margoer medium if he could run out and grab some walnut alkyd medium and lavender spike or Canada balsam? Love and look forward to all of your quick tips Dianne.
I object to companies creating red shade and green shade Thalo colors. I prefer the Gamblin Thalo Blue which is just itself.
Thank you Miss Dianne :)
😊
Thank you Diane
😊
genialmuchas gracias from Chile
It's a pleasure.
you answered the question I asked on your other video! thank you!
My pleasure.
I have heard some instructors suggest using a student grade Thalo blue to help control the intensity of the color. What are your thoughts on this?
My thoughts are never to use student grade paints. If you like Thalo, the better way is to learn to control it rather than substitute quality.
Great video. I love how you make things very easy in oil painting. I share your videos with my oil painting students here in the San Francisco area. I teach a similar limited palette using Alizarin Crimson, Cadmium Yellow Med. and Ultramarine Blue. Maybe you could do a video using those pigments? Because Thalo Blue is so intense, and stains everything it touches, I teach using a more forgiving UMB pigment. Can you could share your thoughts on the benefits of Thalo vs UMB. Keep those great videos coming.
VIP ART EVENTS, I use color according to what it can do. Ultramarine blue leans towards violet in hue, and thalo blue leans towards green. Each has an important use in mixing colors, depending upon what is needed. Rather than use thalo blue in oils though, I prefer Rembrandt Viridian which is very close in hue to thalo green and when mixed with ultramarine will cancel out its violet bias, but a controllable tinting strength. This gives a broader range of potential for zillions of greens which ultramarine alone cannot yield.
Thank you. I am still thinking in Acrylic colors. Do you ever use water soluble oils, and if so, please tell be what you think of them.
I, myself, have not used water soluble oils, but over the years, several of my students here have used them. My opinion is that they are not a bad choice for folks who prefer not to work with solvents.
The same pigments are used to make oils, water soluble oils, watercolor, acrylic, gouache and pastels. What's important is that each artist choose the medium that work best for their sensibility, then master the techniques required for that medium. The composing principles don't change, regardless of the medium.
super tip thanks!
You bet!
Wonderful video - thank you...is the Phthalo blue Red Shade or Green Shade? I am assuming Red Shade. Thank you again. Do you have any videos using water soluble oils?
I don't care for those Phthalo colors leaning towards shades. My phatho blue is the traditional Gamblin Phthalo Blue.
@@IntheStudioArtInstruction Dianne, I use acrylics - do you know if there is a non-bias Pthalo blue in acrylics? Thank you.
Diane, you said you use a permanent alizarin. Which brand do you prefer?
Another great video Diane.
Right now I prefer the Gamblin brand, and will continue to use it unless I find another brand I like better.
Dear Dianne, On your palette, you always has quite a lot of the colors red, orange, yellow etc.
They look always the same, very fresh, so my question is how you can keep them looking as humide and fresh, all the time?
Do you really use all that color in a day, or do you add something to them?
Is it oil or acrylic?/ My very best regards and thanks a lot for this video!
Marie, I answer all those questions in Quick Tip 115. Take a look.
For folks wondering about thalo blue green shade and thalo blue red shade, there is not much difference. Thalo blue, green shade, is the traditional shade. However, the red shade doesn't vary that much; it is NOT an ultramarine.
Thanks for adding that, Lynne.
Which phthalo blue to you use ...green shade, red shade, or is there a plain phthalo blue that you use for your primary blue?
Vickey, I don't care for either shade. I use the traditional phthalo blue made by Gamblin.
Isn’t alizarin crimson fugitive? Is there another choice?
Yes. At least it is in watercolor. (DS Alzarin crimson lightfastness 4)
Tim K. It’s one of the most fugitive pigments no matter which medium you are working with. It’s also quite impermanent with oils as well.
Ona Gustafson there are literally a dozen of alternatives on the market right now. Each paint manifacturer creates its own unique formula and claims that theirs is the best. I highly suggest Rembrandt’s Permanent Madder Deep which is a single pigment paint, it is made of PR264 I believe, and frankly I like it even more than genuine alizarin crimson. If you want something more versatile in mixes since alizarin is really dark in mass tones, a little bit contaminated by the touch of blue and low on chroma, then just go for PV19, mostly known by the name of ‘permanent rose’. You can create your own alizarin crimson with mixing permanent rose with just a little bit of yellowish green like pthalo green yellow shade. PR177, PR264 and PV19 are the most common alternatives to replace alizarin crimson but some manifacturers prefer combining two or three pigments to get the alizarin crimson hue. It’s all depend on your personal taste and preference so you gotta search well before getting one.
Burak thank you for a very helpful response.
@@burak5601 Nice response! With all your knowledge why don't you post some videos? I think you would become very popular.
Were you using Alizarin Crimson Permanent here, or is the regular Alizarin ok?
Yes, I am using Alizarine Permanent.
Hello maam goodeve is that Hansa Yellow or Cadnium Yellow?
Kenneth, it is Utrecht Hansa Yellow Light.
I see thank you maam i love your channel as an aspiring artist
For me a palette using primary colors osn't a limited palette (at.least.if we use magenta cyan yellow. Of cours with red an blue instead with yellow it will be limited).
I get that, but when we speak of a limited palette, we are really referring to limiting the number of tube colors that we put out for a painting. To aim for those to yield the most potential color possibilities if a part of the consideration.
Super helpful 🙏💙
😊
When u pick a limited pallet like this do the colors u choose always all biased the same way like here they seem to all biased cool or neutral.? If so why is that important . Thank you for your reply
It is important to keep color harmony in your painting.
Another name for Phtalo blue? Is that Prussian blue or Indigo blue?
No, Phthalo blue, also called Thalo blue, has no other name. Prussian blue is a denser, less saturated blue and indigo leans more towards red rather than towards yellow.
@@IntheStudioArtInstruction Thank you!
In computer graphics there is a concept of a Gamut Mask to limit the palette and create a beautiful, tonally orientated "limited" results.
Yes. James Gurney uses the gamut mask a lot, exploring all kinds of options for color choices. See Quick Tip 302
You mention opaque and transparent, could you do a quick tip on opaque + transparent, opaque + opaque, and transparent + transparent? I remember a similar quick tip but can’t find it, so if you already have done this quick tip, my apologies
I thought I had done this, but don't find it so will put it on our schedule.
very sincere ....
Thanks.
Hi teacher~
Hi Vincent. 😊
Yes that makes sense because phtalo blue is close to cyan and alizarine is close to magenta and so your colors mix are bright and various. Very nice choise.
😊
Diane thanks so much. I am in isolation on an island during the Pandemic. I have been painting and drawing for 46 years. I have taught pastel painting for over 25 years. Yet just hearing you go through the basics of a limited palette has been inspiring to me. Do you have any helpful hints about working with an inexpensive acrylic set I found at Walmarts? The reason I ask is because I am used to pastel and oils. Acrylics dry so fast and my brain is slower now. Please keep on especially during this difficult time.
I have a request. Can you explore how the old masters used geometry to frame and paint their subjects? I'm sure you know what I'm typing about without a need to explain further.
You can get a beautiful chocolate brown by mixing orange with dioxazine purple =)
The main "geometric" tool the old masters used was the golden ratio. I have a Quick Tip on that coming up on December 4. It is QT 46 and called "The Sweet Spot". Look for it then.
I can't thank you enough for this tip. I learned so much today!
I am delighted.