I love pigment discussion :) I mostly do watercolour rather then oil but my favourite 10 pigments are: Indanthrone blue PB 60 Lemon yellow PY 175 Quinacridone red PR122 Pyroll red PR254 Pthalo Blue PB15:1 Marine blue PB16 Pthalo green PG7 Benz yellow PY154 Quin burnt orange PO48 Cobalt turquoise PG50
Thirs channel is the bomb! When other art channels grow up... they want to be this channel. And that's just the content. The presentation is benchmark worthy too. Thanks!
Nice to know your selection! nowadays I mostly use Titanium White, Cadmium Yellow Lemon, Indian Yellow, Quinacridone Magenta, Dioxazine Purple, Phtalo Blue Ultramarine Blue, and Phtalo Green. Most of them are high chroma and quite tinting, but they allow me to play with really vivid colors!
Once again your carefully thought out ideas and conclusions are wonderful. Like the idea that opaque colors will probably work better for alla prima painters than transparent colors will. Genius. I love magenta as my basic red. I love Indian yellow on my palette, but I always keep a dab of hansa or lemon, too. I often mix my greens from blues (ultra marine and phthalo) and yellows and dull them down with umber or cadmium red. I keep a dab of Gamblin cobalt violet for the situation where I need pure violet in clouds, etc. I rarely use black, but I keep Titanium white and burnt umber to lighten things up and to darken things down. I find that over time I am just automatically making more intuitive choices in mixing colors and even though some people think it is naughty, I sometimes mix a color on the canvas as I paint.
So interesting. I learnt something new and useful right at the end when you suggested looking for opaque pigments to paint alla prima rather than transparent. Thankyou
Thank you for your posts. My palette is Quin Magenta, Cad yellow, Phthalo Blue, Tit White. These colors are the ultimate primaries and never make mud. I rarely mix color, preferring to build a color with layers of pure pigments.
Thank you for sharing your palette with us! I always find it interesting to see the differences and similarities in the choice of colors between different artists. As for mine, I paint mostly in acrylics and it goes as followed: Titanium White, Hansa Yellow Light, Yellow Ochre, Burnt Umber, Naphtol Red Light, Dioxazine Violet, Ultramarine Blue, Cerulean Blue, Phtalo Green and Payne's Gray. I also have Mars Black, but I only use it if I make something that has a more graphic look that has areas that are flat black or for grayscale work.
Pretty cool, i have a dioxazine violet but never found the right moment yo use it and really get how it works in a complete project. I might try in the future.
@@FlorentFargesarts I tend to use it a lot as a sort of red substitute. I do a fair bit of artwork who have a blue or cooler color cast, so it reads as a "red" in those scenarios. I also use it a little bit in flesh tones, where I imagine it serves a similar purpose as your quinacridone magenta. Lastly, I found it makes a very nice dark color when mixed with phtalo green or burnt umber if you want to try different blacks than the ultramarine and umber mix.
I work mostly with watercolor, sometimes acrylic, and am going to start into oils. Your videos have been an amazing instrument for me to learn the techniques I will need for starting out. For my favorite colors I typically go with a Chinese white for watercolor, Titanium white for acrylic, Hansa yellow, quin magenta, pthalo blue, pthalo green, ultramarine blue, dioxazine purple, perylene green, raw and burnt umber, and burnt sienna.
Have you ever read Living Craft by Tad Spurgeon? It's an art reference book. I think you might appreciate it because it shows you how to recreate historical mediums, palettes, and dives deep into earth pigments.
My 2 whites always on my palette are Titanium and Lithopone a (Barite and Zinc mix). I put a touch of Naples in my Titanium to warm it a bit because the cool nature of Titanium causes too much shift in hues. I use the Lithopone for its unique transparency properties. Titanium is way too opaque for the light blue, green and gray of water and light tinted shadows. A shadow is not an object, Rather a shadow is reflective light passing over objects (therefore transparent). If I need to lighten my warm colors a little, I typically go for Naples rather than white or a combination of the two. Naples adds a richness, while white destroys. I go through more Naples than any other color on my palette. I use Prussian to tone down yellows more than any other blue. Also, Paynes Gray is a go to while working with shadow mixes. I never use warm black because it is simply the darkest mud. I use cool blacks for beautiful grays. There is not really a cool black, only less warm that I can add a touch of blue to get my gray I'm after. I mull most of my own colors from raw pigment and it's the same strategy of purchasing paint from different brands. No color is the same. Even from batch to batch color of one brand, hue may change a little. It's easier for them to control organic pigments (basically dies) than inorganic (basically stones or oxidized metals.) Cads never change because they are specific scientific formulas. I would personally not classify them organic nor inorganic, rather synthetic. For portrait work, I only do portraits in soft pastel. Oil portraits always feel to plastic for me and I completely flunk out at watercolor but would love to learn some day. Mostly, I have a semi- impressionist landscape going along with a figurative abstract. (figurative being plants, animals or even buildings or other objects causing human emotions) Not a big fan of total abstract line and shape. It feels a bit boring and in most cases overdone to me. (like bling, here I am!) I can get very intense while doing figurative abstract for hours and landscape brings me back down to earth. I can typically paint for 6 hrs at a time but have been known to go 12. (lost in another world, completely removed from our socially created matrix) ha ha!
Lead white/titanium white, Burnt umber/mars brown, Vermillion/cad red, quin magenta, yellow ochre, cad yellow light, ultra blue, and of coarse cobalt teal. Pthalo green with landscapes. Perfect green shortcut, starts at wayy too saturated, but allows u to desaturate as needed. But not that necessary in most portraits or still life's. Great vid friend! Thankyou!
Fantastic video! My palette usually consists of titanium white, cadmium yellow light, pyrrole red, quinacridone magenta, ultramarine and phthalo turquoise. I love using other colors too
For a long time, I made a lot of my black from Prussian Blue and Burnt Sienna or Phthalo Green and Quinacridone Rose, but that gets us close to Mars Black. Those combinations are both good for glazing generic shadows. I've replaced the cadmium reds with perylene red, mostly for its transparent nature and friendliness in glazing. Indian yellow has become a favorite for a warm yellow. So, for my basic oil palette, I'd have Titanium & Zinc White, Burnt Sienna, Burnt Umber, Perylene Red, Quinacridone Rose/magenta, Prussian, Phthalo, Cobalt & (rarely on its own) Ultramarine Blue, Yellow Ocher, Indian Yellow, Cadmium Lemon, Sap Green & Phthalo Green (Hooker's green in watercolor/gouache) I do need to order some of the teal/turquoise someday. There will always be adjunct colors like dioxazine purple that have their uses from time to time without being in the main palette. Florent, what are the paint pigments you have found next to be next to useless? For me, it would be Manganese Blue and Raw Sienna. At tube strength (from Gamblin) they are too weak/transparent, even for a glazer to have much effect. Side note: In gouache I've replaced yellow ocher with raw umber for most applications as it mixes better with other colors for tans and such.
Hello Florent, I really appreciate all your videos. I have a question, as a self-taught artist myself, I am not advancing that much during my days of studying art. Between drawing daily, studying the story and techniques of old masters and painting. I feel... like I have done nothing during my day... Just like if I'm not managing my time correctly. That is why, I wonder what is a normal working-schedule for a Professional artist or someone who really wants to be Professional ? Thanks for taking the time to read me and all the knowledge you've shared with us.
Here are my colours: Ultramarine blue Cobalt blue Cerulean blue Sap green Chrome oxide green Yellow ochre Cadmium yellow medium Azo nickel yellow Alizarin crimson Vermillion Quinacridone red Burnt sienna Raw umber Burnt umber Dioxazine violet Hey, that's 15! Love your shows
I have more watercolor paints than oil because I love the different granulation effects of different pigments in watercolor, BUT my main palette for both are pretty much the same: Quin rose (PV19), alizarin crimson permanent, pyrrole red, hansa yellow light, yellow ochre, green gold, phthalo green blue shade, cobalt teal blue (pg50), ultramarine blue, burnt sienna, and raw umber. PG50 is also my favorite pigment, I was so happy to find another artist rave about it because I feel like it’s under appreciated!
I paint with acrylic, not oil, but still find your color theory videos super helpful. Thanks! I have a question regarding alizarin crimson. I don't know if this is true in oils, but I find acrylic alizarin crimson to have a hint of brown in it. (A cool red, but yet a little muddy, too.) My question is if there is a color similar to alizarin crimson but opaque. My alizarin crimson is super transparent and that isn't working for what I want to do. Any suggestions? Thanks!
My most used pigments are: titanium and mixing white, Aquamarine (blue-green), turquoise, drk green and sap green, burnt umber, burnt sienna, Viridian (green-blue), oranges and yellows ... I use acrylics. Thank you for your video.
I would start the introduction to pigment selection with the explanation of saturation, going light or going dark, with any hue, tends to lose saturation. That's why I love very dark pigment like Prussian blue and Cobalt Teal. Orange is a funny color, as while the saturated hue we can identify, but orange changed name as saturation and value changes. What do you think of Lithopone white?
Thank you for having the color wheel available. I printed it off today. I use mainly Winsor & Newton and Gamblin for oil paint. For acrylics I have some cheaper ones for instance Liquitex Basics and noticed today that their Raw Sienna, Burnt Sienna, Burnt Umber, and Raw Umber all have PBr7 as the only pigment listed on the tube. Is anyone able to explain this? Also is anyone able to explain the PB15 vs PB15:0, PB15:3, 15:4, PB15:13 ? I appreciate any help I can get. Thanks again Florent ! Is any of your work for sale?
this was such a fabulous video!! i am watercolorist and gouache artist , and found this so helpful .. it's an endless world of options for us artists!! this was fascinating and so clear to understand your choices and how you use them.. thank you once again.. Norakag
I try to use the least toxic pigments available to me, so I use Titanium White, Yellow Ochre, Venetian Red and Ultramarine Blue as a base, to add some versatility, I also use Green Earth, Raw Umber and Burnt Umber. I do have Ultramarine Violet as well, but I haven't really used it in any paintings yet.
Cobalt Blue (NOT Teal) is an almost primary Blue that too few seem to push. Cobalt Teal and Cerulean are cool (toward green) and Ultramarine tends to be warm (purple) but Cobalt is nicely in the middle. Like Ultramarine, it can be turned into beautiful greys and blacks with a touch of Burnt Umber. I would put it at 220 degrees on the color wheel.
I love how creamy the pigments look in the video. Are you using some kind of medium for the demonstration? Or they are just like this out of the tube? Love your work!
Recently I've narrowed it down to using these colors for the most part, though never all at the same time: Quinacridone Violet Quinacridone Magenta Cadmium Red Medium Cadmium Red Light Burnt Umber Cadmium Orange Light Cadmium Yellow Deep Cadmium Yellow Light Sap Green Phthalo Turquoise Ultramarine Blue Prussian Blue Titanium White In addition to mixing black with Ultramarine Blue and Burnt Umber, I've been mixing it with Q. Violet and Sap Green and a touch of Prussian Blue.
What brand of Cobalt Teal do you use? I have a hard time finding PG50. I've found it in Holbein but it's called Cobalt Green and it looks a lot more green than I think it should
Hi Florent, Ive been always using acrylic paint although I love oil paint. The only reason is the smell of oil paint substances that I can't stand and I'm kinda allergic to them. Is there a way to work with oil paint with no smell? 🍡🍨
FLORENT I really find your videos excellent, and i bought one of your downloadable courses i found it very good and the 3 demos of portrait,plein air and still life were very informative i still struggle especially with portraits , my colours seem to come out muddy especially the darker tones and shadows, im also trying to break out of a life long habit of overblending, to a looser more painterly style
Hi Tim. If you think that you're overblending and getting muddy colors, I would suggest that you spend more time mixing on the palette and less time touching the canvas. Try to mix a premixed scale with a lot of nuances and then just pick some of this paint and try to only touch the canvas once or twice. It should help
Wow, I use lots and probably am missing useful ones and using irrelevant ones. Zinc and Titanium white; Raw and Burnt Umber; Raw and burnt Sienna; Yellow Ochre; Terra Rosa; Payne's Grey; Davy's Grey; Unbleached Titanium (newly discovered favourite); Prussian, Cobalt, Cerulean, Ultramarine blues (just bought Phthalo yesterday); Cadmium Red deep, Alizarin Crimson, Mars Violet; Naples yellow, Cadmium Yellow light; Australian Leaf Green Dark, Sap Green; Almost never use Terre Verte and Ivory Black.
It's apparently hype not to use ivory black, however it's a very usable color, it's a dark blue and gives you a very usable green when you mix it with yellow. Think of it as a blue, which in fact it is.
Hi…I have been informed that a great prismatic colour palette is:cad yellow light;vermillion or cad red;ultra marine blue;alizarin crimson;veridian/thalo green, the three or four major earth tones can easily be created by the mauve and yellow - the mauve being ultra marine and alizarin crimson?
Hi I'm a big fan of lead white. It is the most reliable, stable and lightfast pigment there is. I used to buy it from Old Holland and Michael Harding at ridiculous prices because of the import tax here in Romania, but now I make my own. I managed to legally buy some small sheets from a company that makes dental x-ray insulation at a good price. I live in a house and I have access to a relatively big yard. I usually do it in the summer. I make some lead spirals, put it in boxes with vinegar and yeast and let it sit. When it's time to harvest I take precautions with masks and gloves and put it in water as to work as little as possible with dry flakes. I wash it several times and I take the resulting lead acetate to a company that recycles and disposes of car batteries. I filter the harvest by weight using water so I make three types of pigment - heavy medium and light, light being the purest. I put the pigments in small plastic boxes and let them sit in the sun to dry completely. After this step, normally the pigment powder should be ground further using a mill but I don't have one, so I just use an electric coffee grinder. I usually only grind enough to make oil paint to fill an aluminum tube. After that I just mull it with walnut oil on a marble slab for a decent amount of time and in the tube it goes at which point it is safe to use as long as I don't smear it on my face :). After two years I've made enough pigment to last me probably a full decade, so I'm happy. I keep the pigment rock in sealed plastic containers. It is truly a wonderful pigment.
Let's see now, for oils and gouache: raw umber, Prussian blue, cad red light, cad yellow. Titanium white and unbleached titanium. If I need a very high chroma green I go for phthalo green otherwise I mix it with Prussian blue and yellow oxide or Naples Yellow hue. I love van dyke brown and Payne's grey as convenience hues that can darken colours without killing them.
My basic paints move between warm and cold colours that are transparent and semi transparent leaning to natural earth colours Pthalo blue - cold Ultramarine blue - warm Cobalt Blue (for lighter range of warm blue) Pthalo green - cold Aureolin in WC and lemon yellow / Hansa yellow in oil - cold Yellow ochre Alizarin crimson Pyrole red / madder rose in WC Raw umber Burnt umber Raw Sienna Burnt sienna Titanium white Zinc white
Won´t ever question the choosing of colors of someone, but Zorn used just 2 colors plus black and white, with those he made magic! Of course is too restrictive
Hmmm didn't notice. However it's not uncommon that certain pigments look very different from one brand to the next. That's why I always prefer to pick and choose.
@@FlorentFargesarts exactly my question- the burnt umber is a mix…and I wonder if it will handle the same as pbr 7? Sennelier seems to use mars black in many earth colours ..
Thanks for watching, remember to write your most used pigments in the comments section 😊😊✨✨🙏🙏
Ultramarine Blue , Cobalt Teso Blue , Indian Yellow
I’m looking for the Greens for me
@@AhaliaQuiViridian and Terre Verte are my green choices 🎉
I love pigment discussion :)
I mostly do watercolour rather then oil but my favourite 10 pigments are:
Indanthrone blue PB 60
Lemon yellow PY 175
Quinacridone red PR122
Pyroll red PR254
Pthalo Blue PB15:1
Marine blue PB16
Pthalo green PG7
Benz yellow PY154
Quin burnt orange PO48
Cobalt turquoise PG50
Thirs channel is the bomb! When other art channels grow up... they want to be this channel. And that's just the content. The presentation is benchmark worthy too. Thanks!
Nice to know your selection! nowadays I mostly use Titanium White, Cadmium Yellow Lemon, Indian Yellow, Quinacridone Magenta, Dioxazine Purple, Phtalo Blue Ultramarine Blue, and Phtalo Green. Most of them are high chroma and quite tinting, but they allow me to play with really vivid colors!
Wow, i can almost visualize your paintings based on these colors... pretty cool 😎
Once again your carefully thought out ideas and conclusions are wonderful. Like the idea that opaque colors will probably work better for alla prima painters than transparent colors will. Genius. I love magenta as my basic red. I love Indian yellow on my palette, but I always keep a dab of hansa or lemon, too. I often mix my greens from blues (ultra marine and phthalo) and yellows and dull them down with umber or cadmium red. I keep a dab of Gamblin cobalt violet for the situation where I need pure violet in clouds, etc. I rarely use black, but I keep Titanium white and burnt umber to lighten things up and to darken things down. I find that over time I am just automatically making more intuitive choices in mixing colors and even though some people think it is naughty, I sometimes mix a color on the canvas as I paint.
So interesting. I learnt something new and useful right at the end when you suggested looking for opaque pigments to paint alla prima rather than transparent. Thankyou
Thank you for your posts.
My palette is Quin Magenta, Cad yellow, Phthalo Blue, Tit White.
These colors are the ultimate primaries and never make mud. I rarely mix color, preferring to build a color with layers of pure pigments.
Thank you for sharing your palette with us! I always find it interesting to see the differences and similarities in the choice of colors between different artists.
As for mine, I paint mostly in acrylics and it goes as followed: Titanium White, Hansa Yellow Light, Yellow Ochre, Burnt Umber, Naphtol Red Light, Dioxazine Violet, Ultramarine Blue, Cerulean Blue, Phtalo Green and Payne's Gray. I also have Mars Black, but I only use it if I make something that has a more graphic look that has areas that are flat black or for grayscale work.
Pretty cool, i have a dioxazine violet but never found the right moment yo use it and really get how it works in a complete project. I might try in the future.
@@FlorentFargesarts I tend to use it a lot as a sort of red substitute. I do a fair bit of artwork who have a blue or cooler color cast, so it reads as a "red" in those scenarios. I also use it a little bit in flesh tones, where I imagine it serves a similar purpose as your quinacridone magenta. Lastly, I found it makes a very nice dark color when mixed with phtalo green or burnt umber if you want to try different blacks than the ultramarine and umber mix.
A very comprehensive and non-dogmatic explanation. I tend to favour a "split primary" palette with a few earth colours.
I work mostly with watercolor, sometimes acrylic, and am going to start into oils. Your videos have been an amazing instrument for me to learn the techniques I will need for starting out.
For my favorite colors I typically go with a Chinese white for watercolor, Titanium white for acrylic, Hansa yellow, quin magenta, pthalo blue, pthalo green, ultramarine blue, dioxazine purple, perylene green, raw and burnt umber, and burnt sienna.
Finally got my hands on some lead white here in the UK so happy
Great 👍 lovely pigment, just don't eat it 😵
Gamblin has many useful whites including an amazing lead white replacement
Found Pthalo Emerald from Gamblin to be amazing for mixing blacks and natural greens!!!
Thank you so much! My favorite pigments are: quinacridone rose, cerulean blue
I do like cerulean blue as well but I am too much of an ultramarine blue addict and with my cobalt teal, I don't need it personally.
i love sennelies oil colors :)
Thank you for making these videos and the classes. Very informative and well produced
Question.
Who you contact from sennelier
I wanna be sent some paint supplies so I can try oil painting
Thank you Florent. As always full of wonderful tips and info🌹
Thank you so much ✨🙏
Have you ever read Living Craft by Tad Spurgeon? It's an art reference book. I think you might appreciate it because it shows you how to recreate historical mediums, palettes, and dives deep into earth pigments.
My 2 whites always on my palette are Titanium and Lithopone a (Barite and Zinc mix). I put a touch of Naples in my Titanium to warm it a bit because the cool nature of Titanium causes too much shift in hues. I use the Lithopone for its unique transparency properties. Titanium is way too opaque for the light blue, green and gray of water and light tinted shadows. A shadow is not an object, Rather a shadow is reflective light passing over objects (therefore transparent). If I need to lighten my warm colors a little, I typically go for Naples rather than white or a combination of the two. Naples adds a richness, while white destroys. I go through more Naples than any other color on my palette. I use Prussian to tone down yellows more than any other blue. Also, Paynes Gray is a go to while working with shadow mixes.
I never use warm black because it is simply the darkest mud. I use cool blacks for beautiful grays. There is not really a cool black, only less warm that I can add a touch of blue to get my gray I'm after.
I mull most of my own colors from raw pigment and it's the same strategy of purchasing paint from different brands. No color is the same. Even from batch to batch color of one brand, hue may change a little. It's easier for them to control organic pigments (basically dies) than inorganic (basically stones or oxidized metals.) Cads never change because they are specific scientific formulas. I would personally not classify them organic nor inorganic, rather synthetic.
For portrait work, I only do portraits in soft pastel. Oil portraits always feel to plastic for me and I completely flunk out at watercolor but would love to learn some day. Mostly, I have a semi- impressionist landscape going along with a figurative abstract. (figurative being plants, animals or even buildings or other objects causing human emotions) Not a big fan of total abstract line and shape. It feels a bit boring and in most cases overdone to me. (like bling, here I am!) I can get very intense while doing figurative abstract for hours and landscape brings me back down to earth. I can typically paint for 6 hrs at a time but have been known to go 12. (lost in another world, completely removed from our socially created matrix) ha ha!
Lead white/titanium white, Burnt umber/mars brown, Vermillion/cad red, quin magenta, yellow ochre, cad yellow light, ultra blue, and of coarse cobalt teal. Pthalo green with landscapes. Perfect green shortcut, starts at wayy too saturated, but allows u to desaturate as needed. But not that necessary in most portraits or still life's. Great vid friend! Thankyou!
Great video, thanks for putting this together!
Fantastic video! My palette usually consists of titanium white, cadmium yellow light, pyrrole red, quinacridone magenta, ultramarine and phthalo turquoise. I love using other colors too
For a long time, I made a lot of my black from Prussian Blue and Burnt Sienna or Phthalo Green and Quinacridone Rose, but that gets us close to Mars Black. Those combinations are both good for glazing generic shadows. I've replaced the cadmium reds with perylene red, mostly for its transparent nature and friendliness in glazing. Indian yellow has become a favorite for a warm yellow.
So, for my basic oil palette, I'd have Titanium & Zinc White, Burnt Sienna, Burnt Umber, Perylene Red, Quinacridone Rose/magenta, Prussian, Phthalo, Cobalt & (rarely on its own) Ultramarine Blue, Yellow Ocher, Indian Yellow, Cadmium Lemon, Sap Green & Phthalo Green (Hooker's green in watercolor/gouache)
I do need to order some of the teal/turquoise someday. There will always be adjunct colors like dioxazine purple that have their uses from time to time without being in the main palette.
Florent, what are the paint pigments you have found next to be next to useless? For me, it would be Manganese Blue and Raw Sienna. At tube strength (from Gamblin) they are too weak/transparent, even for a glazer to have much effect.
Side note: In gouache I've replaced yellow ocher with raw umber for most applications as it mixes better with other colors for tans and such.
Hello Florent, I really appreciate all your videos.
I have a question, as a self-taught artist myself, I am not advancing that much during my days of studying art.
Between drawing daily, studying the story and techniques of old masters and painting.
I feel... like I have done nothing during my day...
Just like if I'm not managing my time correctly.
That is why, I wonder what is a normal working-schedule for a Professional artist or someone who really wants to be Professional ?
Thanks for taking the time to read me and all the knowledge you've shared with us.
Here are my colours:
Ultramarine blue
Cobalt blue
Cerulean blue
Sap green
Chrome oxide green
Yellow ochre
Cadmium yellow medium
Azo nickel yellow
Alizarin crimson
Vermillion
Quinacridone red
Burnt sienna
Raw umber
Burnt umber
Dioxazine violet
Hey, that's 15!
Love your shows
I have more watercolor paints than oil because I love the different granulation effects of different pigments in watercolor, BUT my main palette for both are pretty much the same: Quin rose (PV19), alizarin crimson permanent, pyrrole red, hansa yellow light, yellow ochre, green gold, phthalo green blue shade, cobalt teal blue (pg50), ultramarine blue, burnt sienna, and raw umber. PG50 is also my favorite pigment, I was so happy to find another artist rave about it because I feel like it’s under appreciated!
So helpful. Thank you!
Glad it was helpful!
I paint with acrylic, not oil, but still find your color theory videos super helpful. Thanks!
I have a question regarding alizarin crimson. I don't know if this is true in oils, but I find acrylic alizarin crimson to have a hint of brown in it. (A cool red, but yet a little muddy, too.) My question is if there is a color similar to alizarin crimson but opaque. My alizarin crimson is super transparent and that isn't working for what I want to do. Any suggestions? Thanks!
Thanks for your teaching ❤❤❤
My most used pigments are: titanium and mixing white, Aquamarine (blue-green), turquoise, drk green and sap green, burnt umber, burnt sienna, Viridian (green-blue), oranges and yellows ... I use acrylics.
Thank you for your video.
Great work.
I would start the introduction to pigment selection with the explanation of saturation, going light or going dark, with any hue, tends to lose saturation. That's why I love very dark pigment like Prussian blue and Cobalt Teal. Orange is a funny color, as while the saturated hue we can identify, but orange changed name as saturation and value changes. What do you think of Lithopone white?
Wow I actually use the same 6 colors that you chose for mixing
*all colors
Awesome we're pigment buddies then 😄
Thank you for having the color wheel available. I printed it off today. I use mainly Winsor & Newton and Gamblin for oil paint. For acrylics I have some cheaper ones for instance Liquitex Basics and noticed today that their Raw Sienna, Burnt Sienna, Burnt Umber, and Raw Umber all have PBr7 as the only pigment listed on the tube. Is anyone able to explain this? Also is anyone able to explain the PB15 vs PB15:0, PB15:3, 15:4, PB15:13 ? I appreciate any help I can get. Thanks again Florent ! Is any of your work for sale?
this was such a fabulous video!! i am watercolorist and gouache artist , and found this so helpful .. it's an endless world of options for us artists!! this was fascinating and so clear to understand your choices and how you use them.. thank you once again.. Norakag
I try to use the least toxic pigments available to me, so I use Titanium White, Yellow Ochre, Venetian Red and Ultramarine Blue as a base, to add some versatility, I also use Green Earth, Raw Umber and Burnt Umber. I do have Ultramarine Violet as well, but I haven't really used it in any paintings yet.
Ultramarine violet is useful as a complementary to yellows like yellow ochre , interesting effects !
@@FlorentFargesarts yes! While colour swatching it gave a beautiful grey with yellow ochre and titanium white
Cobalt Blue (NOT Teal) is an almost primary Blue that too few seem to push. Cobalt Teal and Cerulean are cool (toward green) and Ultramarine tends to be warm (purple) but Cobalt is nicely in the middle. Like Ultramarine, it can be turned into beautiful greys and blacks with a touch of Burnt Umber. I would put it at 220 degrees on the color wheel.
Thank you for this video.
Glad you enjoyed it😄
Très beau partage. Great sharing.👍Thanks. 👋
I love how creamy the pigments look in the video. Are you using some kind of medium for the demonstration? Or they are just like this out of the tube? Love your work!
Nope that's Sennelier paint, they come like this out of the tube. Pretty sweet texture !
Sennelier put beeswax in their paint ( like Lukas ) It gives a distinctive texture and a satin finish.
Recently I've narrowed it down to using these colors for the most part, though never all at the same time:
Quinacridone Violet
Quinacridone Magenta
Cadmium Red Medium
Cadmium Red Light
Burnt Umber
Cadmium Orange Light
Cadmium Yellow Deep
Cadmium Yellow Light
Sap Green
Phthalo Turquoise
Ultramarine Blue
Prussian Blue
Titanium White
In addition to mixing black with Ultramarine Blue and Burnt Umber, I've been mixing it with Q. Violet and Sap Green and a touch of Prussian Blue.
Great video thanks you
What brand of Cobalt Teal do you use? I have a hard time finding PG50. I've found it in Holbein but it's called Cobalt Green and it looks a lot more green than I think it should
I have the michael harding and sennelier versions, both beautiful
You are awesome! Thank you!
Hi Florent,
Ive been always using acrylic paint although I love oil paint. The only reason is the smell of oil paint substances that I can't stand and I'm kinda allergic to them. Is there a way to work with oil paint with no smell? 🍡🍨
Have you tried waterbased oil-paints?
Just what I needed to know , thank you !😃
FLORENT I really find your videos excellent, and i bought one of your downloadable courses i found it very good and the 3 demos of portrait,plein air and still life were very informative
i still struggle especially with portraits , my colours seem to come out muddy especially the darker tones and shadows, im also trying to break out of a life long habit of overblending, to a looser more painterly style
Hi Tim. If you think that you're overblending and getting muddy colors, I would suggest that you spend more time mixing on the palette and less time touching the canvas. Try to mix a premixed scale with a lot of nuances and then just pick some of this paint and try to only touch the canvas once or twice. It should help
Wow, I use lots and probably am missing useful ones and using irrelevant ones.
Zinc and Titanium white; Raw and Burnt Umber; Raw and burnt Sienna; Yellow Ochre; Terra Rosa; Payne's Grey; Davy's Grey; Unbleached Titanium (newly discovered favourite); Prussian, Cobalt, Cerulean, Ultramarine blues (just bought Phthalo yesterday); Cadmium Red deep, Alizarin Crimson, Mars Violet; Naples yellow, Cadmium Yellow light; Australian Leaf Green Dark, Sap Green; Almost never use Terre Verte and Ivory Black.
It's apparently hype not to use ivory black, however it's a very usable color, it's a dark blue and gives you a very usable green when you mix it with yellow. Think of it as a blue, which in fact it is.
Hi…I have been informed that a great prismatic colour palette is:cad yellow light;vermillion or cad red;ultra marine blue;alizarin crimson;veridian/thalo green, the three or four major earth tones can easily be created by the mauve and yellow - the mauve being ultra marine and alizarin crimson?
Hi
I'm a big fan of lead white. It is the most reliable, stable and lightfast pigment there is. I used to buy it from Old Holland and Michael Harding at ridiculous prices because of the import tax here in Romania, but now I make my own. I managed to legally buy some small sheets from a company that makes dental x-ray insulation at a good price. I live in a house and I have access to a relatively big yard. I usually do it in the summer. I make some lead spirals, put it in boxes with vinegar and yeast and let it sit. When it's time to harvest I take precautions with masks and gloves and put it in water as to work as little as possible with dry flakes. I wash it several times and I take the resulting lead acetate to a company that recycles and disposes of car batteries.
I filter the harvest by weight using water so I make three types of pigment - heavy medium and light, light being the purest. I put the pigments in small plastic boxes and let them sit in the sun to dry completely. After this step, normally the pigment powder should be ground further using a mill but I don't have one, so I just use an electric coffee grinder. I usually only grind enough to make oil paint to fill an aluminum tube. After that I just mull it with walnut oil on a marble slab for a decent amount of time and in the tube it goes at which point it is safe to use as long as I don't smear it on my face :).
After two years I've made enough pigment to last me probably a full decade, so I'm happy. I keep the pigment rock in sealed plastic containers. It is truly a wonderful pigment.
Excellent video! Thank you! Where can I get a copy of the color wheels?
There is a link in the description. ;-)
On my website, you'll find the links in the description box. 👍😄
I’m very, very new to oils… (currently using acrylics) how slow is “slow”, how fast is “fast” when it comes to drying time?
Cthank you so much. So informative.
Italian Yellow Earth - "Terre Jaune D'Italie" Genuine from Vasari is my favorite earth pigment
ELYSIUM CRIMSON IS WHAT I USE TO DARKEN OR LIGHTEN A COLOR. HOW WOULD I MAKE A COLOR BRIGHT? DO I PAINT THE OPPOSITE COLOR NEXT TO IT SOMEHOW?
Ultramarine, Burnt Umber, Arylamide Yellow and Titanium White.
I am partial to Payne's Grey & Indigo Blue (watercolor)
Why are the pigments such as burnt umber in sennelier not the pigments you discuss? It’s a mixed pigment in sennelier..and raw umber is bk11
Sap green, Transparent red oxide, Paynes grey, Titanium white... best there is 😎
PR264 is my preferred Alizarin replacement, and available from Rembrandt or Geneva.
Nice pigment indeed. 👌
I also think it's the best Alizarin replacement, almost all manufacturers have it now
And schminke
Quand choisissez-vous une couleur chaude ou froide et dans quel cas utiliser la complémentarité des 2 ? Merci pour ces explications !
Let's see now, for oils and gouache: raw umber, Prussian blue, cad red light, cad yellow. Titanium white and unbleached titanium. If I need a very high chroma green I go for phthalo green otherwise I mix it with Prussian blue and yellow oxide or Naples Yellow hue. I love van dyke brown and Payne's grey as convenience hues that can darken colours without killing them.
My basic paints move between warm and cold colours that are transparent and semi transparent leaning to natural earth colours
Pthalo blue - cold
Ultramarine blue - warm
Cobalt Blue (for lighter range of warm blue)
Pthalo green - cold
Aureolin in WC and lemon yellow / Hansa yellow in oil - cold
Yellow ochre
Alizarin crimson
Pyrole red / madder rose in WC
Raw umber
Burnt umber
Raw Sienna
Burnt sienna
Titanium white
Zinc white
I could not find your color wheel on your website.
Go to education > resources for artists > scroll down 😅hope you'll find it
You can buy lead white in EU (Germany) if you are a professional artist.
Pyrrole red, permanent rose, permanent magenta, dioxazine purple, ultramarine, manganese blue hue, phthalo blue, phthalo green, viridian hue, green gold, chrome yellow permanent hue, indian yellow (hue), burnt and raw umber, yellow and red transparent iron oxides, yellow ochre, naples yellow hue, Titanium and lithopone whites, carbon black.
Won´t ever question the choosing of colors of someone, but Zorn used just 2 colors plus black and white, with those he made magic! Of course is too restrictive
❤️❤️
Hey florent. I get lead white in Belgium here. If you're interested in how, I can find a way to message you.
The Senellier looks so wet with oil
I find zinc is awful; it cracks and in my opinion was just a marketing scheme.
that kiss hahahhaha
Can't resist 😚
Careful that sennelier mars black is way different from other manufacturers. It's also different from their same pigment they sell in powder
Hmmm didn't notice. However it's not uncommon that certain pigments look very different from one brand to the next. That's why I always prefer to pick and choose.
@@FlorentFargesarts exactly my question- the burnt umber is a mix…and I wonder if it will handle the same as pbr 7? Sennelier seems to use mars black in many earth colours ..
total sales
I couldn't hear you today. Your voice was but a murmur. I tried everything on my computer to raise the volume - to no avail...