Thank you for your comment Aram! For me it really depends on the painting. Sometimes I also like a lot of colours. Sometimes the painting asks for a more limited palette.
I was wondering how you lighten the colors going across a row. When you take the metal tool off camera (e.g. at 0:24), do you clean it or do something else to the mix on it? Or is each lighter shade made by adding white to the preceding shade?
Good question Jean. Every step lighter is indeed mixed by only adding some white. Sometimes though, the previous color is so strong, such as a Cadmium Red mix, that I remove a little bit of paint from the palette knife off-camera. So it will not dominate the next mix too much. That's why you see the palette knife go off-screen after a new shade is mixed. It has become a habit over time. Often, however, I don't change anything at all, but it creates a little pause for me in the recording. Most of the time all the paint just stays on the palette knife as is, to mix the next step lighter. As you can see at 3:07, the palette knife does not go out of view but goes straight to mixing the next tone value. So, unfortunately, there´s no magic going on off-camera. Hihi... Hope that helps.
@@LennaertKoorman Very much! I never thought much before about how artists achieve various effects. Mixing on the palette, mixing on the canvas, the thickness of the paint, adjacent colors influencing how the viewer perceives things, and so on. Great stuff!
@palnagok1720, That really depends on the painting I'm working on. Sometimes I only use two or three colors. If, on the other hand, I have a lot of colors on my palette, for example for a portrait, I often use: Zinc white, Titanium white, OH Yellow Deep, Yellow ochre, Venetian Red, Alizarin Crimson red, Cadmium Red, Ultra marine blue, Paynes gray and Van Dyke Brown. Hope that helps...
Dear DivertedFlight, thank you for your remark. You are right, our current Alizarin Crimson is lightfast. The pigments we use are lightfast to ASTM category 1 and 2. We hope that you enjoy working with them.
These are really nice videos, especially with the practical demonstration with master works. Thank you for your excellent work.
Than you for sharing this videos.
Wonderfully clear tutorial. Thank you
love these videos so much! they are so helpful
@Jonathan, Thank you very much! That is wonderful to hear!
Thank you!
I loved this video so much I subscribed to this channel right away.
Thank you @juan!
me too, i always prefer more versatile palette with lots of colors and pigments... thank you!
Thank you for your comment Aram! For me it really depends on the painting. Sometimes I also like a lot of colours. Sometimes the painting asks for a more limited palette.
Thank you for following our channel.
Wonderful colours, so helpful these videos!
Thank you for your feedback Nina! I love that you find them helpful!
Thank you so much! Keep following our channel. More video's to come!
I was wondering how you lighten the colors going across a row. When you take the metal tool off camera (e.g. at 0:24), do you clean it or do something else to the mix on it? Or is each lighter shade made by adding white to the preceding shade?
Good question Jean. Every step lighter is indeed mixed by only adding some white. Sometimes though, the previous color is so strong, such as a Cadmium Red mix, that I remove a little bit of paint from the palette knife off-camera. So it will not dominate the next mix too much. That's why you see the palette knife go off-screen after a new shade is mixed. It has become a habit over time. Often, however, I don't change anything at all, but it creates a little pause for me in the recording. Most of the time all the paint just stays on the palette knife as is, to mix the next step lighter. As you can see at 3:07, the palette knife does not go out of view but goes straight to mixing the next tone value. So, unfortunately, there´s no magic going on off-camera. Hihi... Hope that helps.
@@LennaertKoorman Very much! I never thought much before about how artists achieve various effects. Mixing on the palette, mixing on the canvas, the thickness of the paint, adjacent colors influencing how the viewer perceives things, and so on. Great stuff!
I test paints on my channel, but I can't find this one to buy in my country
@Jaime Trindada, Hi there, where do you live? Maybe you can order them online and have them shipped to your studio?
Me gustaría que hubiese subtítulos en español. No sé inglés pero ustedes venden sus productos aqui
How many colours do you use on your palette?
@palnagok1720, That really depends on the painting I'm working on. Sometimes I only use two or three colors. If, on the other hand, I have a lot of colors on my palette, for example for a portrait, I often use: Zinc white, Titanium white, OH Yellow Deep, Yellow ochre, Venetian Red, Alizarin Crimson red, Cadmium Red, Ultra marine blue, Paynes gray and Van Dyke Brown. Hope that helps...
I see you replaced at some point the original Alizarin, but poor lightfastness pigment. This new colour mix of yours must prove much better.
Dear DivertedFlight, thank you for your remark. You are right, our current Alizarin Crimson is lightfast. The pigments we use are lightfast to ASTM category 1 and 2. We hope that you enjoy working with them.