Hands down, the MOST helpful video on how to choose your primaries and demonstration of what can be achieved with "the right" limited palette. Thank You!!
Every first year art student needs to see this presentation. I could have saved hundreds, maybe thousands of hours of work and a ton of money had I seen this. Thank you very much! Never too late to learn!
Clear, practical, useful, and above all, an excellent teaching Demonstration of how to use a limited palette approach. I’d believed that limited palette painting was a simplistic one-size fits all approach and I avoided it. Learning how John uses the nuances of different pairings and groupings has been a huge Ah Ha! This artist has obviously achieved mastery. Bravo and thank you!
I never had much desire for painting. I used to do lots of pencil drawing and some pen and ink. I didn't do much artwork for years until my daughter showed some interest. I did a few things for her that she wanted, fairies and things. I was very surprised to see many of the things I did for her go with her to college!! Things I did for her and some things I just did as exercises. She took a page of Sheridan style floral patterns I did as practice for leather work. I started getting some interest in paint and managed to mix up some mud with some old watercolors laying around. Since then I have explored mixing and split primary palette. I had made some notes for paints I want to buy based on a Winsor & Newton color chart. I found 6 of them here...Lemon Yellow - Cad Y lite - Ult blue - Cobalt Blue - Alizarin Red - Cad Red. I have my white and black chosen and was going to get three more - Yellow Ocre - Raw and Burnt Umber. Your vid confirmed my choices. Very informative and thanks so much for this - your paintings are amazing!
This is an excellent video! With all the years trying to understand how to create my color palette this video helped me understand more than anything I have learned in years! Thank you so very much!
Thanks so much John for taking the time to explain colour simply from the beginning….will help take the ridiculous confusion away with colour choices. A fun new level thks
Thank you so much for this video! It is incredibly surprising how your creative approach to the color system makes it easier to understand the choice of colors and oil manufacturers. And gives oil painting a less expensive form of art! Now I am simply amazed and in love with this approach! As a novice self-taught artist, I was looking for something similar, and finally found it with you!
I was always a bottle acrylic painter and have migrated to tube acrylics and have just started dabbling in oil, therefore mixing colors and choosing a suitable palette has been a real struggle. This is by far the most helpful lesson I’ve come across. It was understandable, wasn’t overwhelming, and actually produced a huge sigh of relief…it was that helpful. Thank you kind sir for your priceless wisdom. I’ll always be grateful for this and will try to find your book as well.
Lisa, That is so good to hear. I love to hear these stories because it confirms the whole reason for doing the DVD. If you can, get the book, it's one of my most satisfying accomplishments, and it too has helped so many people. It's a workbook, I take you through the teaching step by step.
Thank you for the video! I work mainly with watercolor, and I love limited palettes and changing them around. I used different and sometimes exotic triads, but for more serious illustrations I use the same six colors that give me a variety of textures and colors within a unified gamut.
Your paintings are just wonderful. Your kind and thorough instruction about color is unsurpassed. Thank-you very much. God bless you for so sharing the gifts He has given you.
This has been one of the most revelatory videos I’ve watched. The practical advice is priceless. I have pared down my palette based on his ideas, it’s made a significant difference in my painting, with much more to learn on the video/book I purchased. Such a master in both art and his ability to communicate the salient points in these methods.
I spent a year trying to figure out which colours and type of paints to use to finally get to where you point to in a single video. I’m using acrylic but wanted some of the working time of oil so I went with the golden open line and have pruned myself down to a handful of primaries with a focus on three main ones. In hindsight my reasons for not choosing oil were not accurate but at this point I’m happy with the open line.
I went through the same thing early in my career, Jeff. Oils were just too messy, too much trouble, but when I switched from acrylic to oil, it was like I found the perfect medium for my temperament. Periodically, I'll use golden open acrylics today for small studies. I like them OK but they don't have the body of oil paint.
Thank you for your generosity in sharing your experience and recommendation of a 3 color primary palette. A new subscriber and glad I found you on TH-cam.
Thanks Hunter. I invite you to come join our private Facebook group...same name as the book. It's only for those that have purchased the book. Members encourage one another and post work that they're doing as they work through the book's teaching.
Thanks John. I work with watercolor, I believe this video will help me. I want to use a limited palette for the very reasons you mention. Harmony and simplicity. Knowing mixes from the colors. 👩🏻🎨 cheers!
Thank you, great video! But I wish the camera was stationary when looking at the color charts. I start to get a little motion sick and have to look away. But that's probably just me and maybe a few other people.
It’s also a more flowing experience when you’re not deciding which color to use and can take(for me) 6-8 colors and fly! Personally for me 3 IS enough but not enough for me! You’re very articulate and an instructor I can listen to and hear🥇❤️🔥🙏🏻👍🏻
Glad the video was helpful. The important thing is not to despair but persevere because the natural tendency will be the urge to grab another tube color rather than stick with the primaries selected.
I already mentioned to you that I have your book, I love love love it! Also loved this lesson. What a great idea to make a record of the mixes we make and all the colors we can make from it. Ok, you are officially fascinating!
Thank you, that was amazing 🤩 I really hope you will do more of this kind of stuff. It so incredibly valuable. Make lots to pound it in. Where can I find your book please 🙏
@@johnpototschnik8857 I have did a lot of mixing of the colors you suggest. I still need to mix a color wheel.. Do you mix all the colors on the color wheel of the primaries that you have choosen and then just pull out the colors that you want to use in the painting like the quad, complementary, yellow dominate etc.
@@johnpototschnik8857 A couple of other questions this is great. what is your goto color scheme of a warm landscape of trees and hills? Spilt Comlementary ? Square? Triadic?
@@clarksetters I don't have a "go to" for any subject. Just toning your canvas with a warm tone before beginning the painting will be a great help in creating a warm landscape.
Mr Pototchnick you should make lots of such informative videos and step by step videos of your paintings. They are really inspiring and very helpful. You book 'Limited palette and unlimited colours' seems to be very good and very informative but Sir it is very very costly. Especially with the shipping cost. Please can you make more step by step painting videos ?
Your colors do sing and I love this color sensitivity - Beautiful landscape paintings - and I am curious what white do you prefer, ?what oil color brand do you prefer? And do you use medium? 💜
Been playing around lately with thalo blue green shade, quin red, cad yellow light, and raw umber. It's a bit hard to control, and I'm not sure I could do it without the raw umber, but wow does this palette create nothing but pure colors and greys. I feel truly limitless with this selection.
Other red pigments are worth exploring such as alizarin crimson, carmine red and quinacridone. These reds have high tinting strength and are ideal for use in oil painting glazes, to increase color saturation of the color beneath. Alizarin is almost blood-like in appearance and adds depth to any color mixture. Carmine has incredible tinting strength and requires the smallest amount in color mixtures. But there are a lot of red pigments that are either superfluous (as the aforementioned provide color mixes they provide) or are redundant. Flesh tint, Winsor orange and permanent magenta to name but three.
Great video on limited palet and color mixing - and I really like to have the warm-cool primaries at hand so that I will end up with 6 primaries - cad red light, quinacredone red, ultramarine blue and cerulean blue ( cobalt) one cad yellow light cad yellow deep, titan white 🎶💚🎵 and I am curious what white do you prefer? Do you use medium? And what oil color brand do you prefer? 😊🙏
Lis, A double primary palette is a great palette. I use, in the studio, a mixture of alkyd Titanium White and Permalba White. Outdoors, just the alkyd. No medium, just mineral spirits in the early going. Between dried layers, I will bring all the color back up with a thin coat of Liquin.
a great video. Is there a way to create limited palettes with secondary colors like viridian? I really like those pigments and I don't want to give them up. Is it possible to make a palette of primaries and add a fourth special or favorite color.
Sure, you could select a 3-primary palette and add the viridian. You just need to make sure you are integrating that green into the other colors so that you'll be sure to have color harmony.
@@johnpototschnik8857 muchas gracias!!! voy a comprar su libro para poder explicar esto correctamente a mis alumnos, manejo bastantes colores en mis armonías y este enfoque es muy muy importante.
This is a very helpful video and will help reduce the clutter on my palette. One question though, do you include any neutrals on your palette (white, black or gray)?
Good question, John. The answer is generally, NO. Neutrals are mixed with the three selected primaries. You will notice, if you mix all three primaries together you will get some variation of brown/gray. That neutral can be adjusted to your need by mixing in some more of one primary to shift it in the direction you want. For example, when you get to the brown/gray mixture, if you add more blue, you get another whole variation of gray. You also have white to lighten it to the value you want. When I do use black, most often it is a substitute for blue. If you're new to painting I suggest you do not have black on your palette, but really work with just the three primaries and discover what they can do for you. The only time I advise you to use black at this stage is when you do value studies. Then just use black and white. Hope this helps.
As with any other color, there are two chromatic directions this ‘primary red’ can go, and that is warm or cool. Permanent rose is a sharp, almost acidic hue, and which therefore is the ideal component for mixing violet colors. Ultramarine blue, being biased towards red, would result in a clean violet color. Permanent rose, therefore is a good hue to use for cool reds. A useful warm red can be found in a few oil pigments which might be cadmium red, scarlet lake or cadmium scarlet. The use of cadmium red.....This red being biased towards yellow is the ideal component for mixing orange or gold colors.
I am reading this two years after you published it but I am wondering if what you show here could also apply to watercolors. Should you happen to notice my question, I would appreciate your response. Thank you.
Please, what kind of white do you use? I started to try Zorn pallete, and in the beggining I tried white from the paper, but was not enought, so I adder white gouashe (wich is not exactly watercolour, it made me feel as cheating...)
The notion that red is a primary color firstly needs to be dispelled. Red is in fact a secondary color (orange is a tertiary color.) True primary red is one that resembles the ‘red’ of printing ink which is in fact magenta. In terms of oils or acrylics, it is the tube labeled ‘permanent rose’ that most resembles the magenta of printing ink, and therefore would be a vital inclusion in the artist’s palette. Mix permanent rose with yellow and red will result.
This is true, but it will be a somewhat less saturated red because the blue in the magenta and the yellow will gray out. You will get much more vibrant purples and violets, though.
@@Antaios632 the idea of “magenta is a primary color’ means there’s not blue in it, it’s as pure as possible. Magenta is not red+blue, red is magenta+ yellow. What I find in painting with rose though is that you’re right, it won’t make beautiful oranges compared to a warm classic red color. It makes the debate kind of pointless, because the CYMK of printers are practically neon, semi-transparent pigments. I’d say for anyone trying to mix every color, buy a cool and warm version of each red/yellow/blue. (Rose, cad red, cad yellow, lemon, cerulean, ultramarine, or whatever you prefer.) If you want the brightest purest version of orange or green or purple, just buy it in a tube. Sometimes I paint with 8 colors, sometimes 4, sometimes 20. Who cares, as long as you know *how* to use them
@@JJ-ec9lp the thing is, there's no such thing as a "pure magenta" - it is only & exclusively perceived in the presence of both red and blue light - it's not present anywhere in the spectrum as a single wavelength. Most of the things we perceive as red - or any other color - reflect light in many wavelengths to varying degrees, so nothing is really a "pure color" unless you're talking about monochromatic laser lights that emit a single wavelength. The idea that there are three primary colors is just a convention. It's the minimum number required to capture a viable part of the gamut of human color vision, but four or five or six are capable of capturing more of that gamut. It doesn't have anything to do with how "pure" they are.
@@Antaios632 that’s why I said it’s “the idea of magenta as a primary color”. Under that framework, magenta is as pure as you can get. And in reality, it doesn’t really work or matter.
Good question, Barbara. What is pure? There is no such thing. What red, yellow or blue is "pure"? Every color is slightly different, some warmer or cooler than others. If there is such a thing as one "pure" primary, why are manufactures always creating variations when three "pure" primaries will do the job?
So you have to mix 16 tubes on your palette before knowing which to use. So much for limitation. Nice paintings though not with just the same 3 primaries.
The video was made for those who have never used a limited palette...not for experienced painters who know what certain colors and color mixtures will yield. Once you've done the work here and created color wheels for each, It's very simple from that point to select the appropriate 3 color palette. Yes, my paintings are generally done using just three primaries.
most people do not know that ALL color printed pieces are printed with CYAN, MAJENTA, Lemon yellow and black. MOST ALL colors can be achieved from these 4 pure colors. A lot of reds are "contaminated" by yellow already if they are warm so getting a nice violet is impossible for instance.
CMYK gives you decent colors in a lot of hues but it's actually still a small gamut. You can look up "CMYK gamut", check the images with horseshoe color shape, the whole horseshoe is the maximum of human vision. To get truly most saturated color, you'd need to mix it from pigments most similar to what you want to achieve. But the guy in the video doesn't want the most saturated colors, it's not his goal. His goal is to have only a few pigments so the image looks harmonized without much effort. You can have pretty pictures using more pigments too, though. You can have for example nice warm/cool contrast when using warmer palette in the sunshine and cooler palette in the shadow, with two different sets of primaries. Just three colors work well if you want to have the same "feel" for the whole image.
The goal of my paintings is not about trying to get the most accurate reproduction when printed, but creating a great stand alone original using colors I think will aid in getting me there.
Hands down, the MOST helpful video on how to choose your primaries and demonstration of what can be achieved with "the right" limited palette. Thank You!!
Every first year art student needs to see this presentation. I could have saved hundreds, maybe thousands of hours of work and a ton of money had I seen this. Thank you very much! Never too late to learn!
Thank you. Wonderful paintings!
Clear, practical, useful, and above all, an excellent teaching Demonstration of how to use a limited palette approach. I’d believed that limited palette painting was a simplistic one-size fits all approach and I avoided it. Learning how John uses the nuances of different pairings and groupings has been a huge Ah Ha! This artist has obviously achieved mastery. Bravo and thank you!
Now I know why I’ve ruined so many paintings. Thank-you. Very clear & concise.
A sincere presentation with sound concepts strengthened and exemplified in the beautiful paintings displayed
Thank you. Glad it was helpful.
Thank you. I’ve heard other artists talk about using just the primaries but you have actually shown us how
Thanks so much for sharing, really great content and well presented!
You're most welcome, Daniel.
I never had much desire for painting. I used to do lots of pencil drawing and some pen and ink. I didn't do much artwork for years until my daughter showed some interest. I did a few things for her that she wanted, fairies and things. I was very surprised to see many of the things I did for her go with her to college!! Things I did for her and some things I just did as exercises. She took a page of Sheridan style floral patterns I did as practice for leather work. I started getting some interest in paint and managed to mix up some mud with some old watercolors laying around. Since then I have explored mixing and split primary palette. I had made some notes for paints I want to buy based on a Winsor & Newton color chart. I found 6 of them here...Lemon Yellow - Cad Y lite - Ult blue - Cobalt Blue - Alizarin Red - Cad Red. I have my white and black chosen and was going to get three more - Yellow Ocre - Raw and Burnt Umber. Your vid confirmed my choices. Very informative and thanks so much for this - your paintings are amazing!
You're most welcome.
This is an excellent video! With all the years trying to understand how to create my color palette this video helped me understand more than anything I have learned in years! Thank you so very much!
Thanks so much John for taking the time to explain colour simply from the beginning….will help take the ridiculous confusion away with colour choices. A fun new level thks
Glad it help, Jennifer.
This by far after many art teachers and trying lots of colors to find my palette this has been the most fruitful. Thank you. 😎😎
I'm happy to learn that, Chuck. Thanks for letting me know.
Thanks for sharing your knowledge! Great information!
A very useful and instructive video - Thank you
Thank you so much for this video! It is incredibly surprising how your creative approach to the color system makes it easier to understand the choice of colors and oil manufacturers. And gives oil painting a less expensive form of art! Now I am simply amazed and in love with this approach! As a novice self-taught artist, I was looking for something similar, and finally found it with you!
great video and i appreciate your knowledge and clarity of the content. Thank you !
I was always a bottle acrylic painter and have migrated to tube acrylics and have just started dabbling in oil, therefore mixing colors and choosing a suitable palette has been a real struggle. This is by far the most helpful lesson I’ve come across. It was understandable, wasn’t overwhelming, and actually produced a huge sigh of relief…it was that helpful. Thank you kind sir for your priceless wisdom. I’ll always be grateful for this and will try to find your book as well.
Lisa, That is so good to hear. I love to hear these stories because it confirms the whole reason for doing the DVD. If you can, get the book, it's one of my most satisfying accomplishments, and it too has helped so many people. It's a workbook, I take you through the teaching step by step.
wonderful and helpful instruction. thank you!
Great tutorial John. Thankyou from Australia👍
Thank you for the video!
I work mainly with watercolor, and I love limited palettes and changing them around. I used different and sometimes exotic triads, but for more serious illustrations I use the same six colors that give me a variety of textures and colors within a unified gamut.
So darn simple & precise. Thank you.
Thanks a lot John, I learned a lot.
Glad it's helpful. Thanks for letting me know.
Your paintings are just wonderful. Your kind and thorough instruction about color is unsurpassed. Thank-you very much. God bless you for so sharing the gifts He has given you.
Thanks so much Kathleen. Glad its been helpful. Thank you for the blessing.
You’re work is spectacular and it’s amazing that you a hieve what you do with 3❤️🔥❤️🔥❤️🔥🥇🥇🥇🥰🙏🏻👍🏻
Wonderful lesson. Thanks
John as always so great with explaining and I love using his approach in limited pallet. Thank you so much for your knowledge sharing
Great lesson. Thank you!
I love the dull muted red and blue violets! I use them in every piece❤️🔥
C 'est une merveilleuse video. Tous ces conseils sont à garder précieusement. Merci de Paris
Great presentation - really clear and helpful. Thank you.
Great information. I'm assessing my tube colors based on this!
Glad it was helpful, Terri.
Very informative and it cleared up a lot for me. Thanks you.
Good information on painting.
This has been one of the most revelatory videos I’ve watched. The practical advice is priceless. I have pared down my palette based on his ideas, it’s made a significant difference in my painting, with much more to learn on the video/book I purchased. Such a master in both art and his ability to communicate the salient points in these methods.
I appreciate that so much, Alan. Thank you. Glad it's been helpful.
This is wonderful! I’ve been a fb “friend” for years, and have been amazed at your beautiful paintings! I’m going to love your videos!
your pictures are awesome and thx for all these usefull tip´s :)
Thank you for sharing your knowledge, it's the clearest and easiest video i have come across!
Thank you. Great, clear, understandable instruction. God bless you. Love your paintings.
Thanks so much, Matthew.
Thank you. This was a fantastic video! I changed to a limited palette earlier this year and it transformed my work.
Glad you liked it, Austin. Thanks.
I spent a year trying to figure out which colours and type of paints to use to finally get to where you point to in a single video. I’m using acrylic but wanted some of the working time of oil so I went with the golden open line and have pruned myself down to a handful of primaries with a focus on three main ones. In hindsight my reasons for not choosing oil were not accurate but at this point I’m happy with the open line.
I went through the same thing early in my career, Jeff. Oils were just too messy, too much trouble, but when I switched from acrylic to oil, it was like I found the perfect medium for my temperament. Periodically, I'll use golden open acrylics today for small studies. I like them OK but they don't have the body of oil paint.
So helpful - thank you!
I enjoyed very much the systemic and logical explanation... and the admonition to "mix like crazy" - love it!
Start mixing, Carl.
Thank you for your generosity in sharing your experience and recommendation of a 3 color primary palette. A new subscriber and glad I found you on TH-cam.
Thank you, Lolita. Glad you found the video helpful.
This was so very helpful. I think it will help make my paintings more sophisticated. You are a warm and great teacher.
Glad its been helpful, Monica. Keep working with the teaching, you will see improvement.
Very helpful. Thank you for sharing your color mixing knowledge.
That was very helpful, beautifully demonstrated and clearly explained. I learned a lot. Thank you!
Great job very informative and brilliant waste paint or waste time !
Thank You Mr. P.
You're welcome, James.
Thank you - informative & VERY useful 🙏
I have the Unlimited Colour book and video, and it’s changed the way I approach colour. Thank you, John!
Thanks Hunter. I invite you to come join our private Facebook group...same name as the book. It's only for those that have purchased the book. Members encourage one another and post work that they're doing as they work through the book's teaching.
Thanks, John, I will consider it. At the moment I am not using Facebook.
@@susanhunterguise Yes, I get that!!
Excellent explanation, thank you.
Thanks John. I work with watercolor, I believe this video will help me. I want to use a limited palette for the very reasons you mention. Harmony and simplicity. Knowing mixes from the colors. 👩🏻🎨 cheers!
Best wishes with your work, Sue.
Thank you so much John!!! Excellent video!! Very clear and so useful!!
Thank you, excelent content!
@22:50 Wow!!! That's genius!!! thank you so much for sharing your knowledge! : )
PS. And what gorgeous paintings too!!! You are a treasure!!!
I learned so much from this video. Thank you.
I'm thankful it was helpful to you.
Thank you, great video! But I wish the camera was stationary when looking at the color charts. I start to get a little motion sick and have to look away. But that's probably just me and maybe a few other people.
It’s also a more flowing experience when you’re not deciding which color to use and can take(for me) 6-8 colors and fly! Personally for me 3 IS enough but not enough for me! You’re very articulate and an instructor I can listen to and hear🥇❤️🔥🙏🏻👍🏻
Glad my teaching resonates with you, Robert.
This is so helpful! Thank you so much!
Glad it was helpful, Rebecca. Thank you.
very helpful! thanks for sharing.
Thank you very much John. This was really interesting and helpful. I'm trying to limit my palette. I appreciate your help here.
Glad the video was helpful. The important thing is not to despair but persevere because the natural tendency will be the urge to grab another tube color rather than stick with the primaries selected.
You are very kind, thank you!
Thank you for sharing your experience and extensive knowledge on the subject! I’m definitely getting the book!
Thanks, Tania. When you receive the book, come join our Facebook group...same name as the book.
Wow! Absolutely amazing.
I already mentioned to you that I have your book, I love love love it! Also loved this lesson. What a great idea to make a record of the mixes we make and all the colors we can make from it. Ok, you are officially fascinating!
You're invited to come join our Facebook group: "Limited Palette Unlimited Color".
@@johnpototschnik8857 thank you!
Thank you, that was amazing 🤩 I really hope you will do more of this kind of stuff. It so incredibly valuable. Make lots to pound it in.
Where can I find your book please 🙏
Thank you for the encouragement. Here's a link for the book purchase: painttube.tv/search?type=product&q=john%20pototschnik*
You are an amazing tutor, thank you
Glad to be of help, Janine.
Great information. Thank you very much😜🤘
TY! Great info!
This is what I’ve been doing and it works !
Yay!!!!
Very good advice, very understandable. thank you so much, I am going to now to mix some colors and make color swatches.
Thanks, Blake. You'll greatly benefit from mixing lots of color using a selection of just three primaries.
@@johnpototschnik8857 I have did a lot of mixing of the colors you suggest. I still need to mix a color wheel.. Do you mix all the colors on the color wheel of the primaries that you have choosen and then just pull out the colors that you want to use in the painting like the quad, complementary, yellow dominate etc.
@@clarksetters Yes, exactly!
@@johnpototschnik8857 A couple of other questions this is great. what is your goto color scheme of a warm landscape of trees and hills? Spilt Comlementary ? Square? Triadic?
@@clarksetters I don't have a "go to" for any subject. Just toning your canvas with a warm tone before beginning the painting will be a great help in creating a warm landscape.
So helpful. Thanks
Amazing, I always learn from you.
Thanks, Charm.
I love colour mixing. I paint with watercolours. So I don't even use white lol. Reducing my palette has been a lot of fun.
Thank you so much for this
Video!!!
Mr Pototchnick you should make lots of such informative videos and step by step videos of your paintings. They are really inspiring and very helpful. You book 'Limited palette and unlimited colours' seems to be very good and very informative but Sir it is very very costly. Especially with the shipping cost. Please can you make more step by step painting videos ?
Glad you like the videos, Kunal. They are difficult to create as I don't have the greatest equipment, but I will continue producing them as I can.
Your colors do sing and I love this color sensitivity - Beautiful landscape paintings - and I am curious what white do you prefer, ?what oil color brand do you prefer? And do you use medium? 💜
I use a variety of brands, Lis. I represent the Utrecht brand, but I also use some Gamblin, Winsor & Newton, and Rembrandt. for particular colors.
Been playing around lately with thalo blue green shade, quin red, cad yellow light, and raw umber. It's a bit hard to control, and I'm not sure I could do it without the raw umber, but wow does this palette create nothing but pure colors and greys. I feel truly limitless with this selection.
Yes, that phalo green is powerful.
Everything is now clearer to me.
Other red pigments are worth exploring such as alizarin crimson, carmine red and quinacridone. These reds have high tinting strength and are ideal for use in oil painting glazes, to increase color saturation of the color beneath. Alizarin is almost blood-like in appearance and adds depth to any color mixture. Carmine has incredible tinting strength and requires the smallest amount in color mixtures.
But there are a lot of red pigments that are either superfluous (as the aforementioned provide color mixes they provide) or are redundant. Flesh tint, Winsor orange and permanent magenta to name but three.
Alizarin Crimson and Carmine tends to be fugitive. Permanent Alizarin Crimson tends to mix warm instead of a muted cool.
Great video on limited palet and color mixing - and I really like to have the warm-cool primaries at hand so that I will end up with 6 primaries - cad red light, quinacredone red, ultramarine blue and cerulean blue ( cobalt) one cad yellow light cad yellow deep, titan white 🎶💚🎵 and I am curious what white do you prefer? Do you use medium? And what oil color brand do you prefer? 😊🙏
Lis, A double primary palette is a great palette. I use, in the studio, a mixture of alkyd Titanium White and Permalba White. Outdoors, just the alkyd. No medium, just mineral spirits in the early going. Between dried layers, I will bring all the color back up with a thin coat of Liquin.
a great video. Is there a way to create limited palettes with secondary colors like viridian? I really like those pigments and I don't want to give them up. Is it possible to make a palette of primaries and add a fourth special or favorite color.
Sure, you could select a 3-primary palette and add the viridian. You just need to make sure you are integrating that green into the other colors so that you'll be sure to have color harmony.
@@johnpototschnik8857 muchas gracias!!! voy a comprar su libro para poder explicar esto correctamente a mis alumnos, manejo bastantes colores en mis armonías y este enfoque es muy muy importante.
@@anapardo4827 Me alegro de que haya sido útil, Ana. Gracias
Still a great teaching watching 2nd time😎😎
WHERE is the link to PURCHASE the products mentioned? AND, is that color chart included?
Color Chart? No. But these videos and book will provide all you need. Thanks for asking, Lisa. painttube.tv/search?type=product&q=john%20pototschnik*
This is a very helpful video and will help reduce the clutter on my palette. One question though, do you include any neutrals on your palette (white, black or gray)?
Good question, John. The answer is generally, NO. Neutrals are mixed with the three selected primaries. You will notice, if you mix all three primaries together you will get some variation of brown/gray. That neutral can be adjusted to your need by mixing in some more of one primary to shift it in the direction you want. For example, when you get to the brown/gray mixture, if you add more blue, you get another whole variation of gray. You also have white to lighten it to the value you want. When I do use black, most often it is a substitute for blue. If you're new to painting I suggest you do not have black on your palette, but really work with just the three primaries and discover what they can do for you. The only time I advise you to use black at this stage is when you do value studies. Then just use black and white. Hope this helps.
Thank you sir.
CB and CYM looked good in the background
As with any other color, there are two chromatic directions this ‘primary red’ can go, and that is warm or cool. Permanent rose is a sharp, almost acidic hue, and which therefore is the ideal component for mixing violet colors. Ultramarine blue, being biased towards red, would result in a clean violet color. Permanent rose, therefore is a good hue to use for cool reds.
A useful warm red can be found in a few oil pigments which might be cadmium red, scarlet lake or cadmium scarlet. The use of cadmium red.....This red being biased towards yellow is the ideal component for mixing orange or gold colors.
Yes, that's thoroughly explained and demonstrated in my book and DVDs.
I am reading this two years after you published it but I am wondering if what you show here could also apply to watercolors. Should you happen to notice my question, I would appreciate your response. Thank you.
Yes. I've used just 3 primaries when working with watercolor.
thankyou very much.
You're most welcome, Agha.
Please, what kind of white do you use? I started to try Zorn pallete, and in the beggining I tried white from the paper, but was not enought, so I adder white gouashe (wich is not exactly watercolour, it made me feel as cheating...)
Is cadmium yellow pale the same as cadmium yellow light?
No! CYP is a warmer darker yellow and is only manufactured by Winsor and Newton.
where can i find the dvd's and book
painttube.tv/search?type=product&q=john%20pototschnik*
When you're picking primaries do you have to take into consideration the opacity ?
I do not prefer transparent colors. Indian Yellow is one such color, and I don't use it for that reason.
I always look for interesting primaries and there are so many that if not exact come close enough
The notion that red is a primary color firstly needs to be dispelled. Red is in fact a secondary color (orange is a tertiary color.) True primary red is one that resembles the ‘red’ of printing ink which is in fact magenta. In terms of oils or acrylics, it is the tube labeled ‘permanent rose’ that most resembles the magenta of printing ink, and therefore would be a vital inclusion in the artist’s palette. Mix permanent rose with yellow and red will result.
This is true, but it will be a somewhat less saturated red because the blue in the magenta and the yellow will gray out. You will get much more vibrant purples and violets, though.
@@Antaios632 the idea of “magenta is a primary color’ means there’s not blue in it, it’s as pure as possible. Magenta is not red+blue, red is magenta+ yellow. What I find in painting with rose though is that you’re right, it won’t make beautiful oranges compared to a warm classic red color. It makes the debate kind of pointless, because the CYMK of printers are practically neon, semi-transparent pigments. I’d say for anyone trying to mix every color, buy a cool and warm version of each red/yellow/blue. (Rose, cad red, cad yellow, lemon, cerulean, ultramarine, or whatever you prefer.) If you want the brightest purest version of orange or green or purple, just buy it in a tube. Sometimes I paint with 8 colors, sometimes 4, sometimes 20. Who cares, as long as you know *how* to use them
@@JJ-ec9lp the thing is, there's no such thing as a "pure magenta" - it is only & exclusively perceived in the presence of both red and blue light - it's not present anywhere in the spectrum as a single wavelength. Most of the things we perceive as red - or any other color - reflect light in many wavelengths to varying degrees, so nothing is really a "pure color" unless you're talking about monochromatic laser lights that emit a single wavelength. The idea that there are three primary colors is just a convention. It's the minimum number required to capture a viable part of the gamut of human color vision, but four or five or six are capable of capturing more of that gamut. It doesn't have anything to do with how "pure" they are.
@@Antaios632 that’s why I said it’s “the idea of magenta as a primary color”. Under that framework, magenta is as pure as you can get. And in reality, it doesn’t really work or matter.
@@JJ-ec9lp oh, it's a very *useful* color, we definitely agree there.
I'm confused. Why not just use pure (not leaning towards warm or cool) primaries? Then you'd be able to mix any color.
Good question, Barbara. What is pure? There is no such thing. What red, yellow or blue is "pure"? Every color is slightly different, some warmer or cooler than others. If there is such a thing as one "pure" primary, why are manufactures always creating variations when three "pure" primaries will do the job?
So you have to mix 16 tubes on your palette before knowing which to use. So much for limitation. Nice paintings though not with just the same 3 primaries.
The video was made for those who have never used a limited palette...not for experienced painters who know what certain colors and color mixtures will yield. Once you've done the work here and created color wheels for each, It's very simple from that point to select the appropriate 3 color palette. Yes, my paintings are generally done using just three primaries.
most people do not know that ALL color printed pieces are printed with CYAN, MAJENTA, Lemon yellow and black. MOST ALL colors can be achieved from these 4 pure colors. A lot of reds are "contaminated" by yellow already if they are warm so getting a nice violet is impossible for instance.
CMYK gives you decent colors in a lot of hues but it's actually still a small gamut. You can look up "CMYK gamut", check the images with horseshoe color shape, the whole horseshoe is the maximum of human vision. To get truly most saturated color, you'd need to mix it from pigments most similar to what you want to achieve.
But the guy in the video doesn't want the most saturated colors, it's not his goal. His goal is to have only a few pigments so the image looks harmonized without much effort.
You can have pretty pictures using more pigments too, though. You can have for example nice warm/cool contrast when using warmer palette in the sunshine and cooler palette in the shadow, with two different sets of primaries. Just three colors work well if you want to have the same "feel" for the whole image.
The goal of my paintings is not about trying to get the most accurate reproduction when printed, but creating a great stand alone original using colors I think will aid in getting me there.
Great; thank you. Turn off AGC on microphone to cure intermittent whooshing sound
I'm a big fan of Quinacridone Magenta as a red primary.