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Minh,
Although there are a staggering numbers of paint colors, hues, values, and mixes, and when you add in the equally staggering number and kinds of paint manufactures, it is easy to see where a new artist could be totally knocked for a loop by the choices. (Which is why finding an artist whose work you respect and using their palette at least gives you a point to start.)
Having said that, I cannot understand why you feel the compulsion to eliminate cadmium orange and all the greens. Phthalo, maybe (it is somewhat redundant with the viridian....), but your palette seems perfectly serviceable as it stands. I certainly couldn't live without cadmium orange. There is no other color, no yellow, no red, and certainly no mix, which is as warm and brilliant as cad orange.
I have had a moveable palette for many years. I've studied under a number of teachers, and adapted some colors as they were introduced, and eliminated others.
I would look at my palette after a week. If I found that I hadn't been dipping into a certain color, I would eliminate it from the palette the next time I loaded it up. If I found that I was constantly running back to my paints to squeeze out a little of an eliminated color, I would add it back.
The one thing I would have you consider with your palette is to actually add in two colors. I would suggest you add an opaque white, titanium. Flake and Permalba are both more transparent than titanium, one of the few truly opaque paints (although I might get some flack on this, I would replace the flake white and Permalba with titanium...) I would also have you consider adding Dioxazine purple, one of the few truly cool colors. With cad orange and diox purple, you control the full range of warm to cool.
Peggy
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