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Originally Posted by Allan Rahbek
stays bright in mixtures
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I see what you mean, I don't know how good my monitor is (I suspect not very,) but the golden ochre looks like the only one to have kept it's warmth after mixing with white.
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Originally Posted by Sharon Knettell
One of the reasons I like his paint is it doesn't suede as badly
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Now that's interesting - I take it you mean that effect of different brush stroke directions catching the light and looking like a mowed lawn? That's been bothering me lately on a couple of dark backrounds. I'm hoping to get into London next Saturday and get some - I'll let you know how I get on.
That's very interesting about Monet's palette. Especially the vermilion, to me anyway. Yesterday I was trying to match the colour of a tomato with alizarin and cadmium yellow light, and it was a bit of a battle. I almost broke down and got a brighter red out but I stuck with it and it didn't come out too bad. I suspect any colour shortcomings are much more down to me than to my paint right now
Richard, I didn't quite get the headroom part, but this:
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Originally Posted by Richard Bingham
A painter might work for months using only raw siena, ultramarine and white and never quite plumb all the possibilities . . .
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makes a lot of sense to me. Even with just my five colours I get a bit bewildered by the range available, and I'm at least partly aware of how little of it I've mapped. Every time I use them I find something else I can do with them, but what surprises me the most is how close I can get to colours in nature with just those five. Like I said earlier I tend to think that if I'm having trouble getting a colour right, it's because I just haven't the necessary experience yet to get it.