I'm a bit late to this discussion, sorry.
Quote:
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Originally Posted by Michele Rushworth
Many artists feel that a limited palette is easier to learn on.
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I'm in exactly this position, just learning and using a very limited pallete because of that:
Flake or Titanium white
Alizarin Crimson
Cadmium yellow light
Ultramarine
Windsor green
I used to use black too, but substituted it for windsor green since when mixed with alizarin it makes a beautiful, shimmering near-black which has much more life to it. This idea I got from a book by Kevin MacPherson. When I was at art college many years ago they banned us from using black. I used to use a mixture of ultramarine and burnt umber back then as a substitute for black.
I find I can mix pretty much everything I want just with those five colours. You can get very close to a tube ochre, or sienna. It's true that it takes longer when you have to mix every colour, but I think that can be a good thing. It makes you look at the colour you're trying to match much more closely.
I made a handy little device, a piece of card painted flat grey with a few holes holes punched in it to look through and isolate colours with. It never ceases to amaze me how different colours really are compared to what I think they are at first glance.
I do think that the extra effort and constant comparing required to mix every colour trains my eye to see colour better. I also think that a limited pallete can give more unity to the painting. I sometimes see paintings where all the colours harmonise well except for one or two which look like they came straight from the tube and were used largely because the painter likes the colour, which is fine I guess, but they can stand out somewhat and disturb the harmony when used this way.
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