What is your palette?

[Richard Budig]

What is your palette . . . how many colors do you use . . . what are they . . . and what do you like about your method/system?

I ask because, over the years, I have used the Daniel Greene palette (a lot of premixed colors), the John Howard Sanden palette (fewer and simpler premixed colors), Everet Raymond Kinstler palette (2 reds, 2 yellows, two blues, burnt sienna, burnt umber, sap green, and white), and Marvin Mattelson's palette which is probably one of the most simple -- indian red, venetian red, yellow ocher and black (basically, this is it I think).

I've also used the simplified color system of Jose Parramon, who shows you how to get by on alizarin crimson, cad yellow medium, Prussian blue and white. Now, that's really simple.

The trouble is, after using one or the other of these "palettes" for a short time, I find I can make any color made by any of the other palettes.

If this is so, why aren't we all using a much simpler palette?

[Enzie Shahmiri]

Hi Richard,

I had to chuckle when I read your post. I also have used different artist's palettes, trying to get a better understanding of what works best. After having layed out paint blob after paint blob and letting it dry, I even ended up with a nice palette collection for reference.

After juggling a huge palette with all colors beautifully spread out, looking way to professionla for my own good, then ending up discarding half of it, since it dried out, I had enough. I too thought, there must be an easier way to achieve great result with less waste.

I opted for Marvin Mattelson's palette and love it, because it is simple to remember, has an easy layout that does not require a satellite dish and results in beautiful skin tones.

My paints are mixed on a stay wet palette with a neutral grey surface and I use just enough paint on a "small" palette (also tinted grey) while painting. Ok, so I no longer look as "cool" as before, but this humble layout suits me just fine.

I now tube my own colors and use just enough as needed. The palette one chooses has to make sense with the style of painting you are trying to emulate.

The trouble is, after using one or the other of these "palettes" for a short time, I find I can make any color made by any of the other palettes.[/

I can't say that's a problem, isn't that the beauty of paint?! Once an artist knows enough about the properties of colors, he/she should be able to mix the desired hues as needed.

So, to make a long story short, I suggest once an artist has used the different palette layouts, to find the palette that makes most sense to you and adobt the colors you think work best.

[Debra Norton]

This is what we use at my school:

ultramarine blue
viridian
yellow ochre
naples yellow
cad yellow light
cad red light
light red (I use venetian red)
indian red
alizarin crimson
raw umber
ivory black
white (I use cremnitz)

This is said to be the Paxton palette. It's hard for me to say why I like it since it's the only palette I've used. I'm still learning how to use the colors effectively.

[Julie Deane]

I'm taking the Mattelson workshop. Marvin uses a system based on the Paxton palette, so the colors we are using in the workshop are:

flake white
ivory black
French ultramarine blue
Indian red
terra rosa
yellow ochre
viridian green
alizarin crimson
raw umber
raw sienna (but not for flesh tones)
plus a brighter yellow and red if needed

I am really liking the colors. It seems like a pretty adaptable palette.

[Richard Bingham]

It was interesting to me that in his April workshop, Bill Whitaker noted that some of the painters whose set-palettes are complex re-creations of a full Munsell scale were at first pastellists . . . the method of working suggests the comfort with a really extensive set-palette.

Personally, I think it's efficient to "set" a limited palette for the task at hand, and it will vary depending on the details of the subject.

Color is "personal" and so subjective, the "tricks" of referred color, relative hues, etc., etc. are infinite, and play a part in each individual's development of color in their work. Look over these color lists, they don't vary much . . .

[Michele Rushworth]

I use something like the Paxton palette, I guess, though not through any specific intention. I have just always gravitated to having about 12 to 15 colors on my palette. It seems like a comfortable array. The core colors are like the Paxton ones, more or less, with a few additions now and then depending on my subject.

Tony Ryder, who uses 42 colors on his palette at last count, does it for convenience and time savings. He talks about why people buy grocery items like mustard rather than buying the various ingredients and combining them at home to make their own mustard. It saves time.

I put my palette in the freezer at the end of the day and the only one that dries up faster than I can use it is burnt umber. Then again, I paint every day and use up quite a bit of paint in a week.

[Claudemir Bonfim]

Here it goes...

ivory black
viridian
sap green
cerulean blue
ultramarine blue
raw umber
burnt sienna
raw sienna
yellow ochre
naples yellow
cad yellow light
cad red light
alizarin crimson
mixed white (titanium and zinc)