My Studio Palette and favourite Pigments

Note - I try to regularly update posts with additional information but they don't normally repost. I wrote this post in 2013 and, for some reason, this re-posted in 2019 when I updated it. So I've updated it again to make it completely current!


I am often asked what other colours I use or like, and why. There are rather a lot. I have posted a paint-out of my main studio palette before, which I have recently updated. This would have some of my top 20 pigments, and allows me to paint almost anything I choose as it has a good range of yellows, reds, blues, greens and neutrals. These are all Daniel Smith watercolours as follows:

• Yellows  - 

1. Hansa Yellow Medium as my mid or primary yellow
2. Quinacridone Gold as my warm yellow
3. Goethite DS as my earth yellow
4. Raw Umber as my dark cool brown

• Reds/Oranges - 

1. Quinacridone Rose as my cool and purple-mixing red
2. Transparent Pyrrol Orange as my warm red (note 2019 - this colour seems to have changed to a mid orange rather than a red-orange so pyrrol scarlet is probably more useful here), 
3. Indian Red as my earth red  
4. Pyrrol Crimson as my deep crimson. (In my smallest travel palette I sometimes use Carmine in place of the crimson and rose pigments)

• Blues - 

1. Phthalo Blue Red Shade as my cool blue. 
2. Ultramarine DS or DV, as my warm blue
3. Cerulean Chromium as my liftable granulating cool blue
4. Indanthrone Blue just because I love it - a deep warm blue.

• Greens - 

1. Phthalo Green Blue Shade as a mixing green
2. Undersea Green mix DS (PB29+PO49) for foliage and leaves
3. Sap Green (PO49 + PG7) for foliage, botanicals
4. Perylene Green that is so useful for foliage in shadow.

• Neutrals - 

1. Buff titanium which is so useful for urban and beach subjects
2. Burnt Sienna PBr7 is my preferred pigment for Burnt Sienna
3. Burnt Umber as my warm deep brown
4. Jane's Grey mixture of Burnt Sienna and Ultramarine. This is the one I refill the most. 

Here is the palette - In the first photo from 2013 I arranged the colours with all the yellows together in the first column, then all the reds, then the blues, then greens, then earths. There is more on this arrangement here.

My 20 colour brass studio palette from littlebrassbox  - photo from 2013. 

I now have them in a more 'rainbow' order with light buff titanium, then yellows running down the first column, into reds, blues, greens and then the earths. This is how I tend to arrange all my palettes.

My 20 colour brass studio palette from littlebrassbox in 2019 - same colours but in a different order.

My studio palette colours.

So then what to do with the colours I want to use on occasions but not all the time? 

One option was to use a bigger palette. I had a wonderful large palette that worked very well in many ways. It held 34 colours and had good mixing areas but it took up a lot of space on my work desk and was not easily portable if wet so it was really only good in my studio. (Called the Bullet Proof Palette, by the way, though it is not actually made of glass but strong plastic.) It also had a number of colours that were more for special use than for all the time. My brass one is very compact when not in use, with great mixing space during use. What I wanted was a separate 'extras' set that I could keep in the drawer when not in use but pull out easily when painting in my studio. I've ended up using a set of 18 half pans in a custom made brass box. It works fine :-)

So what are these special extras?

My studio 'extras' palette.

Some are opaque versions of colours I have, some are more granulation, some are cool yellows for florals. They are colours that have their uses in particular paintings. I try to limit the number of pigments I use in any one painting but I like to have a good range to choose from.

Included in this little extras set might be - 

Cadmium Yellow Light - an opaque yellow for when more coverage is required or Hansa Yellow Light Daniel Smith PY3 which is a lovely transparent cool yellow. 

New Gamboge  - the original PY153 version from Daniel Smith. It is the most lovely transparent warm yellow I have tried. Mixable, but at times it's good to start with a single pigment colour. Hansa Yellow Deep is another excellent option.

Benzimida Orange Deep DaVinci - this is a gorgeous orange with a lovely and unusual orange  undertone. Once again it is mixable, but just lovely. Or Transparent Orange Schmincke, which is more transparent and has a more yellow undertone. 2019 update - The DS Transparent Pyrrol Orange that I use in my main palette as a warm red seems to have changed to more of a true mid orange - rather like the Benzimida Orange Deep, Winsor & Newton Transparent Orange and almost the Schmincke Transparent Orange. It would now sit in with my extras and I'd change the main palette to Pyrrol Scarlet for the warm red.

Pyrrol Scarlet DS - a very lightfast warm red. I like the pyrrols and they intermix very well. A bright red can be perfect for certain flower studies. This is the red I recommend in all my teaching, rather than the Transparent Pyrrol Orange that I have in my main palette.

Quinacridone Lilac DS - this is the lovely PR122 magenta that makes the most gorgeous purples, and is prefect for painting bougainvillea. It's great if I want to work in a limited CYM palette too! Not currently in my extras palette as I use Quinacridone Rose to make most purples.

Imperial Purple DS - purely convenience if painting purple flowers. Some might prefer a PV23 Dioxazine violet.

Moonglow DS - this mix of Ultramarine, Anthraquinoid Red and Viridian is just lovely for many floral shaded areas.

Cobalt Blue - this lovely mid or primary blue doesn't get a lot of use, though it's wonderful in the Greek Islands and for skies.

Phthalo Blue GS DS - this is the colour I recommend in all my teaching, rather than the Red Shade that is in my main palette. I have it for demonstration purposes for my on-line tutoring since it is a traditional choice for most people. The Red Shade can be adjusted to look like the Green Shade with the addition of a little Phthalo Green.

Cobalt Turquoise DS - this is an easy enough colour to make but the granulation is something special.

Jadeite Genuine DS - this granulating pine-like green is a beautiful pigment. It mixes a bit like Phthalo green but is much deeper in mass-tone, more like Perylene Green, and more liftable thatn phthalo green. Wonderful in foliage. Still in my little travel palette.

Green Apatite Genuine - I love this colour and use it often. Goes from a light green gold through a sap green to a deep undersea green all in one - still in my little travel palette.

Serpentine Genuine DS - wonderful fro grassy meadows, with lovely flecks of brown in the green wash.

Green Gold - PY129  DS - this is another useful convenience colour for botanicals and foliage.

Yellow Ochre PY43 DS - an earth yellow that is a little opaque. Makes great olive greens, when I don't want the granulation of Goethite.

Raw Sienna PBr7 DS - for skin tones or if I want a warm glow in the sky without it turning green mixed with a blue - one of the characteristics of this pigment.

Transparent Red Oxide DS- this is an option for a burnt sienna but is wilder so I keep it for special purposes, especially rust. Fabulous granulation!

Piemontite Genuine DS - a granulating Primatek colour that has an amazing tonal and colour range. It washes down to a dusty pink. A very interesting alternative to Indian Red, but I like to use both.

Grey Titanium  DS - introduced in 2019, along with Jane's Grey, this is an interesting colour that can be just perfect for concrete, neutral passages in a wash and some stone effects. I tend to use this in my plein air extras palette too.

Lunar Black DS - I don't generally use a black pigment but I love this one due to its extraordinary granulation.

My 'extras' palette colours

I have many other watercolours that I don't use so often so my other problem was how to store and potentially carry these extra pigments when teaching colour workshops. I found the answer that solved all the rattling pans and wrote about Malcolm Carver's flower palettes, and my 'special use' pigments in another post - here. I have also written about 48 'special pigments' that I put into a MAC travel case here, with more detail in the following post here.

Black Sketch Books 2 - Stillman & Birn

My collection of black books.

Stillman & Birn

My previous post in this series was about Moleskine Watercolour Notebooks which you can find here. Here I'll look at the sketchbooks am papers I have tried more recently from Stillman and Birn.  These come in a range of sizes, paper weights, paper colour and binding styles and are known as Alpha, Beta, Gamma, Delta, Epsilon and Zeta. You can see the whole range on their website here. 

Some of the Stillman and Birn range from their website http://www.stillmanandbirn.com/

It is a great range of books with something for everyone. This chart from their website is very helpful as it shows the weight, colour, surface and intended use of each book in the range. It can be found here.

The characteristics of Stillman & Birn sketchbooks from their website http://www.stillmanandbirn.com/specs.html

Unlike many of the books available these days, Stillman & Birn books do not have an elastic strap to hold them closed, or a pocket in the back to hold extra pieces of paper. Or a pen holder. If you want these features you need to add them yourself.

Pocket Alpha, Landscape Alpha and
square spiral bound Beta books.

The Book on the left is my Pocket Alpha 4" x 6". Alpha is white paper that is very versatile. It calls itself a 'dry media, light wash and ink' paper but takes even heavier washes surprisingly well, is nice to draw on and being 150gsm paper you get a lot of pages in each book. I use this hard bound portrait format pocket version as my sketch/notes/colour play book that I keep with me all the time.

Watercolour sketch from a cafe window in an Alpha pocket notebook

The second book in the photo is the larger landscape version that I enjoy to test out colours in my studio and for pen and wash or pencil and wash sketches and quick studies. It is slightly larger than the 'Large Moleskine'. I don't use it for more serious paintings, but one could. It's a fabulous paper and I really like it's versatility. Below are scans of two pages from this book.

Watercolour sketch of a statue in an Alpha 9" x 6"
landscape format sketchbook 

Samples of watercolour testing a range of Burnt Sienna and Indian Red varieties in my Alpha 9" x 6" landscape format sketchbook.

Notice that the watercolour washes are quite strong but there is not a lot of buckling. However, there is some degree of show-thorough so I certainly wouldn't paint serious sketches on both sides of the paper. Paint on one side, writing on the other is perfect. There are a range of sketch books available in the Alpha as shown here.

The two books on the right in the photo at the beginning of this post are Beta square 7" spiral bound. Beta books are made with heavier 270gms paper so there are less pages in each book than the Alpha. Each page can certainly be painted on both sides. So far it is not available in my favourite hard bound landscape format, but it is in either hard bound or spiral bound versions in a range of sizes as you can see here. It is lovely paper to paint on and though not smooth it also works well for pencil and ink drawing or writing. 

Painted swatches on both sides of the paper in a Stillman & Birn Beta 7" spiral bound sketchbook.

The Gamma is the same 150 gsm paper as the Alpha but in ivory. I haven't used a book in this range yet as I prefer white paper so far. I do have a pocket version waiting though...I have tested the paper and it works beautifully for its designed use for 'dry media, light wash and ink' and is really lovely. I tested a yellow and Buff Titanium on each sheet to see how well they showed up and there isn't a problem. 

S&B Gamma paper test

S&B Gamma paper test - back with wet wash.

The Delta is 270gsm Ivory paper. The same characteristics as the Beta but in Ivory. Once again, I have tested the paper but not used it in a book. I really love the paper, but am not sure about the slight ivory tint for my own work - perhaps just for warm scenes without any white? It is a very soft Ivory by the way, not a strong tone.

S&B Delta paper test - back with wet wash

S&B Delta paper test

Epsilon is Smooth white 150 gsm and Zeta is smooth white 270 gsm. These are also lovely papers, but I seem to recall they took a long time to dry. I haven't used them in a book as yet...I'd suggest these would suit those who like to write a lot of text as well as and draw/paint, or simply those who want a smoother surface. I always prefer a medium surface as I find the granulation of watercolour shows up more. For pure drawing and line work these are great and simply gorgeous for pencil.

Stillman & Birn Epsilon series test sheet

S&B Epsilon series test sheet back with wet wash

Stillman & Birn Zeta paper test sheet.

S&B Zeta test sheet back with wet wash

To be complete, I'll show my tests of the Alpha and Beta papers here too. This is the Alpha paper again. It really is quite special - some buckle but remarkably little for a relatively thin paper. Colours look bright - brighter than the smooth papers? Or am I imagining it?

S&B Alpha test sheet back with wet wash

Stillman & Birn Alpha test sheet

...and this is the Beta. Great paper that takes watercolour really well on both sides of the paper. Also fine for pen and other line work but not a smooth as the Zeta and Epsilon.

Stillman & Birn Best test sheet.

S&B Beta test sheet, back with wet wash

So something for everyone in this wonderful range of sketchbooks. 

Next up - other sketchbooks I've tried, though I think the Moleskine and Stillman and Birn are probably the most universally available. Make sure you try the Book Depository if you can't find them near where you are.

Just 5 colours? why it's not really for me...

I am often a little envious of the artists who decide to use only 5 colours. It is so simple to arrange and work with 5 colours and you can achieve wonderful colour harmony without even thinking about it if the colours are chosen carefully. Consider:

1. Quinacridone Gold PO49 (Daniel Smith) or Raw Sienna PBr7
2. Hansa Yellow Medium (Daniel Smith)
3. Burnt Sienna PBr7 (Daniel Smith or Da Vinci)
4. Carmine (Daniel Smith) or Magenta PR122 (Schmincke or W&N)
5. Ultramarine PB29

You can make a huge range of oranges, reds, yellows, greens and purples, browns and greys, but not quite the exact hue you may be looking at. You would need a cool blue or a phthalo or viridian green as well to create brighter greens, and I'd add Buff Titanium to be able to create cerulean, and a deep cool brown would take over three colours to mix...and so on.

My smallest palette, a tiny keyring sized one I made from a lip balm container, has 7 colours, one of them a mixture. Hansa Yellow Medium, Carmine, Ultramarine, Burnt Sienna, Goethite, Jane's Grey and Buff Titanium. I can do a lot with it but feel as though I waste a lot of time mixing. I prefer my 16 colour travel palette!

Why? I am a realist. I want my colours to match what I see as precisely as possible. I am also a passionate water colourist and one of the joys of watercolour is that you can see the pigment and its characteristics - they are not hidden in an acrylic or oil binder. I don't want to be limited to the characteristics of just 5 pigments.

Furthermore, I enjoy studying pigments and seeing how they react with each other, which means trying many colours!

In all, I am not committed to a minimal palette for my own watercolour work, though I admire it in others and continue to explore options :-)

2014 update
Here is a lovely bright triad 
Here is an amazing bright quartet
Here is a lovely 6 colour set 

Happy Painting!

Sketching in a Glass exhibition

I have been busy working on a number of paintings for upcoming exhibitions, but in between I have continued to enjoy sketching with the Sydney Sketch Club. These were painted at an exhibition of Art Glass at Angel Place in the centre of Sydney.

Lightfast tests - seven months

I painted a number of swatches of as many colours as I could find back in January, cut half away to store in a dark drawer, and placed them in a north facing window for the last 7 months. For the first two months they were inside the window, for the next 5 they were stuck on the outside protected only by the plastic sleeve they were in. There was almost no change at all after the first two months, but a bit more now.

First are photographs of each full sheet. They are too large to fit the whole sheet in the scanner, which was not very thoughtful. Next time - A4 sheets!

Then I will go through each scanned section so you can see what colours faded and which have remained - so far.

Lightfast tests page two seven months

Lightfast tests page one seven months

All Daniel Smith colours. The only change is Aureolin,  6th on the top line. PY40 is known to go grey and you can see this very clearly in the diluted wash on the left. Please don't buy or use this colour.

All Daniel Smith colours. No fading evident after 7 months. Note that Quinacridone coral looks different in the scan, but not in real life. One to watch. 

All Daniel Smith colours. It is difficult to see on this scan, but Rhodonite, second on the top line, has lost some of the rose and greyed slightly. Not recommended. All others are fine so far.

All Daniel Smith colours. Prussian Blue 2nd on the bottom line has changed slightly, and was the first to change when I checked last time. Vivianite Genuine has lost some of the blue hue, so is not recommended. Turquoise Genuine and Sleeping Beauty Turquoise have also changed - the Sleeping Beauty has noticeably greyed. All others seem stable to far.

All Daniel Smith colours. I couldn't see any changes in any of these colours.

All Daniel Smith except the final Old Holland Emerald Green. I couldn't see any changes in any of these.

Most of the top row are Daniel Smith, but you may notice Old Holland Manganese Blue with it's genuine granulating pigment, Art Spectrum Sap Green and Old Holland Flesh tint, which has lost it's red tones so is not stable.
On the bottom row are a set of traditional Japanese pigments. Not that the yellow pigment used in traditional Chinese and Japanese colours is not lightfast so has faded out of the greenm the yellow and even the colour that looks like burnt sienna. The Blue on the right has also changed. 

This final image shows traditional Chinese pigments and the faded yellow is even more obvious. The crimson is probably Alizarin PR83 but I don't know for sure - it has obviously faded.
On the bottom row is a Liquitex Hooker's free, some Art Spectrum colours and some Daler Rowney and lefranc et bourgeois colours that have survived fine so far.

So the main problem colours are PY40 Aureolin, Chinese and Japanese yellow, Prussian Blue, a number of Primatek colours (though MANY are fine) and some crimson reds. Surprisingly, the Opera Rose has not faded as expected...yet. I'll put them back in the window and report back in a few months.

September 2014 update here.

New small works

I have been working on some small still life studies this year. Here are a few of them. I am quite enjoying the Arches smooth paper for these, in a wide landscape format.

Jacaranda Pods II

Shells

Still Life

More leaves

I have always enjoyed painting leaves. Whether large or small, colourful or rather dull, they provide an excellent subject to paint.

Painted in a beautiful bound leather sketch book.

Painted in Vanuatu in an A5 landscape Moelskine watercolour sketchbook.

Painted in  Moleskine pocket sektchbook.

A leave in Indonesia.

Some local leaves.

Gum leaf study

Gum leaf study