Buying, Writing, Doing: The Triad of my Present Dilemma

It’s become increasingly apparent to me that it is much easier to purchase art supplies than it is to apply them in creative ways.  It doesn’t seem that this in any way should really be a problem for me:  I did work my way through an AA program in Art (I couldn’t justify it the first time around with my BA, nor at the Master’s level…at least, currently), so I know that there is some part of me that is creative.  I also know that I’m skilled, though as I said before, when I don’t exercise those skills, they’re hidden within me.

Unless I practice, my skill and creativity won’t have the chance to show themselves, or to develop beyond the point they are at, now.  Maybe the problem I’m facing (starting out with incipient projects) is the one faced by writers of all types (which I’m well familiar with, as my BA actually was in Creative Writing):  fear of the blank page.  Or white paper.  Basically, it’s the same thing.

What I can latch onto right now are the exercises which build increasing familiarity with my media. Right now, I am very, very drawn to water-based media (inks, acrylic inks, acrylic paints, watercolors, water-based block printing).  I have a feeling that this is majorly because I don’t like to deal with toxins when they’re unnecessary, and cleaning out watercolor brushes isn’t a big deal to me, at present.

Ah — and, I used to work more in dry media (pencils, pens, colored pencils, most apparently) — until I got tired of the tiny point of contact with the paper (give me brushes) and the graininess of most of my attempts.  (Keep in mind here that my Prismacolors were purchased well before the year 2000, so I don’t have the advantage of the smoother laydown of the new formulations, in that brand.)  In contrast, inks and paints are much more…captivating for me:  they lay down solid, (usually) unbroken, and (usually) more vivid color.

Color is something that I at one time began to organically grow into (toward the end of my stay in Community College) — and then I restarted the Library & Information Science program.  At that point, my energy focused on the goal of gaining an MLIS in order to be able to be a Librarian, so that I could have a steady income stream, hopefully benefits (though I have heard that these are increasingly being cut in Librarianship proper) and work within one of my areas of interest, while also performing a social good.  In my spare time, and with the spare resources I would gain from being an Information professional (or so I’ve heard), I have planned to work on my Art, thus bolstering my psychological resilience.

Right now…it’s hard for me to formulate or say what my point is, within LIS.  It’s where I am now, and it’s what I know, but that doesn’t really count for much of anything when I realize that I’m already at the top of my pay scale and will have to change positions soon if I want to become more efficient at earning money.

What I want to be doing right now, is helping to construct Web pages.  It’s fairly evident, even just through my experience with this blog and my drive to personalize and edit its structure.  It fits in with my other two degrees in the aspect of being production-based, but not entirely so much in the fact that it’s technical.  I presently do not have the ability to customize pages and sites.  If I keep on in the LIS program, I may eventually gain the skills, however:  and a new perspective on the experience of designing for someone else.

I have a feeling, though, that this will put me about even with the youth coming out of high school in this era — technically speaking.  Technology flows on, and keeping current with it is one of the things to which I’ve resigned myself.  Design, however, is a specialty, and requires skills and knowledge that not everyone has.  And, as has become increasingly apparent, it’s not about me or my expression (as versus Art, which seems to require drilling deeply into myself to draw out something that only I can do).

Right now I’m in a class on User Experience, which is an aspect of Design — and it’s very apparent that Design encompasses much more than the utilization of art skills.  Designing is not the same thing as producing Art, unless the person you’re designing for is you.

And writing for yourself is not the same thing as writing for someone else.

I think that if I did not have the fear of repercussions for expressing anything unique, I would have an easier time with both Art and Writing.  But I’m old enough to know that expression begets consequences.  Whether those are good or bad consequences is unknown and ultimately subjective; whether praise or hatred will prevail is yet to be seen.

This could be the reason why I have seen so many take a brash stance against this psychic wall…because if you don’t stand strongly, the force of that wall could crush your light down into a black hole.

Of course, it helps to have solid grounding and conviction in something reasonable, first.

M has expressed frustration that I have been acquiring supplies — particularly for painting — and have not progressed beyond, “little squares.”  (I’m not sure she understands how difficult the medium of watercolor is, however…)

My little squares, though they could be made in a more aesthetically pleasing manner, are doing something for me:  they’re familiarizing me with the medium.  I don’t feel comfortable jumping from having done nearly nothing into a place where I have no ground to stand on and don’t know how to kick or stroke.

Doing that, and working out my familiarization in a way in which I am likely to destroy my first five paintings (if not more), would be…almost traumatic, for me.  So I’m working on little squares.  Little squares, I can handle; and although the progression there is incremental, and likely to hit a roadblock when I try actually using the colors in application, at least it is something, and I’m learning from it.  Without something, I’m paralyzed because I’m being expected to perform as an intermediate or advanced student without having taken beginner classes.

Maybe M can move forward like that; but I’ve noticed that, in her own design work, she doesn’t think ahead.  She plunges forward and then hits a roadblock and doesn’t know where to go from there.  In contrast, I think things out much further, but then am criticized for my tentativeness and my expensive preparations and my lack of starting.

And actually, now that I’m looking at my notes, I can also see a pattern here:  and not just in the delicateness of my process and my work.

I probably write about art so much because it’s easier for me to write about art than it is for me to get up the courage to actually do it.  I’ve been writing nearly constantly, for all of my life.  Writing is familiar to me, and it’s easier for me to do this than it is for me to sit down with a paintbrush, no matter the chances of coming out with something beautiful as an end product (though maybe I will try and keep that in mind as a goal.  I have a chance of making something beautiful if I risk failure.  If I do not, I have no chance of doing the same).

Writing about work, though, is not at all equivalent to actually doing it.

I’ve got to make a number of lifestyle changes relatively soon.  Many of these — most, actually — are related to my mental and physical health.  I need to floss regularly.  I need to brush my teeth and wash my face well in advance of bedtime.  I need to avoid late nights (sugar cravings come on after 11 PM).  I need to drink more water and avoid excess sugar.  I need to shower more often, and to exercise (and stretch) more often and more regularly; and if I can, I ought to try to meditate regularly (doing all of this may allow me to reduce my medications…and drop down a few sizes).

Along with this — I wonder if it would be too much of a strain for me to try and wake up with the Sun, so I have all the hours of the day to do my work and my art, as versus doing art in the afternoon and taking photos in the late afternoon or evening (when it’s dark).  Or, less optimally, doing art at nighttime with less-than-natural light.

It’s something to think about.  Maybe tonight I can try going to bed early, instead of trying to wring all the good I can get out of the day, and see if I am able and willing to get up at, say, 7 AM tomorrow (as I tried to do, today).  And maybe if I have the art play as a lure to get me out of bed…I’ll actually do it.

Mixing greens, and experimenting with camera settings…

Well, I got two things off of my list.  Everything else had to wait until after watercolor experimentation (hey the sun was up!).  😛

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From top to bottom:  Lemon Yellow (Hansa Yellow Light)/Prussian Blue, Lemon Yellow/Chrome Cerulean (Daniel Smith), Winsor Yellow/Chrome Cerulean, Winsor Yellow/Prussian Blue.  In these tests I made a near-middle green first, then extended the color into blue going down; and yellow, going to the right.

I’m in the middle of relearning that in art, most skills and techniques can’t be learned unless the artist goes out of their way to try it themselves.  Learning about it in theory, or learning about it secondhand, won’t suffice.  Thus, listening to other people say what can and can’t be done, or will and won’t work, isn’t entirely productive.  Those other people may not share your conditions (as, say, maybe M. Graham paints do actually never dry, in tropical conditions; but maybe I don’t live in tropical conditions).

Today M stated that if I went to the art store again, I couldn’t go back for a week, because I was addicted.  *^_^*  I opted not to go and to save that trip for a later date, even though we were right there.  I knew that if I could first practice with the paints I have, I would then have a better idea about anything I needed, as versus something I might need but was not sure about.

What I can tell, though:  15ml tubes are probably about the right size for intense color.  I have a bunch of tiny tubes (5-7 ml), but really those are great for testing colors…not for being mainstays.  And I’m not sure if I want to keep to Winsor & Newton, now that I have had a taste of other brands (particularly:  Grumbacher, M. Graham [I really love their Hansa Yellow — it disperses beautifully — I haven’t tried it wet-on-wet yet], Daniel Smith, Mijello).

Of course, though, it’s necessary to be a smart consumer and know what you’re buying before you buy it — there have been a lot of complaints that I’ve seen about Mijello Mission Gold brand being “mislabeled,” but it really seems that “mislabeling” is industry-standard and that companies telling you the actual pigments they’re using is a mark of quality.  I don’t think they’re required to do so, unless the paints contain one or more ingredients requiring a carcinogen warning under California Proposition 65.

I’ve just been learning things piece by piece, and each new bit of information makes me want to experiment, more.  Unfortunately (or maybe, fortunately), there are no decent art stores in my area…and waiting at home encourages research

Anyhow, I’ve also been experimenting with camera settings.  The two photos I’m showing here were taken on the “Tungsten” lighting setting on my camera.  Although I was under fluorescent lighting, these images were the closest I came to what I had seen while the Sun was up (though they didn’t capture everything:  for example, M. Graham Hansa Yellow [I tend to just call this Lemon Yellow, as versus Hansa Yellow Light, or Pigment Yellow 3 {PY3} or Arylide Yellow, but in the spirit of accuracy…] and Winsor Green [Blue Shade] make a nearly fluorescent green combination when combined, seen below left).

(I tend to work by the edict that a color can be neutralized and thus dulled down, but the amount of light it reflects cannot be made brighter than it initially is…though that thought has been questioned by those around me…possibly because warm and fluorescent colors can appear psychologically brighter than white?  I don’t know.  I’ve noticed that I have a relatively high-key palette, though, and that is for this reason.)

Anyhow — every other camera setting cast a brownish tone over the entire image, which I knew I would have to edit out in Photoshop.  Turns out, it’s much easier to take the photo correctly, the first time.  😛  I also realized that I could alter the white balance on these images directly in my camera, instead of applying filters after the fact.  (Both of these images were taken with the white balance shifted a bit brighter than the light in the room.  Which, like taking the photo under the “Tungsten” setting even though I was under warm fluorescent light, did help with color fidelity.)

There was no processing after-the-fact (post-processing?) I knew how to do that I could do here, that would have helped — other than a judicious applying of the Skew tool to unskew my camera positioning.  But I thought that would be a little much.

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Top to bottom:  Lemon Yellow/Winsor Green (Blue Shade), Winsor Yellow/Winsor Green (Blue Shade), Lemon Yellow/Winsor Blue (Green Shade), Winsor Yellow/Winsor Blue (Green Shade), Aureolin/Winsor Blue (Green Shade).  For newbies, Winsor Green and Blue are both Phthalocyanine colors, with Winsor & Newton branding in these particular names.  Aureolin is genuine Aureolin, PY40.

What I found is that I get some **** clean colors out of Phthalo Blue (Green Shade) and Phthalo Green (Blue Shade), when they’re combined with the lighter Hansa Yellow (which is a cool, delicate, light yellow, often referred to as “Lemon Yellow”).  Phthalo Blue (GS) combined with Aureolin also makes really bright, pure, strong mixes.  I will indeed be sad if Aureolin does discolor with moisture and/or light…

…and I’m thinking of going over some of these swatches again with glazing in their original color mixes, in order to deepen them.  (I’ve already done this on maybe 3 or so squares, where I used too much water.)  It will be easier to see differences in hue, that way.

Prussian Blue and Chrome Cerulean (1st image) also make decent mixes with Lemon Yellow; in addition to Prussian Blue mixing well with Winsor Yellow (according to Blick’s website and handprint.com, this is a benzimidazolone [or Benzimida, I’ve also heard it called] yellow; and I’ve just manually checked it:  it is Pigment Yellow 154 [or, PY154], which concurs).

I got some really…slightly surprising reactions of the Chrome Cerulean with Winsor Yellow, however (1st image, third from the top).  I wouldn’t repeat the process, unless it were to see if the pigments settled out because of the amount of water in the paint (too much).  This mixture granulated heavily in the mixtures tending more toward Cerulean, in a way that I didn’t really find attractive or currently useful (you might, though!).  However, using less Cerulean and more Benzimida could add a subtle touch to …something.  I don’t know what, right now.

This is as far as I got today before I had to stop.  I was working on cheap paper because I was just doing scales…but I’ve got to say that the Fluid cold-press watercolor paper (second photo) was much more of a joy to work on than the Strathmore 300 rough I was trying to use up (in the first photo).

I’m kind of glad I don’t have any more of it, now… 😉

Yeah…a bit scattered…

I was looking around for information on techniques for filling palettes, and found a number of interesting statements.

  1. Apparently, Viridian (true Viridian, that is) doesn’t re-hydrate well, and I should avoid putting it into a well so that I don’t waste it.
  2. I will want to roughen up the inner surfaces of my palette with either baking soda or a scrubby sponge, before filling the wells.
  3. I’ve heard that M. Graham watercolors (like my Hansa Yellow) never completely dry and may move when held vertically because of it — but that information is disputed online.  Just in case, I will want to fill that well in stages in order to see how well it is setting.

I’ve also been looking around at information on fountain pens and Bullet Journals — the latter of which may enable me to keep track of school assignments and my presently-nonexistent Japanese study (which I keep forgetting about, due to the fact that my books are all neatly and unobtrusively stowed on my bookshelf).  I do have a dotted grid notebook suitable as a Bullet Journal, but it is stowed along with the Japanese-learning materials.

I also read not to use linocutting tools (I assume they meant Speedball knives with interchangeable blades) for woodblock prints, as the blades would dull.  I do have some tools to sharpen my old knives (aluminum oxide waterstone in coarse and fine grit, ultra-fine grit wet/dry sandpaper), but I don’t have the stones right now to hone the insides of my gouges (which would save me from having to buy new gouges).  I’ll stick with linocutting for now, though.  I’m pretty sure the Japanese carving store near me should have the stones available, or I can find them online.

I did look through one book on printmaking techniques, which reminded me of what I had been doing before I derailed myself into watercolors.  (Today I went through everything that I had checked out from the library, and made a pile of things that can go back.  Financial liability is not a good thing.)

Also, I realized that the entire set of my newer watercolor paint samples had been made out of the same sheet of paper; meaning that what didn’t settle roughly on the rough paper (as in the last entry) either must be inherently very smooth, or have contained less water/paint in laydown.  As a further note on that entry, I can now see texture in certain paints and not in others.

I’m also amazed at how many people are using Mijello palettes (or palettes that look like them), though that may be neither here nor there.

And I found out that D didn’t really lose my master tracing/final design for the flower linocut; I just never actually cut it off of the tracing paper (the only reason I know this is that I expected to see a missing square on the sheet, and did not).

In addition, I completed the major reading for this week on Monday, having started on it Sunday night.  My reading speed in English really is getting faster, or the book I was reading was very good at being clear (probably a bit of both).

So tomorrow, what can I do?

  • Go to dentist for cleaning and ask about the craze lines on front teeth
  • Return library books
  • Clean office
  • Clean bedroom
  • Prep loose trays in Mijello 33-well palette with baking soda scrub
  • Take a look at Beginning Japanese by Kluemper et. al and/or Elementary Japanese by Hasegawa.
  • Review kana.
    • Hiragana first
    • Katakana second
  • Shower, please

In the future,

  • Learn more about Bullet journaling system
  • Practice mixing greens, with awareness (and record!) of what color was used where (I think I experimented with Cerulean and Prussian Blue last time, but can’t be sure of the yellows) * — I may want to do this BEFORE filling the palette, — * as I’m not sure how many greens I can actually get out of this, without Viridian.  But I suppose I do have Aureolin, Hansa Yellow, Hansa Yellow Deep, and two different Yellow Ochres (I believe this is natural vs. synthetic), so it’s worth a good shot.
    • Practice mixing with watercolors in either scales or grids
      • Fill palette with watercolors
  • Transfer flower pattern onto new linoleum block
    • Practice with new X-Acto blades on linoleum sheets
    • Carve new linoleum block
    • Draw prints (in different colors!)
  • Draw gingko leaf design and puzzle out how to best work with that in a print (mixed warm [yellow, orange, brown] inks, white space for veins of leaf?)
  • Draw more than one ginkgo rendition, so as to create a falling-leaf image on bookmarks?
  • Straighten hair, trim off obvious damage

And I’ve got to remember I have both an eye appointment and an ultrasound coming up.

I should probably get going.  Sorry for the word count on these things…it’s even hard for me to go back and read this stuff, honestly.  Maybe I never grew to question the, “longer is better,” stuff I learned in high school…on the Web, at least, “briefer is better (so long as it delivers the required information),” may be more true!

Rounding out the palette

Alright then.  Although it was against my better judgment, I did go out and get a Prussian Blue and a Cerulean.  The Cerulean I got, though…may need to be mixed with the Phthalo Green or Viridian in order to achieve qualities that would allow it to effectively tone down very warm colors…I haven’t trialed it yet, and so am not sure.

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Trial Five:  by the way, the increased texture on the Aureolin (Yellow), Cerulean Chromium (Blue), and Phthalo (Blue) colors may be due more to the paper I used than to paint qualities…

I neglected to see that Daniel Smith (the brand I ended up getting, as that was what was available) had more than one variant of PB36 (Pigment Blue 36).  Or, maybe more to the point:  I neglected to see that both PB36 and PB35 were pigments for things named “Cerulean.”  I was expecting something a bit greener, though got scared when I attempted to check the color in the store and felt pressure releasing towards the cap.  Because the people at Blick spent a full 5 minutes (at least) trying to locate what I wanted (and did the research for me), I then was OK with leaving with this.

What I can say is that my “Cerulean Blue, Chromium,” from Daniel Smith is almost brighter than my Phthalo Blue (Green Shade)!  That’s certainly saying something!

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I’ve tried to adjust the colors here to be accurate to what I saw, earlier.  The Prussian Blue is a bit more intense and bluer than Cotman Prussian Blue, but it’s very subtle.  They appear to be the same value when dry, it’s just that one (the Winsor & Newton Cotman [student-grade] formulation) is grayer than the other, as an illustration of the quality differential between student-grade and professional-grade.  It’s kind of a weird thing to try and describe.  Maybe I should take a picture of it…

I believe that the “Cerulean Blue, Chromium,” is PB36…PB35 would have given me something more along the lines of what I expected:  a greener blue-green.  Because of the way this blue looks, though…I might be able to temper it with one of those ugly mostly-green colors with a hint of blue in order to have the color I was originally going for… 😉

I did get the Cerulean to mix greens and dull down colors, though.  It wasn’t something which I was planning to utilize on its own…this is why there is that one gap in my “earth tone” section, in the first image.  When and if I get a gross-looking green-blue to mix with the Cerulean, I’ll put it there.  😉

I think I’m about ready to fill my palette, now…

Did some tests tonight

I tried the hint of mixing Quinacridone Magenta (W&N Permanent Magenta) with Phthalo Blue (Green Shade), and did indeed come out with something that looks very much like Indanthrone Blue!  It was just a bit dilute because of all the water I added in order to rehydrate both of my paints, but if I didn’t skimp on it, I could probably make a full-strength mix.

I also painted out some Prussian Blue, which…I really like.  I know it’s safe under normal circumstances, so maybe I can carry that knowledge with me.  I’ve also decided to re-add Aureolin to my palette, though it doesn’t show in the image below (Trial 4):

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Trial Four

…This is because I feel it might be useful in color mixing — particularly with cool greens — though it can’t really compete at all with Hansa Yellow for tinting strength.  I would put Aureolin between the lightest yellow (Hansa) and Sap Green.  I’ve also removed three colors (Cadmium Red Pale Hue, Winsor Orange, Cadmium Yellow Hue) due to multiple factors, varying with each paint.

The Hues are both Cotman (student grade) paints — from 2009 or before — and if I’m recalling correctly, they’re fugitive (though I haven’t verified that).  Winsor Orange just tends to dull mixes, and I don’t need it if I’ve got Cadmium Orange Hue (a much more recent formulation [2016, I’m thinking] which may be less fugitive than the 2009 version [known fugitive], though I haven’t checked my memory against sources) in Cotmans.

This gives me six empty pans to work with (if I fill one with Aureolin)…

Anyhow, the Prussian Blue is really pretty (especially combined with Phthalo Green [Blue Shade]), and I’m trying to figure out whether to purchase the professional-grade paint.  I know for a fact that the Cotman Prussian Blue (from 2009) doesn’t flow very well, but that’s to be expected of Cotmans — they’re really inexpensive.

I should get to bed sooner than later, but I wanted also to mention Cerulean.  I have a Cerulean Hue, which I’m not too fond of.  The only reason I mention it is that I’m not sure if I’ll need it for greens — I have Cobalt Blue, already, though.  I’ve just been reading on handprint.com…maybe a Cobalt Turquoise could help and not be too similar to the Blue…or I could just swap the Turquoise for the Blue.

Cripes.  Okay.  I’ve just decided what I’m going to get.  Prussian Blue and Cerulean Genuine.  Tomorrow.  Okay, brain?

I’m going to bed.

Okay, I don’t need the Indanthrone Blue:

I did a little research, and at handprint.com found that Indanthrone Blue can be approximated by Phthalo Blue + Permanent Magenta (both of which, I have!).  I’ve also recalled what Prussian Blue looks like, and am no longer so hot on it.  I may want to paint out a bit of what I have in Cotman stock, however.

This web page is particularly helpful where it comes to this…

Finally…I’ve finally got a palette layout I’m good with.

Apologies for not having posted sooner; I have a feeling that I’ve been fighting off some sort of infectious microbe.  😉  I’ve been playing around with color chips for the past couple of days, and had to stay home today for a phone appointment, so it was a fairly good study time where it came to colors.

My last post got into the beginning of this.  In the meantime, I’ve been toying with layouts and reworking swatches (my original set were not all that great, as I wasn’t using enough color).  I still haven’t worked gradient swatches, but that wasn’t the point, this time.  Using up the dried paint in my preexisting palettes may have actually been the point, but who can say?  😉

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Trial One
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Trial Two
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Trial Three (1)

I have a feeling these may be basically self-explanatory.  The previous photo, “Trial Three (1),” is missing the two swatches of black pigments which I didn’t notice were missing until very late in the game.  These are Ivory Black (Cotman) and Lamp Black (Holbein), which have slightly different overtones.  (Ivory Black is less blue than Lamp Black.)  I have a photo with a Levels adjustment, here:

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Trial Three (2)

I’ve tried to render these as well as I can, but to be honest, reflected color changes depending on light quality…and the light quality isn’t so good right now!  But in particular, I tried to match up the white of the palette to the white I recall.

I’ve included some paints in here that I normally would not have — for example, Winsor Orange (Professional grade), which is slightly duller than Cadmium Orange Hue (student grade, Cotman) and seems not to mix as well.  But maybe there will be times when I’ll need one or the other of the mixing properties, and they won’t be interchangeable.

(While I don’t know that I’d actually need something to mix in a dull manner [it’s possible to do this just by adding a complementary color to neutralize aspects], I opted to include it.  I don’t have that much experience with it, because I utilized Cadmium Orange Hue instead, in Watercolor class…but I still have a nearly full tube of Winsor Orange.  I discovered this on going into my art supplies to look at all the Cotman tubes from vintage 2009.)

This is the same reason I’ve included Viridian, above.  My parents were nice enough to snag a W&N Phthalo Green (Blue Shade) for me, which is like Viridian Hue in Cotmans (they use the same pigment), but I’m hoping it handles better.  (I got some weird unintended effects — I think they’re called “backruns”? — with the Viridian Hue, but not with the professional-level Phthalo Green.)

Now, I normally can’t stand Viridian — I can’t get any concentration out of it — but there is a chance that I’m going to need a green like it, and Phthalo Green (Blue Shade) may not mix the way I need it to.  It may be that Viridian works better in mixes than on its own, that is…but it’s basically a Chromium Oxide green…which I don’t even like unaltered in acrylics (it’s dull — the color of a pool table — and I don’t know why we were told to get it:  Emerald Green is much more favorable to my taste), but Chrome Oxide Green can make interesting mixes when combined with unexpected colors.  I’m hoping that maybe Viridian will turn out the same way.

What I did unapologetically cut out was the Aureolin.  I really don’t like that pigment (it’s a green-leaning, pale, dullish, expensive, toxic yellow with low tinting strength which has been maligned online for low lightfastness), and with a light Hansa Yellow, I don’t believe I’ll need it.  (The Hansa is far right, middle row on the previous image).

And while I was talking about not needing the full spectrum because things can be mixed, it’s really apparent that I was drawn to the warm spectrum, here.  I am not entirely certain how such small differences in color can add up to such large differences in the quality of a mixed paint, but I know that differences in yellows are fairly consequential.  I included what I had, regardless of student or artist quality.  I’m not planning on my work lasting through the next two empires, that is, and I’ll likely need to refill the palette and mess up my color scheme anyway, so…

What I am amazed at (slightly) is how many different colors of red, there are.  I tried to concentrate them to one side of the palette, though the overall numbers (breaking into three relatively cohesive sections) helped.

The two colors which I have thought of to add if I ever come to care that much (seeing how many colors of red and yellow I have, and that I have three blues), are Indanthrone Blue and Prussian Blue.  I intentionally haven’t added the latter because of stability concerns…which I won’t go into, but Indanthrone Blue is one of those that just kind of makes me go, “ooh.”  Prussian Blue tends to be muted and greenish, Indanthrone looks dark violet-blue.

Ah, well.  If I keep painting in watercolors, it’s something to consider.  The QoR brand of Indanthrone looks particularly appealing, though possibly mimicked with French Ultramarine plus Dioxazine Violet (though the swatch at Blick’s website is horrible).  And looking at this, it’s possible Indigo (a convenience mixture from W&N, which I started to play with in combination with one or another Phthalo, yesterday) will sate the Prussian Blue bug.  (Indigo leans greenish, and is also muted.  It isn’t actual Indigo, though, possibly because Indigo dye is relatively fugitive…or so I’ve heard.)

I also added the new tube of Rose Madder (Mijello Mission Gold brand) which I got as a bonus with this new palette:  it is similar to W&N Alizarin Crimson, but redder, if that makes sense.  By that, I mean it looks closer to a straight red.  It’s not really obvious in the photos, but it is on the lower left in the image “Trial Three (1)”.

I don’t know if this can be called a productive day, but it’s been a fun one, at least!

And yeah, I wouldn’t feel bad about filling this palette as it is, and not worrying about having “the right place” for Prussian or Indanthrone Blue.  They can just go in the lower right corner.  🙂  I’ll know what they are.  🙂

Saa, but yeah…I’ve got to go to work, tomorrow.  Yay for earning money!  😉  After next week, I shouldn’t have to worry about any more appointments.  Maybe then I can take on some extra hours…I just don’t want to come anywhere close to burnout this Summer…