Lightfastness testing chart, final version

I completed my watercolor lightfastness testing chart tonight, though it hasn’t spent time in direct sunlight, yet. Apologies for the poor lighting in the photo documentation (this all took place after dark)!

There is, I think, a lot I’ve learned from this project (and the phase of exposing this to daylight, has barely begun). I’ve been trying to get this chart done before school starts up, but if last semester was any hint, I might want to start studying now. 😛

Anyhow, below is what I’ve currently got:

watercolor lightfastness testing chart -- final version

The majority of these colors are Winsor & Newton brand, with notable departures (which, for your sake, I feel the need to get to, below).

For those who have been following this project, I did make it out earlier to get a Pyrrole Orange pigment — this is PO73, in the far right column. (I also got a better Raw Umber: both Daniel Smith and M. Graham had online swatches with nice flow.) I had planned to get a W&N color, but second-guessed myself when I saw that M. Graham & Co. also made a Scarlet Pyrrol with the same pigment (which I had skipped over and just not seen, online. One of the downsides of the Web is that you don’t see what you don’t see…).

I don’t think it totally replaces Grumbacher’s Vermilion Deep (just to its left in the chart above), but then again, I’m having less and less faith in that paint performing well. I did try again to paint Vermilion Deep out tonight, to see if the lack of wet-in-wet flow was something I wasn’t doing right, or if it was a characteristic of the paint itself. At this point, I think the latter is true.

Nor does it really give me any reassurance to know that the paint is made of four separate pigments (as I realized when making pigment notes on those black papers [Strathmore ArtAgain coal black paper — acid-free and heavy], though I just now realize that those papers may well fade in the sunlight as well as the paints! and that in turn could compromise the protection for the paints underneath the flaps…not to mention the visibility of my pigment notes).

Ah, right: I also just now realize that no one here really knows what I did. I thought I took photos during my working process tonight, but I must have forgotten to turn on the camera–! Seriously, I took the camera out, and everything. I don’t know what happened, except maybe I forgot to take pictures and thought I did, or had a critical user error. (I don’t think it’s a problem with my camera!)

Right now I have photos of every sample cut out and rearranged from their prior order (photos shown last post), with the little black rectangular shielding papers attached by a Scotch Tape hinge, and secured by a little more tape over the white part of the swatch. Then, I have photos of everything stuck down with a roll of tape on the back of each sample, which I should be able to remove. I just bit it and stuck it to a piece of Bristol board, too, which is good in that it gives structure to the piece. It’s just likely unnecessarily expensive.

The final product is what you see, above.

Less about the process and more about what I learned: it was very enlightening to note down the pigment codes of everything I had, because then I could see what I didn’t actually need.

For instance, Sap Green (PG36 + PY110) should be able to be produced by a mix of Phthalo Green [Yellow Shade] (PG36) with Isoindolinone Yellow (PY110) — which I have, now. What I’m paying for is basically for the company to discover and mix it for me, unless I didn’t have and didn’t want either of its parent pigments; or this is one of those cases like Permanent Magenta (PV19) and Permanent Rose (PV19) sharing the same pigment code and apparently just being different variants of chemicals similar enough to be classified as the same thing. (See the lower right corner of the above photo for an illustration.)

I also realized that W&N Payne’s Grey and W&N Indigo look harmonious because they’re a mix of three of the same pigments, just in different proportions. I had mentioned the harmony recently — likely in my last post, or the one just before it. That is, the colors looked like they were in a range (and I guess they were).

Also, W&N Burnt Umber seems to be a mix of other earth pigments…which makes me want to investigate what actual Burnt Umber looks like.

*sigh*

Okay, so what is not Winsor & Newton brand? Working from right to left, and top to bottom:

  1. The Raw Umber at the upper right corner (M. Graham & Co.): PBr7
  2. Lamp Black (Holbein): PBk6
  3. Prussian Blue (Daniel Smith): PB27
  4. Cerulean Blue Chromium (Daniel Smith): PB36
  5. Hansa Yellow (M. Graham & Co.): PY3
  6. Isoindoline Yellow Deep (Holbein): PY110
  7. Scarlet Pyrrol (M. Graham & Co.): PO73
  8. Vermilion Deep (Grumbacher): PR188, PR173, PR209, PY3
  9. Rose Madder (Mijello Mission Gold): PR176

The photo above is also sideways; paint names are visible to the left of the color painted, but I thought the pigment codes were likely more valuable — and visible — than the paint names (some of which, like “Phthalo Blue” instead of “Winsor Blue,” I’ve altered as I can memorize them).

And finally, those two out of order in the lower right corner are colors that I’ve decided not to use for now (various reasons), but am testing them for lightfastness anyway, as it may become valuable information in the future (particularly as regards PO62, which is in another mix on this palette [W&N Indian Yellow: PO62, PY139]).

I don’t regret getting Scarlet Pyrrol at all, at this point. It’s a beautiful color and harmonizes nicely with Permanent Rose and Winsor Yellow, at the least. I’m also softening up on the Winsor & Newton Cotman (as versus Professional) Cadmium Orange Hue, at least until I can see if it fades. It’s not terrible, but it is the only student-grade paint in this chart. That said, with the caveat that its lightfastness is to be determined, it performs better than some of the artist-grade paints.

At this point, I’m wondering what would happen if I took all the convenience mixes away: what would I have left in single-pigment paints, and could I get by with that? (Probably! But I would also probably start filling the spaces in my palette with other single-pigment paints, to mix colors I couldn’t get otherwise…)

I have more material to write about: particularly that producing web content could be a full-time job, aside from the web development and design angles; targeting an audience (a.k.a. remembering who you are); subject matter for art; and how I have begun to remember who I am (those last three things are entangled)…but I’ve written enough for tonight.

I will set this to post at 7:30 my time. For now (it’s 2:30 AM here), I can get some rest.

Advertisements

One week since the beginning of Break…

It’s only today that I realize it’s been about a week since my last posting. I’ve been busy moving things around, and cleaning. (By “moving things around,” I mean sorting through all the papers in my office, and sorting through everything in the bathroom. Also, going through the books on my main bookcase to organize them by approach and theme.)

This started with my cleaning and organization of the craft table, because I needed space to cut a sheet (or roll) of tinted acetate and didn’t have room for the cutting mat or the roll. Right now things are OK down there — space is usable — but it isn’t optimal.

I also went through everything in the drawers in my bathroom, and beneath the drawers in my bathroom. Anything which could spoil, which I couldn’t remember buying in the last 6 months, I was told was fine to throw away. Particularly, used makeup, which can cause infection if there have been bacteria growing in it and then one applies it to one’s face. (I also shaved down my old eyeliners [which I hadn’t been using], and threw out what had dried out.)

The only reason I started thinking about makeup is that I did have a job interview, a couple of days ago (which was the last big thing to get out of the way before I could have true relief). I did mostly go to the interview in order to gain practice and not be kicked off of the qualifying list, but I am not certain what I would do if I were offered the job. Nothing to do but wait now, I guess.

And I have realized by now…that having expanded piercings is kind of like having tattoos. I didn’t really “get it” until a couple of days ago, though.

I was able to get that Quinacridone Magenta paint I wanted! (I haven’t tried it out yet, though.) I’m hoping that it will give me clearer violets than either Permanent Rose or Alizarin Crimson. There was a complicating factor in that I went in to buy a tube of Winsor & Newton Quinacridone Magenta gouache (opaque watercolor), and they were totally out of that color!

I did recall that W&N’s Quinacridone Magenta’s pigment code is PR122, though, and that I did have a backup choice in Holbein gouache. What I didn’t know is that Holbein’s “Primary Magenta” color is PR122 (I found this out at the store) and at least from what I’ve seen online, is extremely close to Winsor & Newton’s “Quinacridone Magenta.” The major difference is that the W&N Quin. Magenta is bluer than the Holbein Primary Magenta, so there may still be a use in waiting for the W&N at another time.

Anyway, this is just a continuation of the Color Dynamics website that I wanted to put up on the Web (but which was much too voluminous in scope and content to use simply as a final project in my Web Design class).

It’s fairly apparent by now, though, that if I want to publish a full site to the Web…I’ll have to rent some server space, which is not something I’ve arranged yet. It would also help to know what I was doing when setting up that server space, though I have been doing some study to prepare me for that.

I had wanted to continue working on this project to help me build skills in Web Design! Now that the pressure’s off, though…hmm. I haven’t touched it in at least a week. But during that week, well…I’ve been going to work, organizing stuff, cleaning, and shopping.

We did go to Nihon Machi (Japantown) recently, where I found a retrospective book on Emigre (the “type foundry”) which goes back to 1986. It cost a bit, but I was like, “when am I going to find this again,” and I didn’t want to buy it from Amazon. (It does seem that having an in-person store is a service.) I’ve read that experience with typography is one of the only things I need to know that I don’t know, if I want to be a Web Designer. I don’t think that knowledge of typography is one of those things that goes out of date, though.

I also found a book called Everyday Watercolor (from a different bookstore), which looks really interesting! I haven’t been able to look deeply into it yet, though, because I’ve been cleaning. What’s annoying is that in my cleaning the bathroom, I apparently disturbed something that was hungry (likely a spider) that bit up my legs and caused an emergency cleaning of both my bedroom and my office. So I haven’t been able to get as deeply into things as I would have liked.

I also replaced the Borden & Riley marker paper that I’ve almost used up. On the trip, I should have taken something printed, if not the old pad itself — translucency is key to this stuff being of use to me. If I had something to view through the paper, it would have made my choices easier.

The marker paper I had was like a very high-quality tracing paper. What I found at the store under the same name, however, was not the same product. The type of paper which is under the same brand name now seems to be different (more opaque, thicker, whiter) than it was when I bought my last pad.

Because of this, I did a slight shift and got two pads of paper which I hope will replace the Marker paper qualitatively (as I don’t really care if the markers bleed — but the fact that they had “No Bleed-Thru” paper that bled, is likely why they decided to sacrifice transparency). Borden & Riley is relatively inexpensive, which actually helps me be creative (because I don’t especially have a fear of wasting materials).

One of the pads is Borden & Riley #110M Technical Vellum (which is sized to be easily Xeroxed, at 8.5″x11″); the other is #37 Boris Marker Layout, 9″x11″. The new #37 appears more translucent than the old #37 Layout paper.

I’ve also been going through my photo archives, and have a couple of images that would be nice to work through in painting, both variants of the same basic photo. One of them can be a 4″x6″ panel in acrylic…unfortunately, these dimensions (2:3) are not common in larger sizes, at least here. However, I can do a larger version in 11″x14″, easily — and I’m thinking of doing that one in watercolors. The major issue with the latter is paper buckling, so I’m going to have to figure out how to map a 10.5″x13.5″ space out on the photo (0.25″ will be masked out on all sides to hold the paper down)…ehhh…

Yeah, that’s not going to be the most fun thing ever. But it will give me some Photoshop practice.

And yes, using inches as measurements is a pain. I haven’t yet done the research to answer the question of why letter-sized paper is 8.5″x11″ (I have a feeling it’s some historical quirk), but it’s been bothering me recently.

Also…I have a very good library to go through if I ever get bored. I’ve just got to remember that it’s there. I’ve also got to filter out things I will likely never read or reference. In particular, I have a couple of books on HTML and Web Design which have got to be fairly dated by now (they were bought by a family member, a while ago: copyrights 1998 and 1999, to be exact).

Yes, I think that if someone could have been born and graduated from high school in between the time those books were written and the time I’m looking at them, it may signal that an update is needed. The HTML book is on Version 3.2. We’re on HTML5 now.

Yeah, I…am not sure how much help those will be, except as historical artifacts…

Finally done filling the palette.

I wish I had the skills to make a graphic which would provide tooltips on mouseover.  It would just make things so much easier!  In the meantime…the palette is filled…just…OUT OF ORDER!!! D:  😉

3543w
Blues and greens, starting at top right, and moving down:  Cobalt Turquoise Light, Cobalt Turquoise, Indanthrene Blue.  Middle row:  Winsor Green [Yellow Shade], Winsor Green [Blue Shade], Sap Green.  Left row:  Indigo, Prussian Blue (Daniel Smith), Cerulean Blue Chromium (Daniel Smith), Winsor Blue [Green Shade], Cobalt Blue, French Ultramarine.  Payne’s Grey is also in there with the Earth Tones and Blacks.
These are the colors that I…FINALLY…put in the freakin’ palette.

The right side of this set of swatches is at the top of the photo…after I started getting “weird” colors (like those), things really got interesting.

For some reason, I have less of an aversion to Cobalt colors than I do to other toxic colors (particularly the Cadmiums).  Maybe I’m just familiar with Cobalt through my work with glass beads…(Cobalt provides a rich, deep violet-blue in glass.)

Right now I’m watching out for this, but mostly the routes of cobalt uptake seem to be through ingestion and inhalation — neither of which, I have to worry about.  (I’m relatively fastidious where it comes to after-work cleanup, and I don’t use an airbrush.  If transdermal exposure were more of a risk [there is still some risk], it would be different.)

I do have a large number of Cobalt colors here.  It’s a mystery to me just how one can get so many different colors out of the same metal.

(Cobalt colors range from Cobalt Violet, through Cobalt Blues, Ceruleans, Teals, and Turquoises, to Aureolin, or Cobalt Yellow.)

I am right now just hoping that I can keep all of these straight…I’m getting kind of tired of painting color chips.  I can see why people use the modular pan setups, now:  because sometimes you really want to shift the placement of colors around, after the fact.  Ideally, Indanthrene Blue would go in between Dioxazine Violet and French Ultramarine, here; I would put Indigo over with the Earth Tones on the right side; and Winsor Green [Yellow Shade] would switch places with Winsor Green [Blue Shade], so that the Yellow Shade would be closer to the other yellows and further from the green-blues.

I’d still be at a loss as to where to put weird colors, though (like the two Cobalt Turquoise paints).  🙂  I got those because I wanted to be able to paint warm greens, as versus cool ones:  I think I’m off to a good start on this.

And…yeah, I did break down and get Indanthrene Blue (Winsor & Newton).  I mixed up a batch of Phthalo Blue and Permanent Magenta, as suggested on handprint.com, but I think the fact that I had Phthalo Blue [Green Shade] (as versus [Red Shade]) caused my mixture — a nice, inky blue-violet — to dull a little.  The Indanthrene here is slightly more vibrant than what I mixed, that is.

The Cerulean Blue Chromium is actually a really useful color — I used it a bunch in my last still-life study.  It’s blue, but not violet enough to take the life out of greens.  I also ended up using Hansa Yellow Light and Deep to good effect, in the last still-life.  From before, I remembered to dull colors with their complements, so violet would grey out yellow, for instance.  And then there were the highlights (save the white space) and the shadows (add an adjacent deeper-valued color).

3535w

I think it’s time I get some rest.  But before I go, I wanted to mention one thing that I need to remember, the next time I fill this palette:  stir the paint with a clean toothpick until it’s smooth, before it dries.  I stirred a few of these, which universally look better than what I did not stir.  In particular, Vermilion Deep, Prussian Blue, and Burnt Umber all cracked pretty badly as they dried, with Burnt Umber actually separating from the well — see below.  (Burnt Umber was, I suspect, the first color to fall out of the lid of my Mijello Silver Nano palette, prompting me to get a palette where nothing was stored in the lid.)  I think that if I had stirred these paints to evenly distribute the gum arabic and release air bubbles before they dried, I would not have had this problem.

Above, I didn’t stir any of these paints except for Burnt Sienna, in the lower right corner, which had separated.

Another problem I’m having is dust and lint collecting on top of the paints when I leave them out to dry after a painting session.  I’m not sure what exactly I can do about this — I don’t want my paints to mold, but getting lint stuck in them is also not ideal.  Maybe if I used a piece of paper as a permeable membrane…

AND…the Mijello 33-well palette is, I’ve found, prone to getting stained, as regards the removable white tray.  I have modded mine to make the wells easier to lift out (tabs of Artists Tape will do the trick), opening up a potential mixing area in addition to the lid and the removable tray, but I haven’t yet tried to mix on anything but the latter.

Difficulty switching modes…

After a day or so of fully working for as long as I have been awake, it’s kind of difficult to shift back into a mental space where I have options, and time.

Today was mostly spent asleep; yesterday…I can’t remember much because I was that exhausted, and M wouldn’t let me fall asleep during the day.  Accordingly, I lay down at 7:30 last night and slept nearly all the way through to 11:30 this morning.  I guess I was TIRED.  Then I got up, ate, fell asleep at about 1:30 PM, and slept again until 5 PM.

To my credit, I did get work done on the Japanese language acquisition — although it’s frustrating to have to re-learn kana (Japanese syllabary) again.  I have most of the hiragana memorized to the point where it’s easily recognizable and retrieved, although I still may mis-write if I move too fast; katakana is another story.

When I was first taking Japanese-language classes, katakana were mostly ignored; we were told to learn this set of kana on our own.  Due to both this and the relative rarity of their use (when compared with hiragana and kanji), there are a number of katakana that I don’t easily remember.  Today, after having finished the hiragana handbook, I started in on katakana and realized that this was going to be much harder for me, than the former.

I’m thinking I’m experiencing a bit of caffeine withdrawal as well, because I’m really irritated at this, right now.  I’m also tired, again.

Also, though, I was able to sit through what I had to for this week in UX (User Experience) and finish reading the incredibly light reading assigned for this week (four pages).  Which is kind of irrational, when compared with all the work I had to do over the weekend, and the fact that I just had to read two books over two weeks.

But anyway.  I did have the option of working with watercolors, today, but I just really didn’t feel up to it.  One of the new colors (Cobalt Turquoise Light) I have, is one I intended to get about two weeks ago, but someone had put a regular Cobalt Turquoise in its slot (they aren’t the same color!), and I neglected to check the label before purchasing it.

Now I have the Light shade, but my toxin anxiety is acting up, and I’m hesitant to use it.  (It was likely stimulated by finding a beautiful yellow paint which was made with an antimony-containing component, on my last trip to the art store — this is W&N Naples Yellow Deep, PBr24.  On looking up antimony toxicity, I can see that I had a bigger shock than maybe this warranted, but still…)

The other new color is Phthalo Green:  Yellow Shade, which I have wanted to compare to Phthalo Green:  Blue Shade (I’m hoping to get warmer greens), but for some reason, I think I did not want to waste (or “waste”) watercolor paper on this.  Which isn’t a really good excuse, because I have enough watercolor paper, and have discovered that the paper I’m using isn’t really all that great, anyway.  And I can’t learn if I don’t practice.

So I have been practicing kanji and kana, and I think the reason for this is that it’s easier for me to switch back into a studying mode than an art mode, when I’ve been locked in “studying mode” for a while.  Art…is much less structured.

And speaking of structure, I have to work tomorrow, so I should see if I can fall asleep, again…

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):

3475w2l
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?  😉

3446w
Trial One
3454w
Trial Two
3468w
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:

3471w
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…