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: 😉
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).
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.