I wanted to tell you about some technical stuff about my materials! I paint on linen or archival panel, as these can last for many generations. I've seen bolts of ancient Egyptian linen in the Metropolitan Museum of Art that look like they are brand new. As far as my palette of oil colors, I use very few now, and have now eliminated earth colors like ochres, umbers and siennas (though I still use burnt sienna to draw in the initial composition). I mix all colors from eight bright near-primaries; kind of the opposite of the "Zorn Palette". I've also striven to eliminate toxic colors like cadmiums and cobalts from my palette. I use:
1. Daniel Smith: Hansa Yellow Light: a cool, bright yellow.
2. Utrecht: Hansa Yellow Light: MUCH warmer that the Daniel Smith HYL, I use it to replace Cadmium Yellow Medium.
3. Daler Rowney Georgian: Pyrole Orange
4. Daler Rowney Georgian: Pyrole Red
5. Winsor & Newton: Quinacridone Magenta (as an Alizarin Crimson substitute).
6. Gamblin: Cerulean Blue Hue
7. Blick: French Ultramarine
8. Daniel Smith: Phthalo Blue
Oh, my white. I just use Grumbacher's Titanium White, though I'm not choosy about the brand.
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| Here are my little Friends! |
It certainly was difficult to part with the Cadmium colors! The substitutes I use aren't nearly as opaque and don't have the same tinting strength. The beauty of using this palette to mix all of my colors is that the browns and all secondary and tertiary color mixtures are in harmony with each other, and extremely vibrant.
For a painting medium, I've been using Gamblin's wonderful Neo Megilp. For a final varnish, I use Gamvar.
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