After testing out the new palette setup there were a few things not quite working out. To tweak the setup, I kept the earth colours in place, re-organized the other paints, and added and removed a few. Starting on the top row, 9th slot, I included four paints for making various shades of greens, followed by four cool shadow paints. On the bottom are high chroma (saturated/bright) yellow, orange, reds, magenta, and some darks. Two paints were removed because they really stain the plastic (phthalo blue PB15:3 and phthalo blue turquoise PB16) and one because it was a little redundant (PR122), although those are all great colours indeed. I included pyrole vermillion with the extra spot because I missed it during the test runs.
This test painting depicts the mixing areas and approximately what can be made, so you see the potential. Top left is for a variety of browns good for tree bark, dirt, wood etc, top middle is for greens like foliage and grass, top right is for cool shadows or darker greens, and to neutralize the browns. Bottom left is bright yellow and oranges, bottom middle is reds and probably brick reds, then the mixing cups bottom right are for sky blue. I surrounded the blue circles with a colour that represents cloud shadows, it was venetian red with iron blue, a combination that was used by Winslow Homer which I learned from Handprint.com (MacEvoy).
The previous palette setup was mostly following the hue angle (rainbow colours), whereas this set-up is more functional, each part has a job to do. It is closer to my old palette set up, albeit on a larger scale. The old palette is depicted in Inner Workings. My blog becomes a record of notes and images that helps keep track of it all, I apply a 'paint test' tag to all the experimental stuff.
Pal-ing Around 5 x 7" cold press, watercolour, April 2021
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