Re: Traditional palette vs. modern 548 by bern on 05/18/01 at 7:52 PM
Re: Traditional palette vs. modern

In Reply to: Traditional palette vs. modern posted by Ed on 05/18/01 at 5:32 PM:

: Hi all, apologies for the pun in the subject line :-)

: Firstly, any thoughts/opinions of the relative merits of glass palettes vs. wood. I use and prefer glass (plain glass over a neutral grey paper) although I would sometimes like the convenience of a ‘holdable’ palette. My main reservation about trying one is the colour as the typical dark brown would throw off my colour-perception I’m sure. Anyone know if there are something like melamine-laminated versions of the traditional palette shape?

: As to pigment palettes, I was very surprised to say the least to read recommendation of the use of Madder Lake and Vermillion by our host. These colours don’t have a very good ASTM rating at all for lightfastness not to mention the mixing issues with Vermillion. When there are pigments like the cadmium reds and Pyrrole Red, Naphthol Carbamide or one of the quinacridones (all ASTM 1 I think) why would someone persist in using these outdated pigments or am I missing something?

: Ed.


One difference would be transparency. It's difficult to get the same effect using a relatively opaque pigment like Winsor Red compared with a transparent one like a Lake.

Also, they tint differently. Vermillion, Winsor Red and Cadmium Red Light all look the same out of the tube but mix them with white and they produce distinctly different shades of pink. I suppose much of it is personal preference too. Wouldn't be much fun if we all used the same set of colors.

Regarding palettes, I have used the same wooden one for ten years. It has taken on a neutral grey/brown tone over that time. I think a palette of any color only shows the correct color mix if you're putting the paint onto a canvas having the same color as the palette. Whatever palette you use, I think you just have to adjust to it.

I do believe, however, it should be neutral tonally (light/dark) and thermally (warm/cool). Mix your color on it, test it by putting a touch on the canvas, then correct if necessary. I like to put a touch of the mix on a strip of mat board that I keep by my easel. I hold this up against the canvas to see if the color and tone are right, then I adjust the mix as necessary.

I have a glass palette too but I don't use it as much because weak oil washes slide all over it. I have never noticed a difference in results on the canvas between using wood vs glass palettes. Best thing about glass is it cleans up easily.

I don't know, maybe I'm doing it all wrong, but that's how I do it.


Follow Ups:

Re: Traditional palette vs. modern Ed   Posted at: 05/21/01 (11)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/21/01 (10)
Re: Traditional palette vs. modern Ed   Posted at: 05/22/01 (9)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/22/01 (8)
Re: Traditional palette vs. modern Ed   Posted at: 05/23/01 (4)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/26/01 (3)
Re: Traditional palette vs. modern Ed   Posted at: 05/26/01 (2)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/27/01 (1)
Re: Traditional palette vs. modern Ed   Posted at: 05/28/01 (0)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/22/01 (2)
Re: Traditional palette vs. modern Ed   Posted at: 05/23/01 (1)
Re: Traditional palette vs. modern Steve Sauer   Posted at: 05/26/01 (0)

Post a Followup 545,548"> bern"> bjkorites_prodigy.netRe: Traditional palette vs. modern_05/18/01 at 7:52 PM"> "Re: Traditional palette vs. modern"
Hi all, apologies for the pun in the subject line :-) Firstly, any thoughts/opinions of the relative merits of glass palettes vs. wood. I use and prefer glass (plain glass over a neutral grey paper) although I would sometimes like the convenience of a ‘holdable’ palette. My main reservation about trying one is the colour as the typical dark brown would throw off my colour-perception I’m sure. Anyone know if there are something like melamine-laminated versions of the traditional palette shape? As to pigment palettes, I was very surprised to say the least to read recommendation of the use of Madder Lake and Vermillion by our host. These colours don’t have a very good ASTM rating at all for lightfastness not to mention the mixing issues with Vermillion. When there are pigments like the cadmium reds and Pyrrole Red, Naphthol Carbamide or one of the quinacridones (all ASTM 1 I think) why would someone persist in using these outdated pigments or am I missing something? Ed. One difference would be transparency. It's difficult to get the same effect using a relatively opaque pigment like Winsor Red compared with a transparent one like a Lake. : Also, they tint differently. Vermillion, Winsor Red and Cadmium Red Light all look the same out of the tube but mix them with white and they produce distinctly different shades of pink. I suppose much of it is personal preference too. Wouldn't be much fun if we all used the same set of colors. : Regarding palettes, I have used the same wooden one for ten years. It has taken on a neutral grey/brown tone over that time. I think a palette of any color only shows the correct color mix if you're putting the paint onto a canvas having the same color as the palette. Whatever palette you use, I think you just have to adjust to it. : I do believe, however, it should be neutral tonally (light/dark) and thermally (warm/cool). Mix your color on it, test it by putting a touch on the canvas, then correct if necessary. I like to put a touch of the mix on a strip of mat board that I keep by my easel. I hold this up against the canvas to see if the color and tone are right, then I adjust the mix as necessary. : I have a glass palette too but I don't use it as much because weak oil washes slide all over it. I have never noticed a difference in results on the canvas between using wood vs glass palettes. Best thing about glass is it cleans up easily. : I don't know, maybe I'm doing it all wrong, but that's how I do it.

 
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