Neon Palette II

A few months ago, I presented the Neon Palette, a set of 14 colors that I grouped into an Art Toolkit Pocket Palette that were the brightest ones I owned. I wasn’t totally happy with that palette, feeling that it could be more balanced; it contained some redundancy, a lack of useful dark values, and at the same time a few not-so-bright brights that dragged the average down. Can I do better?

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The Winter Palette

Here in the northern hemisphere, it’s January, the bleak midwinter. After doing a summer palette and an autumn palette, it’s time to for me to do a Winter Palette!

I was initially tempted to include lots of dark, muted colors, but in gathering inspo photos, and in paying attention to my favorite real-life sights of winter, I have noticed so more bright colors than I would have expected! Sure, the trees are bare and the grass is dry, but there is color if you know where to look. Winter sunsets are explosively bold with fiery corals, pop oranges, and deep lilacs. On sunny days, winter golden hour is more intensely gold than at any other time of year. Snowy landscapes are bright with fresh, clear blues and gentle violets.

Let’s break down the colors I chose, and why I chose each one.

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Color Spotlight: Neutral Tint

Daniel Smith – Neutral Tint

Neutral Tint is a transparent gray (black in masstone) that is specifically designed to be neutral: not warm, not cool, not leaning toward any other color.

Typically, Neutral Tint is made from a mix of three pigments: PBk6 (Lamp Black), PV19 (any number of quinacridone magenta/pink/rose/purple/crimson shades), and PB15 (Phthalo Blue of some sort).

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Lessons from Artist Palette Profiles

I’ve been doing a regular feature, Artist Palette Profiles, for months now. In this feature, I look up the palette colors used by an artist I admire, and I compare my own colors to see how I could imitate them better. To be honest, I think it’s probably one of the most boring features I do for everyone who isn’t me. So why do I do it?

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