"You gotta use...the limited three color palettes!, NO, the extended, NO, the Dumond Prismatic, NO, the Spectrum, NO, Reilly's and Munsell wheel, NO, Prang color wheel says Violet, you can't say Purple, WHAT?!? NO the Munsell color system says Purple, NO, Split Primary, NO, CMYK, NO, science says this, NO, I have my artistic license!, NO, Earth Tones! Colorist, NO Tonalist, Pre-mix, NO, Free, Open Mix, NO, So and So's palette is more harmonious... AAARRGH!!! Good grief.
There is so much talk, even religious fervor, if you will when it comes to palette colors. Loyalty to a school, it works for a certain famous artist, etc... We need to find the layout that works for us and our brains. Example: Does one mix green or purchase green? Two phenomenal, famous painters come to mind. Landscape painter, Emile Gruppe, and here, mixed greens, while marine and landscape painter, John Stobart, and here, uses a tube green.
All one needs to do is see the magnificent work that has been and is being created with ALL different palette layouts/combinations, color wheels and systems. It all boils down to one's personal preference, learning curve, mixing strategies, clientele and the good 'ol elements and principles. That being said, I think it is important to try, at least in part, different artists' and schools' palettes to know what works for you. Seek out artists, ask them, try to study with them if you can. Study the Illustration, Fine Art, Graphics, Animation, Photography, Multimedia old masters and current greats. Try certain palettes in terms of the artists' audience, art movements, techniques, pigments available etc...
I bring up this topic in response to a former student's comment about my oil palette's growth spurt. To be continued...
Have a great Thanksgiving!
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