Cadmium Yellow Light – One For Your Palette

Of all the yellows this is one I probably use the most of, in fact you’ll find it’s the most widely used of all the Cadmium Yellows. Being fairly opaque it has great tinting strength.

Cadmium Yellow Light in Mixes

Cadmium Yellow Light is a great yellow that is very close to a primary yellow. It works really well in making vibrant oranges as well as mixing vibrant greens. For more subtle greens try mixing it with Ivory Black or Burnt Umber, so a subtle orange try mixing it with Burnt Sienna. Cadmium Yellow Light When mixed with white comes fairly close to Cadmium Lemon Yellow.

If I had one yellow in my box this is defiantly it.

Permanent Alizarin Crimson – One For Your Palette

Permanent Alizarin Crimson is a colour I use a lot and a particular favourite of mine. It’s a beautifully rich colour that holds its own. It’s not an overbearing colour and being transparent creates wonderful glazes. It’s probably the colour I use the most in my glazes. Alizarin Crimson leans toward violet so is ideal for mixing vibrant violets. When mixed with Titanium White is creates delicate, cool pinks.

Permanent Alizarin Crimson in Mixes

Permanent Alizarin Crimson mixes really well, due to its transparency its tinting strength it subtle. When mixed with Ivory Black it creates a deep cool, almost violet. Mixed with Burnt Sienna gives the mix a more salmon/orange shift.

Practice mixing this colour with the earth tones for some really wonderful results.

Ultramarine Blue – One For Your Palette

Ultramarine is a defiantly must have in your palette and is the most widely used of all the blues. Being semi transparent Ultramarine Blue works really well in glazes and is not an overpower colour. Ultramarine Blue is very dark and can look almost black from the tube, however thinned into a glaze or added with a touch of black will reveal the true beauty of the colour.

Ultramarine Blue has a warm undertone and works really well in paintings, being a subtle colour it won’t try and steal the show.

Ultramarine Blue in mixes

Due to Ultramarine Blue being semi transparent it doesn’t have a huge tinting strength, therefore it can make subtle changes to a colour and can make some really wonderful grey mixes. I often use Ultramarine Blue and Burnt Umber to create a black which is full of life!

Cerulean Blue – One For Your Palette

Cerulean blue is a beautiful cool blue and is defiantly one I would recommend adding to your palette. It’s opaque so not really good for glazes but works really well in mixes.

Cerulean blue is great if you’re a landscape painter as it creates beautiful greens and mixes really well with other colours, it also creates brilliant blue skies.

Cerulean Blue in Mixes

I particularly like Cerulean blue when mixed with some of the earth tones such as Burnt Sienna and Burnt Umber, it can create some gorgeous greys as well as some subtle greens, or for more vibrant greens mix with Cadmium Yellow Light.

Glazing using Acrylic

Why use acrylic glazes

Glazes can add luminosity and create depth in your painting and therefore be an important part of your work.

Turner’s beautiful skies

Turner is famous for his beautiful skies and the wonderful glow they create, this is partly due to the hundreds of thin glazes he built up. Whilst Turner used oils you can create a similar effect with acrylics.

What are painting  glazes

Glazes are thin layers of paint. The idea with glazes is you can still see the colour underneath shining through. Each layer changes the colour slightly and the colours look different in different lights.

How to add acrylic glazes

Thin your acrylics with either water or an acrylic glazing medium. You want to make sure you use more water/medium than acrylic, experiment with the ratio. It’s important your layers are thin so you can still see the colour under, or to much paint and you will only cover over it completely.

Once you start experimenting with glazes you won’t look back – I promise! your painting will change for the better.