 Well, hello there. It's Sandy All-Knock and it is time to refresh my palette and I'm going to talk about what colors I picked and why. I'm excited that I finally feel like I know enough to change out my palette. This is my old colors from the last couple years. You can see some of the colors made it into the new palette and these were left behind at least for a while. And this is the new palette, all nice and clean and shiny. And these are the colors. I'll go through them. Cobalt teal blue. Gorgeous granulation and I like the color and the iridescent electric blue is really pretty as well. It's going to be really fun to play with. The next blue is a cobalt blue and I like it with using it with burnt sienna. French ultramarine and phthalo blue green shade are from the six essential set and I have lots of those in here. Sand thrown blue has made it in from my last palette. Nice dark blue makes a nice rich navy when you need it. Serpentine genuine is new for this and it's a very light pale green and a lot of times I found that's helpful when I'm doing landscapes. My sap green can't live without my green appetite genuine. I can't live without that texture. It's just gorgeous and I've added perylene green which is nice and dark. I'll be showing you more about that and some of these other colors. Pains blue gray makes gorgeous clouds and neutral tint will take anything and knock it down a couple of colors. Make it a shadow color. Nickel azo I'm going to show you in a minute. It does some interesting things. It's got interesting properties to it that I want to play with so I want to put it right up front in my palette. New gambos again from the essentials adore that color. Aussie red gold really fun and even though in the large swatch it didn't get dark it you can see in my little swatch in the palette it gets dark. Yellow ochre plays beautifully with moon glow burnt sienna and burnt umber are replacing my Quinn burnt orange and my sepia they're just a little bit warmer colors and they have more granulation to them and stuff. Green maroon is added for a dark red so then I don't have to mix one and thraconoid scarlet and purel scarlet have both stayed in and thraconoid is more transparent. Purel scarlet is semi-transparent but I keep them in there and I'll talk a little bit more about it later for a reason even though they're really close to each other. Quinn rose of course delicious color mixes beautiful purples. Yellow purple has jumped in here and moon glow of course because it's wonderful. So I'm going to do a comparison of the old colors versus the new colors. On the left is the transparent purel orange that I used to use and then the anthraconoid scarlet and the purel scarlet so there's I don't know if you can tell on the screen there's more oranginess to the transparent purel orange. Sepia was the old one and it's been replaced by burnt umber and I can add more to these colors and I'll add make another swatch here and add some of the neutral tint to the burnt umber and you can kind of see how that would play out. You just add a little bit of neutral tint probably too much to try to make it match the sepia but it's possible to make these colors darker so what I opted for in a lot of cases was going for things that are going to work better for me in the long run because there were colors in my old palette I just really never touched. So there you go this is the Quinn burnt orange and I've replaced that with burnt sienna I just like the richness of it and I can always add some yellowish colors to it to kind of brighten it up a little bit if I need that but I tend to use the darker more I tend to use more natural colors than I do great crazy bright colors so a lot of a lot of colors are just taking a step down a little notch down. That is the permanent yellow deep which is now replaced with the Aussie Aussie red gold and you can see Aussie gets more of a difference from the dark to the light so I have more options with it and of course new gambos because it's yellow and I adore it. This was manganese blue and I loved the granulation in it but I didn't like how it moved very much so I replaced it with two colors one is the iridescent electric blue and the other is cobalt teal blue cobalt teal will do more granulation and the iridescent blue is a little bit more like a I guess more of a pure sky blue kind of color and then the purples I swapped out this carbazole violet in exchange for imperial purple they're really close the carbazole is more blue and the imperial is a little bit more on the red side you can always add a little bit was to one or the other to change them up and this was lunar black which does great granulation but I found I really didn't use black all that often so I decided for things that are going to be more useful in mixing with other stuff like neutral tint so you can see the difference in color it's a little bluer and then pains blue gray see how gorgeous that would be for clouds and cloudy skies and mountains and all sorts of things and then this is moon glow which is an amazing amazing color I just love it it's very muted but I really really do like it a lot a quick view of my greens and why I've chosen them this serpentine genuine is a nice granulating color and it stays really soft and I found that I was always trying to water down my sap green to get that kind of light green and what I generally think of in in all colors get something that you mix a lot so if you find yourself mixing something a lot go buy that tube and otherwise mix them because why have a gajillion tubes or gajillion pans when you can mix a color so that so we have serpentine sap green appetite and then this is pearling green because I'm always trying to add some deep dark shadows to my trees and I have such trouble mixing a dark nice dark color and that's going to give me a lot of options to just be able to add some darks to some of these others and it's got a different flavor to it too so it's going to have a little more blue in it now for that nickel azo gonna throw some speed paints out here on the paper so I can show you what nickel azo does in contrast to other things so that's a little nickel azo on the top and just watch as it slowly moves out into the pigment sometimes it moves faster sometimes slower depending on how much waters in it but it always does this gorgeous really soft burst and as it dries it dries fairly soft it doesn't make big finger blooms into things but by contrast this is what new gamboge does it doesn't do that movement so nickel azo loves to move and I don't know what I'm going to do with it but I want to play with it so that's why I've kept it front and center in my main palette I have lots of other palettes that I'm going to be talking about but like my main palette I picked the things that I want to be intentionally playing with in the coming year or so lots of these colors are also going to be on my dot card I'm redoing the dot card but look at that look how gorgeous that is isn't that pretty the one on the top is the nickel azo bottom is new gamboge I said for years now that the best set to start with is the Daniel Smith essentials has two yellows two reds two blues a warm and a cool and mixes in umpteen range of colors you can mix all kinds of stuff with just these six and a bunch of my classes are based on this set however they have these little sets now and I want to talk about them in more detail what I've done to modify them to make them for work for me they come with six colors in them already the rest are blank pans and these bottom six in the center bottom are the ones that it comes with so I've made little pictures to see what I could do with them how far could I stretch them and there's a bright red yellow and blue and a muted red yellow and blue and you can do tons with them and I have added other colors to this palette that work for me because I thought of this if it's supposed to be a sketch or set I might go to a city and do some some sketching of buildings so I included colors that I might use for buildings and and stone and sidewalks and a little bit for trees and that kind of stuff I pick things with textures and that's because that's what I'm thinking of for this set you can choose whatever you want this set to be so I would recommend getting it seeing what colors you mix out of your yellow red and blues and what do you mix most often and then go by a tube of just that one and fill in another one of those spaces this is another of the sets this is the earth set and it comes again with those middle six middle bottom six and here's something that I did with those middle bottom six and again they're very new neutral colors muted colors so if you like to do animals if you like to do anything that has that kind of coloration in it buildings and rocks and that kind of stuff this works great I've added other things to it that have a lot of texture to them so for me that might be the feeling that I want to generate when I pull out this particular palette and I'm going to just bounce around between the different palettes to challenge myself to use something I have rodentite I bought rodentite ones that pink one never used it and there's two purples in the left corner that Amazonite and jadeite I want jadeite does some interesting things I want to play with it and I'm putting them kind of front and center in these little palettes so I'll use them because right now I have all these palettes that are piled up and they're not set up in a way that made sense so next up is the blues and one of the things that you'll notice is that I have little paint that sometimes gets on my plastic cover up here I'm going to show you how I make my little swatch cards but if I overfilled my paint then the paint can get up there onto the plastic all you do is wipe it off with a babybite but here is a painting I did with just the blue colors that come in the set those original six and if you like to do seascapes and you like to do skies this is an excellent set for that lots of wonderful things that you can do with it so I thought what would I add to a set of blues if I were to think about painting at the ocean side and so I added colors that you might find at the beach so I added some yellow sun shininess I added some greens for grasses and browns for the sand and that sort of thing and that's the kind of feel that I was trying to add to this particular palette just for that use then there's the floral set it would be very popular for lots and lots of people it comes with very bright colors and this was painted with just the colors that are in there and there are things that I did here where I wanted more of a red rose and a pink rose so I took some of the the pink and I mixed it with some of the yellows to make that more reddish rose so you can get a red in there but what I decided to do was to add more floral colors into this particular palette I added an orange I added a more true red more of a rose red to it and and lots of other colors that I thought would complement what's already here if I were to paint flowers and gardens I tried some greens in here that I don't really use very often that spring green would be kind of interesting and fun the wisteria and the lavender are new colors for Daniel Smith I haven't played with them very much and I thought those would be fun to do as well and and again cobalt teal is making it into a lot of these palettes you may need to open them by the corner just I wanted to show you that sometimes they get a little stuck but next is the colors of inspiration palette and these were not chosen to go together and it was kind of funny when I talked to the people at Daniel Smith I was like what is the sense behind these there's like all these strange purples together and who would paint that much in purple so I was trying to think of things I could paint in purple and I found all the purple vegetables I could find and some of them are like blackish purple but they have purple in them so I included them so I could try to paint something with this grouping so you can kind of get a feel for the flavors of these colors and one of the interesting things that I discovered was that if you mix that green with some of the purples you get brown so there you go I added a couple other colors in here that I thought would be colors of inspiration like just a pop of something crazy Kai and I I love it's it does beautiful little sparkles in it opera pink is a fugitive color so I don't use it very often but I thought I'd like to play with it a little bit and try it and then there's the ultimate mixing set this one comes with all 15 colors in it so it's more expensive the colors were chosen by Jane Blundell but you also get a second completely empty palette and I have put some of my colors from my main palette the first one I showed you into this one so I had to choose and make a smaller list this is the painting that I did from Jane's colors though and so you can see the the kind of variety that you get from all of the different colors that she's chosen she has lots of artistic science behind why she chose them you can go follow Jane and learn more color from her I am not as into color in that detail of color as she is but she's a great person to learn from as well so I've cut a piece of paper that fits my palette whatever palette you have just cut one to fit and I'm making little marks that kind of align generally with the outsides of the little pan so I can make little pan sized rectangles and then drew some lines on it notice I didn't measure anything I didn't get all real careful with it because it's just swatching to put in my palette that's all it is and I'm gonna paint a little bit of each color in there some people get real crazy and they want to have dark pigment on one end of the swatch and lighter on the other I don't stress about it because that takes more time for me and more thinking and I just like having the colors there so I can get an idea of what's in the palette really quickly and just fill them all in by the way the silver brushes that I'm using I'm mostly using a silver brush number eight links in the doobly-doo for that as well as for all of the supplies used in here after it's all dried I just erased my little line so I only have a little bit of lines trapped under the pigment and then took a black pen to write the words on there you can use any black pen because you're not going to get this wet again and write the colors on there if you want to write the pigment information you can but then I just put tape over it just regular old packing tape to seal it in and then I use some sticky back stuff to put it into the top of the palette you can put it in there and just pull it out when you're going to use it so you can mix color in the top of the palette but this palette lid has an opening at the bottom so all the paint would slide out of it so I wouldn't recommend necessarily doing that I hope this has been helpful information for you I do have a whole blog post with lots more information that has all the colors listed out and pictures of all of them so you can see the swatches if you decide to purchase any of those colors to add to your palette all right that is it for me I will get going and I will see you next time here on YouTube make sure you hit the like button subscribe if you haven't hit the bell beside it so you get notified of all of the videos coming up and visit the blog for more information and pinnable graphics see you later bye