 Well, hi there! It's Sandy Alnok, and today I'm going to talk about who stayed on the island and who I voted off, at least temporarily. I have the palette on the right, which you probably recognize. That's the palette that I've used for quite some time. It came out in 2019 with this selection of colors, and there is a whole video on how I did that, how I did the swatch card and everything for it. I'll link to that in the doobly-do. The palette on the left is one that I'm going to be experimenting with, and I'm calling this my island palette. Now, this is not because they're island colors in any way, shape or form. It's because these are the ones that survived on the island, and they didn't get voted off, at least not yet. And some extra colors got added and swapped out for some colors that got voted off. The old palette was 24 colors, and that's in half-pans. But one of the reasons that I wanted to really pull my palette down into fewer colors is because I like to use these big, fat brushes. This is a number eight, Windsor Newton, one of the series seven ones. Beautiful brush, and when I start getting into the 10 and the 12 in this line, I can't fit them in a tiny half-pan. I just can't. And when I do my large fine art paintings, I really am frustrated with that. I'm in line for a new palette that's been custom-made for me, but that's not until later this year, but that palette is going to have 15 colors. So I wanted to do some preparation before that palette comes in, so I know exactly what I want to put in it. And these are the ones I'm going to play with for a few months while I wait for that to see if these are the colors that last and become my island palette. But the reason I'm naming this is really so I can say in a video coming up, this one uses the island palette, this one uses the 2019 palette. And you can then decide what you want to use. I generally try to keep with only changing my palette up, like once every two years or so, because people like to get a palette and they fill it with all my colors, which is not part of the game. You don't have to do that, but I want you to be able to use those colors and not feel like you have to get new ones every time I use something different. So I try to keep it somewhat consistent. So I'm going to go through and swatch out all of the colors that are staying or that are being added on this page. And then I'll talk about the ones that are being voted off and why I voted them off later on in the video. First color was cobalt blue. My favorite for quite some time now, it's been in my palette for a long time, did not get voted off because it's a great sky blue, as you can see. This one is French ultramarine blue. And they are very close to each other. They make slightly different purples if you have to mix a purple. And since I no longer have a purple in my palette, yes, I know I have no purple in this palette. I paint mostly landscapes. That's my favorite thing. So I don't need purple particularly much, although you'll see moon glow. Moon glow does get to stick around. Next up is a new color that I'm adding in. I'm actually sort of replacing something. This is phthalo blue turquoise. It's a new color. And the other phthalo blues and all the other phthalos, I find to be way too strong. This one can be strong, but it also can be very subtle and it's going to be great for skies as well. And it also has some other things that I like to mix with it. So that one is being added in and the phthalos get to go bye bye. Next up is green appetite. This one stays. It's always been a good standby for me. I love the granulation of it. I love pouring and dripping other colors through it because you get beautiful rivulets of water that moves through it. It just does some gorgeous, gorgeous things. You can see it's already breaking out into several different greens and gives you a wonderful texture. So that color definitely gets to stay. And next to that is sap green. Very standard green for me. I use it quite a bit. And I've got to the point where I don't use it necessarily by itself all that much anymore. I mix a little something else into various mixtures of it. So that is something I am growing in. And here's a color that is being added. And you'll see a little bit as to why later on because I'm going to show you something that I do with this particular color. But it's replacing one that was on the duller side. This one's a little bit brighter. So it's got a little more life to it. It's very, very yellow green. So you can decide whether or not that's a color that you would normally paint with if you want to try out something new. Now for the yellows. I haven't had a good cool yellow in my palette for quite some time. And I found myself wanting it. I have had Nicol Azo there for a while. But Nicol Azo by itself, I'll show you later, paints pretty terribly. It's just not a good color. I wanted something that felt more like a daffodil yellow but not that baby, soft, bright, screamy kind of yellow. And Oriolan seems to do that. It's a number two instead of a number one in light fastness. But I'm going to see how it goes and whether or not I end up liking that. I do like how it mixes with some of these other colors that I've got. So pretty happy with that, at least. And then for the warm yellow, of course, New Gamboge. It's going to always probably stay in every palette because I love New Gamboge. It's my favorite color. I love this particular type of yellow warm sunshiney color that's almost orange in its mass tone but then fades out to a very nice bright, happy sunshine yellow when it's watered out. Next up is Yellow Ochre. And it's fantastic, of course, for all my landscape work, for rocks, for roads and grasses and all kinds of just all kinds of things, animals, everything. And that color also plays really well with Moon Glow. So it will probably, as well as Moon Glow, always be around having fun in my palette. When it came to browns though, I'd always had burnt sienna and burnt umber. And I found I've not been using them very much. I've been doing a lot of mixing on the paper with colors that turn out to be browns. And I know what those colors are going to do together now. And I thought, do I really need browns? I kind of figure well, I should probably have a brown. And a friend of mine recommended transparent red oxide. I thought, hmm, I had a tube of it, I hadn't really played with it. And it felt very much like burnt sienna but it had life to it. It has, it does interesting things with other colors and gives you little surprises. And I'm always up for surprises when it comes to watercolor. I love when things just happen on their own. And of course, I forgot to apologize. I'm terrible at making good graduated washes. And that's just the way life goes. But this is not meant to be perfect. It's just so that I can have something to be swatching while I talk with you. Next up was the reds. And the reds are incredibly painful. They always are. And I can't seem to find anything that perfectly satisfies me as a painter. But I don't paint in red all that much. So it's not all that huge a deal. But for a cool red, this time, I decided to go for a permanent alizarin crimson. Because so many professionals have that in their palette. And I want to know why I want to see what it does for my painting. So that's the top row there. The bottom row is the anthraquinoid scarlet, which is the warm red that I've chosen. And keeping that one, permanent alizarin crimson is new. But this one, I just wanted to point something out that I was very proud that I learned something now. Transparent pyrrole orange used to be in my palette. And what it does when it mixes with blues is go brown. And I wanted something that at least had the opportunity to mix some purples. I could probably force that transparent pyrrole orange to do a little more purple, but I didn't want to work that hard at it. That color used to be in my palette two years ago. And I didn't even know that it didn't do any purple at all. So I am very excited to know that I've learned something in all these years. And that that color is a red that I love. But if the red doesn't do something with the blues that I have to make a purple since I'm not gonna have a purple in my palette, I might want to rethink that. And so I'm keeping anthraquinoid scarlet. Because it has proven to be a decent red for me over these last two years. Since I came out with my 2019 palette. So I'm going to let it stay on the island. These next three colors are either ones that granulate heavily or are more on the neutral side. So I'm keeping those in the center portion of this palette for the time being. And that might be a question you have about the order of my palette colors. You can go over to my blog by the way to see a picture of it and be able to tell exactly where I've put each of the colors. But Moonglow does beautiful, beautiful granulation. And I just love it. I absolutely love it. This color though, man, Lunar Blue has won my heart. It has won a place in my palette because it is such a stellar stellar granulator. And it also goes from very, very, very pale blue to a very deep, deep, deep, mass tone. And I did this painting and it's on YouTube. I'll put a link in the do we do for it with just that color. This is only Lunar Blue. That's the range that it has. There's not very many colors that have that much range. So I am very excited to welcome Lunar Blue to the family. And then my old standby, one of my most used colors is Pains Blue Gray. I have taken to using it a lot more than my neutral tint when trying to mix it with other things to darken colors, just because it has more life to it than neutral tint does. And it just makes me happier. So I'm going to see about keeping just that. And here is my island palette. And as I said, this is temporary for now, I may make some different decisions before my custom palette arrives later this year. I don't know when that's going to be, but I'm going to paint my heart out with this palette and see if I change my mind on any of these colors. And if you'd like to go to my blog, I will have a picture of this with all the colors labeled on it for you so you can see what they are all about. Now let's talk about the colors that got voted off the island. I swatched each one of them out in those little blocks. And I'm going to tell you how I'm going to mix the same colors with what I'm keeping in my palette. First is neutral tint. And a little bit of Pains Blue Gray mixed with just a tinge of the transparent red oxide or TRO, which is what will be maybe my shorthand for it because I can never remember all the words. But a little bit of those two together makes quite a nice neutral. And if I add a little bit more of the Pains Blue Gray to it, I can get more of that blueish tinge that you can see in the neutral tint. So it's got a little coolness to it. But with the colors that I have, I have been playing around with kind of fussing with my my neutrals and my blacks and my dark colors to mix the color I want instead of the color that's out of the tube. Next up is Paralene Green. And this one I was a little saddened to take it out of my palette because I mix it with my other greens generally to make really rich dark greens from my landscapes. But I can make this myself quite easily. And I can use some sap with Pains Blue Gray. And depending on the amount of each that you put in, you can make it more blue, more more greenish whatever you want. Next up, this one is the Green Gold next to the old color, which was Serpentine. And I've mixed in a little bit of sap green into it as well. And sap green plays better with green gold than it does with the Serpentine. The Serpentine is a very dull color. And that's why I mentioned earlier about that green gold, it's brighter, it's cheerful, and it's going to work much better with my sap green. So while I'm on this left hand side, I'm going to complete this part of the chart. The color on top is the Nickel Aza. The one on the bottom is my new Oriolan. At least I'm hoping I'm saying that right. But the Nickel Azo is just kind of got a greenish baby poop color to it, but it does this thing. And this is the one place that I'm going to miss the Nickel Azo. Because when you touch it to another color, it moves out into it and fans out in the most even and beautiful way, and it lightens colors. It is possible Nickel Azo will make a return. I don't really know. I'm going to wait and see how much I miss it, or whether or not I can get that kind of an effect with something else. Can I find a way to put the paints down in the right order and the right timing to make it work? I don't know. We shall see. Next up is trying to mix something for that Aussie red gold. Lots of you who watch me here on YouTube are not going to be sad, but I will not be saying Aussie incorrectly anymore, because it's going out of my my palate. And it's just mixed super easily with new Gamboge and either actually of the reds. I've mixed it with both the anthraquinoid as well as with my alizarin crimson, and it works nicely. This is a comparison of the burnt sienna on top and then the bottom swoosh that I just made was the transparent red oxide. And now let's move back up to the top row. Indan throne. I'm sorry, Indan throne. I hate to see you go, but I have not used you particularly much. That is not a good thing. I must not paint very many things that are that blue. I don't know. But I figured out something. This is the French ultramarine plus paints blue gray. And now I'm going to mix in just a little bit of alizarin crimson in with it and add a little bit more of the other colors. So I have enough pigment to actually brush with because you'll see how much red there is in that Indan throne. It's more on the purple side than it is anything else. So when you're trying to mix a color and match something, be willing to think outside the box in what you throw in with it, because most people wouldn't think I need a red in order to make that color. But look at that. Look at the perfect match that I can get if I add a little bit of red to it. And that's a cool red, not a warm red. A warm red will do something different. It'll become more neutralized, more brownish. And then these last three, which are all leaving, can kind of be supplanted by phthalo blue turquoise. So that's the phthalo blue on the left. The middle one is electric blue, the iridescent electric blue. And on the right is cobalt teal blue. But what I used to do a lot with cobalt teal blue is mix it with nickel azo because that gives me the most beautiful grassy green, right? But it's got so much texture to it, I found I wasn't using it very much. And I was going through all kinds of contortions to make a good grassy green. Well, on the right, I'm mixing the green gold with a little bit of the phthalo blue turquoise. And I get the same color without the granulation. And most of the time when I'm painting a big field, I don't want it to be a big granulated field. Usually the trees are much more interesting. So I'm going to try this combination instead. And that is why poor cobalt teal blue gets to leave. It's also a great color for a sky, but I don't usually want granulation in my skies. Okay, I'm getting ahead of myself with the painting and behind in the talking. So for the burnt umber here, I mixed the transparent red oxide with, of course, paints blue gray. And depending on how much of the paints blue gray you put in it, you can get different shades of brown. So the transparent, transparent red oxide I think is going to be a good color for me in this. Now, here's another little game to play. I wanted to see what it would take to mix my perline maroon, which is leaving my pallet, getting voted off the island. And I started by mixing the paints blue gray with my anthracite scarlet. And that gives you one kind of maroon. But if I mix it with the alizarin crimson and do the paints blue gray with that, I will get a different kind of maroon. And that's because a warm red has yellow in it. So it's going to change that mix. So the old color that's getting booted is pyrrole scarlet. And I'm just going to use anthraconoid scarlet instead of it. And do not cry, but both my quinacridone rose and my imperial purple are going away because I don't paint in kind of candy coated colors really. That's not my thing. So this is a flower that's painted in alizarin crimson. And it still feels like a pink flower to me. I am not at all bothered by the fact that there's not that really bright, sugary kind of look that you get from the quinacridones. So I'm going to try these colors and see. Now this whole sheet is on my blog with all of the colors listed. And I've even put them in text with the mixes were that I used for each one. So if you want to try mixing some of these colors out of stuff you already have as well, you're welcome to give that a try. And we'll see how this all goes. I'll be using both palettes at various times here on YouTube and that sort of thing. I'll still use the one on the right in my classes because I want to keep something consistent for those who bought those colors. But for my fine art stuff, I'm going to try some new colors and see what happens. What that does for me and my art. So thank you very much for sticking around for this long video. Links to everything are in the doobly-doo. And I will see you again very soon. Don't forget to click that like button and share it with your painting friends. Thanks. Bye-bye.