limited palette

When purchasing supplies for the winter, I decided to try Rublev Colours’ Zorn Palette, which is composed of only four colors: Lead White, Yellow Ocher, Vermillion, and Bone Black. Named after the Swedish alla prima virtuoso Anders Zorn, this simple selection of colors yields a surprising variety of tones, making it a versatile and practical choice for painters who study from life. This article provides recommendations on using the Zorn palette in painting to work simply within its limitations.

The palette is one of the most essential tools in the history of oil painting, and its effect is one of the most minor studied aspects in art history. Setting the palette has a significant history; its development is relatively easy to trace in pictures of artists at work. The use of a set, limited palette, a portable surface upon which colors are arranged according to their tonal value, and its implications in painting is the subject of a lecture by George O’Hanlon, Technical Director of Natural Pigments. The first part of the lecture is featured in this article.

Dive into the vibrant world of Renaissance art through the lens of Peter Paul Rubens' distinctive color palette. This article unveils how Denman Ross adapted these historical hues for the modern artist, bridging centuries of artistic innovation. Explore the synthesis of color theory and practical application that can enrich your artistic practice. Click to discover the secrets behind achieving the lush vibrancy and dynamic warmth synonymous with Rubens' masterpieces.

For some years, I have been studying the palettes of medieval and Renaissance painters and, with many of the same pigments available to me, have started to reproduce their palettes, many of which are depicted in portraits and self-portraits described in painting treatises. This work has led me to more clearly see the tonal and color arrangements in the work of the old masters, which I will be publishing at Natural Pigments.