Limited Palette

[Henry Stahle]

I often use a limited palette. This is one I have used for some time. I will extend it with some violets, turquoise, orange and gray...

[D Akey]

Thanks Henry. Very practical to have a go-to palette. Gives collections a continuity plus it's fast to do and gives you a proven look that you know works. As you know, many old hands at illustration used to do that to help make deadlines more manageable.

[hildee]

Interesting, Henry. I actually wouldn't call that a limited palette because there are quite a few colours although branches of each, and yet the image looks limited in its colours. Clever stuff!

[Henry Stahle]

Interesting, Henry. I actually wouldn't call that a limited palette because there are quite a few colours although branches of each, and yet the image looks limited in its colours. Clever stuff!

In ArtRage you can use the 8-bits colour depth, that means 16.8 colour nuances. In Photoshop, Krita and TVPaint you can use the 16-bits colour depth, that means 281 trillion possible colors. In my picture I used 3 hues and 3 shades of these hues + black - that is for the tricycle. For the background I used 1 colour and the shade. The grit spray was just various grays on an overlay layer. So all in all 9 colours. That is limited I used "flat" colouring, not photagraphic describing the exact volume. Just like in old time comics and matchbox prints. That nice I Think. Limited but expressive.

D Akey: "As you know, many old hands at illustration used to do that..." Yes, I am an old hand. I am. But my hand is still steady

Thank you both for commenting.

[Caesar]

Excellent illustration and quite interesting to know of Your palette (not so limited indeed, especially if You also mix those colors). it would be interesting to summarize it vis-à-vis the usual gamut schemes. To me it's quite evident You don't use "Mediterranean" (lights and shades/ shadows) colors, since that palette miss many warm ones, especially in the yellow, red and "terre" (Siennas, Burnt Umber etc.) range.

[Henry Stahle]

Excellent illustration and quite interesting to know of Your palette (not so limited indeed, especially if You also mix those colors). it would be interesting to summarize it vis-à-vis the usual gamut schemes. To me it's quite evident You don't use "Mediterranean" (lights and shades/ shadows) colors, since that palette miss many warm ones, especially in the yellow, red and "terre" (Siennas, Burnt Umber etc.) range.

Of course there are unlimited number of colours if I mix the nuances. But that is not my doing, I use them as flat / solid colours, like in old time comics and matchbox prints. And you are right, I am not so interested in the old "analogue palette" like in old time oilpaint, as in the paint made of burnt or raw soil from Siena, Umbria, Caput Mortum...or whatever. I rather use modern pigments or just digital pigments. They seem talk to me a lot more

I refined the palette and added some:



Thank you for your comments!

[Caesar]

I see. Nonetheless I see also a lack of vivid yellows, reds and orange I experience at my latitude. You like and use more elegant pastel-like tones and softly muted colors, very apt indeed to describe marvellous and mysterious northern scenarios and lighting, misty atmosheres and so on.
This must certainly help You also to keep a chromatic harmony. So a smart choice indeed I thank You for revealing.

[vandra]

I really like the subtle colours in this palette - also love your paining.