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Cadmium and "cadmium free"
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Posted
Hijack away - I often do! The Zorn palette point is interesting, because it was originally Ivory or Bone Black - more or less the same thing - Yellow Ochre, and a scarlet red - originally vermilion, I think, more often than not Cadmium red Medium these days. You could use pyrrole red (e.g. Winsor Red) or Scarlet Lake, or one of the many reds from the very extensive Old Holland range - I truthfully have no idea if they'd work; I'll have to try them.
When I use the Zorn palette, it's usually lead white, yellow ochre, ivory black, and cadmium red - I see no good reason why a quite strong red wouldn't work with it; vermilion these days is very variable in tone - Michael Harding makes one which is Mercury-based: I'm not normally too bothered by toxicity, but that one would worry me, even if the huge price didn't (and it does! ). I wonder if you can still get Chinese vermilion - must inquire ... anyway, cad red works well with it. (I think MH calls his vermilion 'Chinese'; I probably used a Hue version.)
Looking at those paint sticks - not quite the same (I think) as those I used, I don't think they'd suit me at all: I can't really see how they'd add detail - a wodge of colour, perhaps, a strengthened accent - but I think I'll stick to my riggers, or chisel-edged flat.... Truth is: I really don't like getting paint up to the elbows (some love it) and I think that's what'd happen; either that, or I'd sit on them: I like my paint laid out in a (not very) orderly pattern, on a big palette - not gurt thick sticks of pigment.
Posted
Being reminded by Robert of the Zorn palette, I looked up Anders Zorn's work, well painted and very sucessful. I wondered if anyone else on POL used this Palette and seeing we have so many beautiful colours available why they would restrict themselves in this way. I'm not kocking it, just curious.
Posted
The Zorn palette is useful in as much you are forced into mixing your colours, and there are thousands of combinations that can be achieved from just these four colours.
Personally, think that it suits portrait painting rather than landscape work.
You can achieve a variety of very useful skin tones, all subtly different… if I was a portrait painter, I’d be using the Zorn palette, but might add a cobalt blue to it, in which case it wouldn’t be accurate to Zorn.
Be it portrait, still life or land/sea scapes, it’s a good exercise for newcomers to painting, who generally, in my experience delight in using every colour in their wooden box of paints.
In the right hands, the Zorn palette has much going for it in my opinion.
Posted
I've used it in my rather few portraits - it's surprisingly versatile; I've also substituted the black with French Ultramarine - that worked too, but will give a purplish tone, depending on the proportions used.
Zorn didn't restrict himself to this palette - his studio contained many other colours, greens, blues, for landscape and clothing details on figure work. I don't think he ever used it for landscape, actually - but of course one could try it; I don't think I will, but you never know.
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