Color Conversations: Growing a Painting Practice

There’s a quiet joy in sitting with a painting and truly listening to it—letting it speak not through rules or reference, but through instinct. In my recent painting session, that’s exactly what I found myself doing. I took a step back from the reference image, let go of precision, and leaned into what felt fun, vibrant, and emotionally resonant. And as I did, a whole conversation with color unfolded.

Color Choices That Worked

🎨 Whites and Lavenders

I used a lot of white in this session, which helped create soft, pastel tints across the board. Pre-mixed lavenders were a standout favorite—they gave me exactly the tone I wanted without needing to over-mix. These cool, gentle violets became the backbone of the painting’s mood.

💛 Lucas Studio Lemon Yellow and Cobalt Orange

These two are surprisingly affordable and high-performing. I loved how they behaved on the palette and canvas—definitely staying on my regular list. I might explore upgrading to the Lucas Artist line for more pigment load and texture, but I feel no urgency since these Studio versions are doing a great job for now.

🔴 Rembrandt Transparent Red Medium

This one really shines. It’s perfect for achieving coral-y, glowing tones that catch the eye and balance the cooler purples and blues. It’s staying firmly in rotation.

🌹 Van Gogh Quinacridone Rose

A great stand-in for Winsor & Newton’s Permanent Rose. It gives me those vivid, pink-magenta tones I love, at a more wallet-friendly price.

Where I Struggled: The Medium and the Mood

💧 Medium W (Schmincke)

I appreciate the convenience of Medium W, especially for how it allows me to clean brushes with water, but it didn’t give me the smoother, glossier finish I sometimes crave. I’ll be exploring alternatives—maybe dipping into traditional oil mediums with better flow and finish, while using solvent only for final brush cleanup.

Brushwork Discoveries

🖌️ Raphael Textura Series 8702 (Size 6)

This brush felt just right. The texture it creates works beautifully with impasto paint, and while I'm on a smaller surface now, I’ll likely size up when I work bigger.

🖌️ Da Vinci Nova Filberts

Filberts are my go-to shape right now. They feel intuitive and versatile, especially for the organic forms I’m painting. The Nova line gives me a softer touch, which complements the firmer Textura nicely.

🎨 Palette Knife Play

I tried using a palette knife and found it challenging—hard to control, less enjoyable than brushwork. But I’m not ruling it out. I know it’s a learned skill, and I may revisit it with some targeted exercises or inspiration from other artists.

Current Painting: What’s Working & What’s Not

The painting is joyful. There’s a rich variety of color, lots of playful texture, and no area feels overworked—which is usually a big success point for me.

But…

The overall temperature feels too cool. Lots of purples, blues, and even the pinks are on the cooler side. Something is missing in the color story—it needs warmth. Not to dominate, but to balance, to make it breathe.

✅ Warm Colors To Try:

• Cobalt Orange (already on my palette) — mixed with white for soft peach tones

• Transparent Red Medium + Lemon Yellow — for coral and golden hues

• Scumbles or glazes of warm tones over dark greens and deep violets to reduce chilliness

Next Steps & Creative Questions

• How can I better balance warm and cool colors across a piece while maintaining harmony?

• What mediums might give me the surface feel I want without sacrificing cleanup ease?

• Could a limited warm palette sketch help me experiment with warmth before diving into the main painting?

• Would investing in a few more filbert brushes streamline my process and reduce mid-session cleanup?

• Should I dedicate a few sessions to palette knife-only studies just to explore the possibilities without pressure?

Closing Thought

The more I paint, the more I realize that success isn’t always about accuracy or polish. It’s about connection—between me and the paint, between colors, between instincts and action. And right now, I’m learning that warmth isn’t just a hue on the palette—it’s a feeling that brings the work to life.