In the previous article of this series, I explained how the limited palette works, showing how using fewer colours can make watercolours more colourful and the benefit gained from understanding temperature bias, particularly in mixing. In the next two articles, we look at the differing physical properties of the pigments. Colours, even of a similar hue, vary substantially in their behaviour and appearance on the paper, which in turn, influences the choice of colours for a limited palette. This article looks at degrees of translucency and why this matters.
See-through or not
Artists’ quality paint is made from real pigment, which is ground down into microscopic particles. In watercolour, the particles are bound in gum arabic, which is easily dissolved by water, so that the
