This is kind of my playing with the pallet development

The second color is called burnt umber natural and it's a color You can get from Windsor Newton and I'd heard a lot of English people talking about it and I like it I like it a lot but it isn't a great mixing shade

The raw sienna deep is actually the pigment for yellow okra but it's a transparent yellow ocher and it is very similar to that raw umber natural except it is transparent and it is like one of my favorite colors ever it is so good at blending and mixing and it's it's just amazing it's really one of my favorite colors on a pallet

I don't know if I said this it's that blob up in the far left hand side and see it's just very similar in color

And I was like what I really want is something like that raw umber natural except a little bit darker which is how I came up with that yavapai or whatever because it looks to be like not halfway maybe halfway I don't think it's quite halfway

Between the raw umber natural and the raw umber which is the one to the right of it although that's not a very smooth swatch The really smooth swatch of raw umber above it is qor raw umber which is my very favorite raw umber but core is best used on its own and also although it's beautiful and it gives a very smooth wash it doesn't till like if you were going to use it in its mass tone you'd want the core but if you're going to blend it out and make light washes of it then this DaVinci is really better

And then the blue that's right next to it is Prussian blue green shade which I've only seen from DaVinci although who could say maybe somebody else does it I'm sort of trying to approximate or when I ordered it I was sort of trying to approximate the blend that I do with the qor water colors with indigo and raw umber and I love that blend but I'm not wanting this to be runny watercolors not wanting it to do all those fancy shoot across the page things The DaVinci is thick it blends out really well but you got a lot more control over it so I mean if you're doing like abstract stuff then having it be able to go all over is great but if you're going to do landscapes then having a little more control over it is maybe better

Then the color that's just above that to the right is my favorite and if I had to pick only one from the shamincke super granulating watercolors and funny thing is is that it is the very first one that I bought and really and truly I could forego all the rest of them it's kind of sad but I love this one but I just don't know that I need it on this palette it's the undersea indigo and it's really cool and I could get some good effects with it but it has a cobalt color and I'm really trying to keep this a non-toxic palette because I'm thinking you know anyway but then I found out that the nickel titanate isn't non-toxic because nickel now it's I think less toxic than cobalt but I don't know

The dots around the raw umber natural are me showing myself that I can easily blend that color by using the nickel tighten it yellow and the violet iron oxide which is right underneath the Prussian blue green shade

That dark gray blue is sodalite genuine from Daniel Smith the kind of warm gray color on the bottom right is that charcoal watercolor the kind of orangey red swatches around the periling maroon and the bright red that's the alizarin gold

I ordered a little sample size of leaf green because I decided I wanted kind of an unnatural almost neoni green looking color that that would contrast really nicely although it's not the kind of shade I ever paint with so it's out of my comfort zone for sure

The charcoal is better if you use it fresh rather than let it set up

The watercolors are better if you let them set up

The charcoal doesn't stick to your pallet very well so if you put a big blob of it it'll just like lift off and get mixed in with your paints and stuff