Experiment with your pigments, especially in mixes. to learn how they handle.
When I want a strong and lasting yellow I do choose cadmium Yellow.
Cadmiums are heavy metal pistons and s this colour should be used with care and the waste water containing cadmium should not be tipped down the drain. Europeans consider these paints so low in soluble cadmium that they do not present a hazard. Californians rate it as toxic. I recommend careful use by experienced artists. These colours are not for children nor careless adults.
There are alternative safer colour that you can use to obtain good reds and yellows. – this means no eating or drinking in the studio, taking care to dispose of unused paint in the bin rather than down the drain and secure storage away from children and pets.
Some companies have developing safe alternatives to cadmium colours, others have produced inferior pigments that either fade or lack strength. There are also more toxic yellow and red pigments that are best avoided. Weighing it up, I am continuing to paint with the cambium colours as I know nothing that matches the opacity, vibrancy and durability of this centuries in use artist's painting pigment.
If a tube of paint is labeled cadmium hue, the word hue means colour, so it is a colour like cadmium, but it isn't the real cadmium pigment. Price is a good indication of quality when choosing a cadmium hue. Better quality hues are closer in price and performance to the real cadmium.
Lesson 2: Painting Tonal Patterns
Copy a tonal Pattern by Eye Using a Five Tone Scale
Create a simple five tone pattern consisting of the darkest tone, (0) the lightest tone (10) the mid-tone (5) and the medium light tone and medium dark tone.
Then reproduce that pattern sight size, working from dark to light.
Always start with the darkest tone and proceed, from darkest to lightest, as the canvas you work on is light, and you always begin where you will make the greatest difference.
As with the tonal chart scale in lesson one, practice makes perfect. Practice reproducing tonal patterns, and you will develop your artist’s eye to see tonal value, the shape of the tone and the proportion and correct placement of it in your painting.
Lesson Two Part Two