I thought that these apricot pits and this avocado pit, still in a bit of it’s outer papery sheath would be a good subject for using my set of Kremer Pigments’ pan watercolors. The Kremer watercolors are unusual in that they’re so highly pigmented, mostly opaque and mostly sedimentary. They are quite stable when applied: the colors don’t charge or bleed much into each other, unlike the more volatile quinacridone and other synthetic pigments.
But I found that those qualities make them less suitable for glazing because their opacity and and saturation mean that one layer hides the one beneath it. Half of the colors in my 14-color palette are muted shades of red, brown, gold, green; a few are more brilliant, but so richly colored that they have to be thinned way down to appear transparent.
I guess what I’m saying is that I’m not as familiar with how these colors work together as I am my regular palette of mostly Winsor Newton tube watercolors. It takes practice to have control over one’s media and I felt pretty out of control with these but enjoyed playing with them. I’ll try them again for the next summer leftovers.