That's what this is. But I find myself kind of drawn to using this french ultramarine/cobalt blue. There's something about it I can't quite pin, I think it's mostly just that I find it very hard to use. It's such a bold, obvious, kind of annoying color. And it's not nearly as sexy as a pthalocyanine or prussian blue. It's also vastly different from the gray blue/green color that I have a natural tendency toward using, and I'm always up for trying to break myself out of color habits.
Corel Painter 12. 30 min.
But look at me talking about digital paint as if it was oil paint. It's funny isn't it? I don't really see any reason not to talk about it in such terms, I really don't think any differently when working in analog or digital media, except that when I'm working in analog I have the recurring thought of "mixing colors is impossible and sucks" and "wow, paint is so luscious and creamy, I have to find a way to replicate this digitally."
I also find myself drawn toward using colors to great space or dimension rather than value--as demonstrated in the grayscale version of this image. I'm particularly fond of the area directly under the chin, because in the grayscale it's a strange negative version of the illusion of depth created by the color relationships.
Thus concludes me talking about paint.