Here is my palette moving forward. The mineral violet I have placed at the far left of the palette has moved to the far right to make room for eventual brush storage. I am already confusing it for Ultramarine Blue and it looks more blue on this side of the palette - those surrounding colours! I will do the same on my studio palette so it becomes habit. You don't want to be looking around for a pigment for mixing. The rest of the palette remains unchanged. There is no rule for this, no right and wrong. I lay out my palette with light yellow in the middle. The I go green, blue, violet to the right, and yellow, orange, red to the left. The pigment is laid out as "worms" to facilitate crisp clean colours, and the worms are significant so as to avoid a starving palette which forces one to interrupt the painting process to squeeze out for a top up. Normally in Plein Air I use 3-5 pigments. Here you see 7 plus white.
By the way, the colour key on the painting has been ambiguous all session. That will be addressed in the studio along with a couple of composition details.