Supplies for Color Panels

Oil paints
Old Holland Yellow Light or Titanium white. Old holland is expensive so I went with Titanium white for these exercises.
Cadmium Yellow Pale Hue
Yellow Ochre
Permanent Vermillion
Permanent Alizarin Crimson
Burnt Sienna
French Ultramarine

Canvas board and painters tape.
I guessed at the measurements but a ruler would work. The squares are one inch approximately.

Once the paint is down on all the squares remove the tape quickly. Don't let the paint dry with the tape. It is nearly impossible to separate.

Cadmium Yellow Pale Color Panel

Day 2 of color panel making. After the pure pigment panel is done I went on to create the remaining panels. This will show how one color is affected by adding a small amount of the other five colors on the palette. Yellow will dominate in the mixtures by a ratio of 3:1. The means three parts yellow to one part of the other color. You could also do 2:1 or 4:1. These all will give a different color variation. The goal is to unify the palette

Color Charts

One thing that has always fascinated me about other artists is how they get so good at using color in their paintings. Is it intuitive or years of practice? I have tried several times to replicate what I read in an article or a video or attend a workshop with some seriously great artist's in my eyes. So many ways to get to your goal. I'm talking about the color mixtures and relationships I can create with tube colors. I first read about color charts in "Alla Prima" by Richard Schmid. After reading "Color and Light" by James Gurney felt like starting these charts again.

I have done the charts before at found a little understanding only to abandon the palette chasing new color palettes by different artists. Well during my research I have started to dig into the actual pigments in the tube colors and reduced the number of colors on my palette.

This palette consists of cadmium yellow pale hue, yellow ochre, vermillion, permanent alizarin crimson, burnt sienna, french ultramarine blue.