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.

7 colors to try

I have been going through several palettes trying to find a simple controllable palette and to avoid being overwhelmed.

1. Old Holland Yellow Light 125ml.

2. Cadmium Yellow Pale Hue (PY74) Winton 200ml.

3. Yellow Ochre (PY43) W&N 200ml.

4. Permanent Vermillion (PO73) Rembrandt 150ml.

5. Permanent Alizarin Crimson (PR177) Winton 200ml.

6. Burnt Sienna (PR101) Artisan Water Mixable W&N 200ml or Utrecht 150ml.

7. Ultramarine (PB29) Winton 200ml.

Oil Painting & Charcoal Drawing Art Supplies

SUPPLIES
Wide mouth mason jars 1 pint-- use to place the tubes of paint inside.

Delq (Carder Supplies) $20

Delq formula by Mark Carder
- 10 parts mineral spirits (use tablespoon size for parts)
- 5 parts Stand Oil
- 5 parts Shiva Venice Turpentine
- 2 parts Oil of Cloves (Clove Oil)
- 1 part Refined Linseed Oil

Clove Oil sold in many places. I find it at Whole Foods, and Central Market (HEB). $3 Used in raw umber and burnt umber jars mixes

Teaspoon & Tablespoon $1

5000k spiral or tube lights

Easels --- many types and styles

Kneaded Eraser

Portable Pencil Sharpener

Proportional Divider---this is for measuring

Drafting Compass with two metal tips & Plastic Protractor---both are for measuring

Knitting needle #2 and smaller---for comparative measuring

Thread and washer ---this is for plumb lines measuring vertical and horizontal in sight size

Metal Rulers---Various types

Electric Staple Gun--- with Staples

Electric Sander ---with Sandpaper

Canvas Stretcher Pliers this is for stretching canvas

Palette Knives –these will be for mixing paint on the Palette and applying to canvas #2 and larger

Stretcher Strips--- with various sizes

Surfaces—Canvas, Linen, Hardboard cover with Linen, Hardboard, MDF

Spray Adhesive--- Krylon 11 oz can (this is to apply linen to MDF or Hardboard

News paper ---This is to keep spray adhesive off of the surface you are working on.

Rolling Pin--- This is for rolling the linen onto the MDF or Hardboard

High Chroma Colors

W-- Titanium White PW6—Titanium White PW4—Zinc White

Y-- Cadmium Yellow Pale PY35 or Cadmium Yellow Light or Cadmium Lemon PY35

YO-- Cadmium Yellow PY 35 or Cadmium Yellow Medium

O-- Cadmium Orange PO20—Cadmium Orange PR108—Cadmium Red

RO-- Cadmium Scarlet PR108 bright warm red orange

R-- Cadmium Red PR108 or Cadmium Red Light or Cadmium red Medium

RV-- Permanent Rose PV19 Quinacridone Violet or Quinacridone Rose

V-- Winsor Violet Dioxazine PV23, or Dioxazine Violet

BV-- French Ultramarine Blue PB29

B-- Winsor Blue (Green Shade) PB15, or Phthalocyanine Blue, or Phthalo Blue, or Thalo Blue

BG-- Winsor Green (Blue Shade) PG7, or Phthalocyanine Green, or Phthalo Green, or Thalo Green

G-- Cadmium Green, or Permanent Green Deep PG7—Phthalo Green PY138—Quinophthalone Yellow PW6—Titanium White

YG-- Cadmium Green Pale PG18/PY35

Low Chroma Colors

Indian Yellow PR101—Mars Orange PY139—Isoindolinone Yellow

Transparent Mars Brown (Maimeri) or Transparent Red Oxide Lake (Old Holland) PR101 Red Iron Oxide

Olive Green PY110—Isoindolinone Yellow PBk6—Lamp Black

Sap green PY110—Isoindolinone Yellow PB15—Phthalo Blue

Raw Umber PBr7 cool dark yellow brown

Burnt Umber PBr7 Raw Sienna deep dull earth yellow; Raw Sienna is preferable to

Yellow Ochre for creating flesh tones, due to its higher subtlety of color when mixed with white. It creates bright Ochre when mixed with Cadmium Yellow and creates greens and grays when mixed with Ultramarine. Burnt Umber dries quickly.

Lamp Black

Ivory Black

Yellow Ocher Pale PY42

Yellow Ocher PY43 yellow brown

Raw Sienna PY43—Brown Ochre PY42—Yellow Ochre ; Not needed just okay

Burnt Sienna PR101—Mars Orange Mars Orange is a bright, extremely light red and appears almost pinkish when contrasted with darker colors. It has incredible tinting strength and opacity. The synthetic form of Mars Orange is made from iron oxides and is cleaner, brighter, and denser than its ochre-based counterparts.

Palette made of glass with wood board underneath and black duck tape to hold together.
18” x 24” Glass should have bumped or grinded down sides to avoid injury. Always ask for this service from the glass cutters.

Brushes
Bristle, Sable, Synthetic, Many shapes and sizes Flats, Filberts, Egberts, Rounds, Liners

Drawing Material
Vine Charcoal Extra Soft, Soft, Medium, Hard
Charcoal Pencil 6B
Prismacolor Col-Erase---Black, Tuscan Red, White, Blue
Paper Arches Watercolor Paper Hot Press 140 lb 22” x 30” (this is for charcoal)
Canson Drawing Pad 70 lb (115 gsm) 50 sheets Dessin (this is for Col-Erase pencils)

Sketchbook Frenchpaper.com
Cover –Speckletone 18 Color-Kraft
25” x 19”
100 lb 25 count
(Make my own sketchbooks by book binding)

ARTISTS FROM THE PAST
Anders Zorn, John Singer Sargent, Edgar Degas, Sir Lawrence Alma-Tadema, William William-Adolphe Bouguereau, Édouard Vuillard, James Abbott McNeill Whistler

CURRENT ARTISTS
Justin (El Coro) Kauffman, Shawn Barber, Sean Cheetham, Michelle Dunaway, Mark Carder, Dave Kramer, Jeremy Lipking, Jeremy Mann, Casey Baugh, Richard Schmid, Susan Lyon, Justin Taylor, Richard Robinson, Ignat Ignatov, Carol Marine, Scott Burdick, Quang Ho, John English, Mark Tennant, Michael Carson, Nancy Guzik, Kevin Beifuss, Michael Bierek, Alex Kanevsky, Henry Yan, Gabriel Mark, Matt Archambault, Jeff Legg, Sherrie McGraw, David Leffel

TONING CANVAS & PRE-GESSOED HARDBOARD

I have used many different techniques to tone canvas that I have learned about over the last year. I only work with oil paint so those that use acrylic paint will have different views. I started toning my canvas because white did, and does intimidate me because I was rusty using oil paint. I have learned many things from these Artists Mark Carder uses Holbein quick drying white some thinner like Gamsol by Gamblin, and burnt umber to get a water mixture that will dry in 24 hours. I have also followed Sean Cheetham, Justin "El Coro" Kaufman, Dave Kramer, Jeff Legg just to name a few.

The ones I like the best are using transparent oxide red and olive green in a 50/50 mix. It produces a nice brown. I place some odorless mineral spirit on the surface then the colors in a thin wash ala Justin "El Coro" Kaufman. I use raw umber with a touch of cobalt blue this provides a cool surface you could leave it dry or place it on top of a thinner and work as previously stated with a slightly wet ground this comes from Jeff Legg I haven’t actually read this I saw it on You Tube in is promo video from Liliedahl video productions. I also like what Sean Cheetham does on his canvases. He uses a mixture of olive green, alizarin crimson, and indian yellow.

There are many different ways to tone a canvas such as mixing cool and warm grays. I just gravitate to using these colors as my preference.

Balanced the Whites in the still life light with the lights in my studio and drew out the still life on the gessoed board. I will be mixing paint and matching the colors Thursday.

Figuring out how to find the page.

Finally figured out how to find the page online. very exciting

Trip to New York

I just recently came back from New York City. It was like a pilgrimage. I went to the Arts Students League of New York. This was something i have always wanted to do. I some some inspiring things. I am even more motivated in my pursuit of painting. I have figured out the concept and have left the darkness.

Bayé Gallery

The Gallery is open I have formed the LLC and now working on the art work to fill the gallery. Please stay posted it is coming soon.