Tips 4 Artists - Painter's Practical Palette Management

Tips For Artists

Painter’s Practical Palette management.

·                    Whether you’re left- or right handed, arrange your paints  along the top edge of the palette in the same order every time, for instance:

White

Yellows

Reds

Purple

Blues

Greens

Browns

Ochre.

•                     This will enable you to keep colours clean and find them easily, leaving you a larger mixing – space in the middle of the palette.

·                    Don’t be stingy with the paint. Your painting will benefit from having a depth and intensity of colour. Also, if you haven’t mixed enough of a colour the first time it’s very hard to replicate it!

·                    Use a painting knife to pick up and mix colours from the range at the top edge of the palette.

·                    Using a painting knife means that you can compare the colour you’ve got with the colour of the object in front of you to see if you’re getting close!

·                    If you have mixed a colour you will use again but need the palette space for something else, use the knife to scrape up the surplus and “park” it  on the edge of the palette out of the way.

·                    Clean down your palette mixing area at the end of the session with cleaner from your brush jar, and wipe it off. When you clean off the whole palette to put it away, wipe it over with a rag  and a splash of  linseed oil.

·                    Enjoy your painting!

Oil Painting Colours - Paint Ideas for Artist Colour Palette

The last blog concerned guidelines for a basic colour palette with warm and cool colours and we gave our ideas concerning this most frequently asked question from aspiring artists and those buying a present for the 'artist in their life!'

Christmas is coming and bearing in mind the number of enquiries for this information from people coming to visit us in the shop, I thought it might be useful to produce guidelines for each brand. If, like me, stretching the budget is always a mighty challenge, we have put together our choices avoiding the most expensive colours.

Below are guidelines for a colour palette in Old Holland Classic Oil Paint; Winsor & Newton Artists Oil Paint; Schmincke Norma Professional Oils; Rembrandt Professional Oil Paints; Spectrum Studio Oil Colours

Old Holland Oil Paint - Classic Oil Colours

Yellow:

Warm   -  Scheveningen Yellow Medium C14
Cool     -  Scheveningen Yellow Lemon B10

Red:

Warm  -  Scheveningen Red Medium B169
Cool   -   Alizarin Crimson Lake Extra C163

Blue:

Warm  -  Ultramarine Blue A36
Cool   -   Scheveningen Blue B35

Mixing Colours:

Raw Sienna Deep A57
Raw Umber A69
Titanium White A1

Winsor & Newton  Oil Paint - Artists Colours

Yellow:

Warm  - Winsor Yellow Deep 731 Series 2
Cool   -  Winsor Lemon 722 Series 2

Red:  

Warm  -  Winsor Red 726 Series 2
Cool   -   Alizarin Crimson 004 Series 2

Blue:

Warm  -  French Ultramarine 263  Series 2
Cool    -  Winsor Blue (Green Shade) 707 Series 2

Mixing Colours:

Raw Sienna 552 Series 1
Raw Umber 554 Series 1
Titanium White 644 Series 1

Schmincke Norma Oil Paint - Professional Oil Colours

Yellow:

Warm  -  Cadmium Yellow Deep 244 Series 3
Cool   -   Lemon Yellow 236 Series 1

Red:

Warm  -  Cadmium Red Light 310 Series 3
Cool   -   Madder Red 318 Series 1

Blue:

Warm  -  Ultramarine Blue Deep 402 Series 1
Cool   -   Cobalt Blue Hue 412 Series 1

Mixing Colours:

Raw Sienna 608  Series 1
Raw Umber 622  Series 1
Titanium White 114 Series 1

Rembrandt Oil Paints - Professional Oil Colours

Yellow:  

Warm  -  Permanent Yellow Medium 284 Series 3
Cool   -  Permanent Lemon Yellow 254 Series 3

Red:

Warm  -  Permanent Red Medium 377 Series 3
Cool   -   Permanent Madder Deep 342 Series 3

Blue:

Warm  -  Ultramarine Deep 506 Series 2
Cool   -  Phthalo Blue (Green) 576 Series 3

Mixing Colours:

Raw Sienna 234 Series 1
Raw Umber 408 Series 1
Titanium White 118 Series 1 

Spectrum Studio Oil Paint

Yellow:  

Warm  -  Spectrum Yellow Series 1
Cool   -   Spectrum Lemon Series 1

Red: 

Warm   -  Spectrum Red Series 2
Cool    -   Alizarin Crimson Series 2

Blue:

Warm   -  French Ultramarine Series 1
Cool    -  Cobalt Blue Hue Series 1

Mixing Colours:

Yellow Ochre Series 1
Raw Sienna  Series 1
Raw Umber Series 1
Titanium White Series 1
         
I've put together the prices for each selection:
Old Holland 9 Tube Cost £82.49
Winsor & Newton  9 Tube Cost £67.47
Schmincke Norma Oil 9 Tube Cost £62.85
Rembrandt Oil 9 Tube Cost £77.46
Spectrum Studio Oils 10 Tube Cost £42

Order before end of November for 10% Off

During ordering process add Voucher Code BLOG1 to receive the discount

What is the basic colour palette for paints?

Recommendations on colours and the basic palette are the most frequently asked questions asked by aspiring artists or those buying a present for the 'artist in their life!'

There is a basic rule of thumb and then many, many variations depending on personal preference, style and subject of painting so I thought it might be useful to give my opinion. 

A starter set should consist of warm and cool colours:
2 yellows - cool lemon yellow : warm cadmium yellow or equivalent tone like permanent yellow
2 reds  - cool alizarin crimson : warm cadmium red or an equivalent bright red
2 blues - cool cobalt blue  : warm ultramarine
Earth colours - cool raw umber or raw sienna  : warm yellow ochreor burnt umber or burnt sienna
Titanium White - opaque and strong white

The colours vary from within ranges from different manufactures : we will put together information about the basics in each range for our next blog.

From a starter set of paints with the above colour spectrum, there is scope for mixing other tones.

Plenty of greens can be mixed from the yellows, yellow ochre and blues above.  However very useful colours for landscape artists are terre verte and sap green.  Terre Verte is also useful for subtle skin tones when working on portraits.

Zinc White, which is semi transparent, is a good mixing white which when added to other colours and will alter the tone is a less dramatic way than an opaque titanium white.

Oil Primers & Grounds for canvas and panels

I had a long technical chat to an avid painter today.  His job means he frequently travels between the UK and the USA  and he's been taking an oil painting class in New York.  The tutor has shown everyone how to use traditional lead based grounds on canvas and panels and our avid painter wants to replicate the same method.  The UK and Europe has gradually stopped making lead based products, the basic health risks in the manufacturing process are obvious and the problems of only selling to professional artists, who know the risks and take the right precautions when using lead base products, has proved difficult to manage.

A good oil primer from C. Roberson

Lead based primer had the advantage of being flexible, drying reasonably quickly and giving a reflective warmer surface for the oil painter on both canvas and wood panels. 

I would recommend any of the following three primers, all without the dangers of lead but some of the proterties and good quality:

Robersons Oil Primer - no lead - but a  high quality ground based on titanium white, China Clay, linseed oil and an Alkyd Resin.  Two coats recommended to achieve the finish with the characteristic 'slippery' feel. This is a relatively speedy dryer, the Alkyd Resin helping to reduce the drying time to approximately 16 hours.

Umton Oil Ground is another interesting oil painting primer creating a smooth reflective surface.  Containing Titanium White and Lithophone, Chalk, Stand Oil (which encourages levelling), Dammar Varnish (added sheen) and Turpentine.  Much slower to dry, so patience required - allow 3-4 days at least. 

Thixotropic Alkyd Primer is a best seller from Spectrum. Forgive me but i love the word 'thixotropic' not sure why - it  means sometimes fluid and sometimes gel! This oil primer becomes fluid when stirred and returns to a gel state when allowed to stand. This is a one coat multi purpose product, the finish is an opaque gesso-like surface for all types of oil painting supports. For canvas or wood apply a coat of warm glue size; for metal, clean surface and abrade to give a good key.

It is always recommended to size with a rabbit skin glue before using oil primers, sealing the painting surface and protecting the material. There's a good prepared rabbit skin glue available from Roberson - saves the nose from the aroma of making your own but slightly less fun.  Make sure you dilute the solution or your canvas will be too drum like.

 

Would be great to hear about products you like....

    

Dual working practices - How does everyone do it?

Having spent a wonderful Sunday afternoon in my attic studio at Pegasus Art, I cannot be the only person to sometimes feel like a split personality, finding time for my own art work and working full time in the art materials business. 

It's great being involved in a commercial business, meeting all the fascinating artists who visit or buy.  I have the added bonus of having an excuse to try out the products so i will never complain!  Basically there are not enough hours in the day...

Paintings for 'Physicality' Olympics Exhibition at New Brewery Arts, Cirencester

If you have time to come visit the South Cotswolds in May, we can thoroughly recommend this festival of  talent in our valleys.  Don't hesitate to come visit us at Pegasus Art whilst you're here. 2012 Stroud International Textile Trail Meet textile artists at work in their studios  12-13 & 19-20 May  Twenty-six designer makers who specialise in textiles and contemporary crafts will open their doors in May  to meet you in their studios where you are invited to enjoy and discuss their work. Weaving through the glorious Stroud Valleys to Nailsworth and to Cirencester, visitors will discover studios in gardens, old redundant Mills, attics, and contemporary spaces. Tim Parry-Williams weaves his exquisite cloth See where Tim Parry-Williams weaves his exquisite cloth. Meet Matthew Harris who creates his  deconstructed art pieces in a shed in the garden. Fashion designer, Jacqueline Kroft of Red Heart, with  original knitwear;  Susan Early’s stunning baskets; Dorothy Reglar designer joins Jane Brunning - batik, Sarah Beadsmoore - weaver and Sarah Brooker - feltmaker at New Brewery Arts in Cirencester - these are just a few of the makers taking part.

This unique and special opportunity to meet the artists, see where they create their work and buy direct or commission new work is not to be missed.

Lots more details when you check out their site plus more events taking place with visiting artists at the Museum in the Park, Stroud from the end of April to end of May:

PAIRINGS II – conversations & collaborations

Venue: Museum in the Park GL5 4AF
Date: April 28 –May 27 2012
Admission: FREE

: conversations and collaborations