By Remi Engels

In this discussion we assume that you use a basic 6-color. The 6-color palette could consist of the following colors:

1. Lemon Yellow
2. Cadmium Yellow
3. Cadmium Red
4. Permanent Rose (Alizarin Crimson)
5. French Ultramarine Blue
6. Phthalo Blue
7. Titanium White
8. Ivory Black

You could use a no. 10 filbert.

Lemon Yellow is, of course, yellow, but can you also see the green undertone or bias? Stare at it for a while and see if you can discern the underlying green. Do the same for:

- Cadmium Yellow (orange bias)
- Cadmium Red (orange bias)
- Permanent Rose (violet bias)
- French Ultramarine Blue (violet bias)
- Phthalo Blue (Red Shade) (green bias)

Memorize and visualize the bias of the six colors on your palette.

Next, you can color 2″ x 2″ squares with mixtures. Start with Lemon Yellow and Phthalo Blue (Red Shade) which both have a green bias. You should get a clean green. Then:

* Mix French Ultramarine Blue and Permanent Rose (both have a violet bias) which yields a clean violet.
* Mix Cadmium red with Cadmium Yellow (both have a violet bias) which yields a clean orange.

Again make an effort to remember the colors of these new mixtures.

Now you can cross mix your tube colors two at a time. For example, mix Lemon Yellow with French Ultramarine Blue. This should give you a green but because Lemon Yellow has a green bias while French Ultramarine Blue has a violet bias it will be different from the one you got before. Compare the two greens and try to remember the difference. Then:

* Mix Cadmium Yellow with Phthalo Blue (Red Shade)
* Mix Cadmium Yellow with French Ultramarine Blue

This will give you all together 4 different greens. Look at them and judge them regarding hue, value, and intensity.

You can do the same with the two blues and the two reds which will you give four different violets. Finally, repeat the process with the two yellows and the two reds which will give you four different oranges.

Next, use different amounts of Titanium White to create tints of, say, French Ultramarine Blue. Mixtures of a tube color with white are called tints. Study a number of French Ultramarine Blue tints to see how Titanium White lightens the mixture and if the tints become chalky or not.

You can also mix each of the six tube colors with black. These mixtures are called shades. And finally, you can mix any tube color with any other tube color or with blank and white (i.e., with varying degrees of grays) to get what are called tones.

What is important here is to create a habit of observing and remembering the mixtures you produce. By now, you can probably guess the potential diversity of color a 6-color palette can produce. We haven’t even added the tertiary colors, i.e., the mixtures of three colors.

Make sure you save your painted squares and that you duly record the colors involved as well as the approximate amounts of each of the colors that make up the mixture. In other words, save your color charts and study them at regular intervals.

The ultimate objective is to accumulate enough active knowledge about mixtures that you can reproduce just about any color without having to think too much.

At that point all your attention can be directed towards artistic expression. Although it is a rather tedious job, it is nevertheless a necessary one. So do a little bit of it every day.

Remi Engels, Ph.D., is a pencil portrait artist and oil painter. Samples of Remi’s work can be found at Remi’s Pencil Portraits and Remi’s Oil Paintings. You are also cordially invited to subscribe to his Free Portrait Drawing Course and his popular Art Tip Newsletter.

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One color can be painted over another, drawing and proportions can be corrected, and all the nuances of light and shadow can be studied experimentally. The painting can be put aside at any time, to be picked up and continued at a later date.

Some beginners choose oil without considering other media because of a reverence for the “genuine oil painting.” When they take up painting as a hobby they want to produce “pictures that show the actual brush strokes.”

Many other amateurs, who would like to work in several media but feel that their time is too limited, select oil after checking with teachers or schools or experimenting on their own. Even a person who is more interested in another medium may find, as I have, that by using oils he can more easily study color subtleties and can acquire basic knowledge that will later be applied to the medium he prefers. The old adage, “One medium helps another,” is especially true if the first one is oil.

As you progress you will soon discover that there is more to oil painting than the surface quality of the brushwork. The type of surface you work on, the preliminary staining of the surface, and the under painting all affect the finished result.

However, in your initial efforts you will want to work in a direct manner, particularly when painting outdoors. Later you can experiment in the studio with various types of under painting.

If you are just beginning to paint, you will do well to start with a reputable brand of student color. Most color manufacturers make a line of student colors along with their professional grades. These colors are appreciably less expensive and the selection is nearly as wide as in the professional line.

As you progress, you can replace the student brand with colors of professional quality, which have far greater covering quality, particularly in the Cadmiums and Blues. There are several good brands of colors available. My own choice is the Grumbacher line.

I recommend the following colors for basic use: Alizarin Crimson; Cadmium Yellow, Light; Cadmium Red, Light; French Ultramarine; Ivory Black; Light Red; Thalo Green; Yellow Ochre; Zinc or Titanium White.

These nine colors will enable you to mix the various shades of other colors that you will need for most purposes.

However, you may want to supplement these colors with: Cadmium Yellow, Deep; Cadmium Orange; Cerulean Blue; Burnt Sienna; Viridian; Cobalt Blue; Thalo Blue; Raw Umber.

Once you get your paints in order, you’re going to need something to paint on. The best and most receptive surface on which to work is stretched linen canvas. Linen, however, is relatively expensive, and cotton canvas is a good substitute.

The cotton canvas panels that fit in your paint box are the most convenient for painting outdoors and are inexpensive. They are light in weight, too, and have the added advantage of not taking up much space when stored in your studio. These first few tools are essential components of oil painting. Once you get these, you’ll be on your way to creating your masterpiece.

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