Amanda Sage's preferred Palette of Colors
I personally want ALL the colors ;)
– although I do truly end up using less.
And as you will see, I hardly use much paint at all in the methods I work with,
and I end up having some tubes of paint for many many years.
Here is an example of a palette that I often use (mostly Old Holland):
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Maura Holden's preferred Palette of Colors
My preferred brands of oil colors (in order of first to last…) are
Old Holland, Williamsburg (best American company – excellent paint),
Rembrandt, and Winsor & Newton.
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- Titanium White
- Naples Yellow light
- Yellow Ochre
- Raw Sienna
- Baroque Red (Old Holland color – one of my FAVORITES;)
- Burnt Umber
- Raw Umber
- Caput Mortum
- Ivory Black
- Dioxin Purple
- Magenta
- Alizerin Crimson
- Cadmium Red
- Indian Yellow
- Aureolin Yellow
- Lemon Yellow
- Chrome Oxide Green
- Schevenings Green
- Coeruleum (Hue) or Mangaan Blue
- Cobalt Blue
- Ultramarin Blue
- Prussian Blue
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- Old Holland Titanium White
- Old Holland Cremzer Wit
- Old Holland Zinc White
- Old Holland Scheveningen Yellow Lemon
- Old Holland Scheveningen Rose Deep
- Old Holland Manganese violet-reddish
- Old Holland Ultramarine violet
- Old Holland Ultramarine Blue Deep
- Old Holland Caribbean Blue
- Old Holland Viridian Green Deep
- Old Holland Scheveningen green deep
- Old Holland Burnt sienna
- Old Holland Venetian red
- Old Holland Ivory Black Extra
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Amanda Sage's Notes on the Oil Colors
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Maura Holden's Notes on the Oil Colors
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I was told in the beginning when I was first learning to paint, to not buy student grade paint… It is best to start off with the good stuff, otherwise you will have to go through a new learning process when you upgrade and wonder why you struggled with watered down paints the whole time.
The best paint is Old Holland – it is also the most expensive… So unless you are planning on doing a lot of painting, I would maybe save a bit on that and invest in some Windsor Newton, Rembrandt, etc… If you do not have oil paint yet – you can also wait to invest until after the seminar and contribute an extra fee for using my paints. This way you will have a more educated eye when making your investment and a deeper understanding on what colors to choose.
I personally want ALL the colors ;) – although I do truly end up using less. And as you will see, I hardly use much paint at all in the methods I work with, and I end up having some tubes of paint for many many years.
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Old Holland
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Winsor & Newton
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Rembrandt
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Williamsburg
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*White: Titanium white – Old Holland Classic Oil Colors - A-1 Titanium white. A cool opaque white, good for brilliant grounds, first layers and covering.
*White: Lead white - Old Holland Classic Oil Colors - A-3 Cremnitz White. (Lead carbonate). Semi-transparent warm pearly white. Poisonous.
*White: Zinc white - Old Holland Classic Oil Colors A-2 Zinc white. (Zinc oxide). A cool, very transparent white. Use Zinc white if you do not want to handle the toxic lead white… If you are prone to accidentally smudging paint on your hands, this is recommended.
*Yellow: Pigment Yellow 3 or PY3. Old Holland Classic Oil Colours. Colourname: Scheveningen yellow lemon. Colournumber: 10. This is the ingredient pigment you should look for on the back of the tube. The reason this color is labeled with a number instead of a chemical name is that it is a member of a class of clear yellow pigments called arylide yellows. There are numerous different arylide yellows, any of which can be used in my technique. However, PY3 is my preferred pigment because it is the most lightfast.
*Red: Quinacridone. Old Holland Classic Oil Colours. Colourname: Scheveningen rose deep. Colournumber: 29. A clear cool brilliant red.
*Purple: Manganese Violet. Old Holland Classic Oil Colours. Colourname: Manganese violet-reddish. Colournumber: 190. A strong but transparent purple, of a reddish tone. Its chemical name is Manganese ammonium pyrophosphate.
*Purple: Ultramarine Violet. Old Holland Classic Oil Colours. Colourname: Ultramarine violet. Colournumber: 199. This is made from the same chemical as ultramarine blue, but the color is changed by subjecting it to heat… Usually if the chemical name is listed on the tube at all, it is called Violet 15 or PV15. It is a very pale purple ranging from cool lavender to pink. It is so pale that other pigments generally must be added to a glaze for anything but the most subtle “bruised” look.
*Blue: Ultramarine Blue. Old Holland Classic Oil Colours. Colourname: Ultramarine blue deep. Colournumber: 244. In modern paints this color is usually synthesized in a lab and called Synthetic ultramarine or Blue 29 or B29. Unlike the previous blue, it has a purplish cast rather than a green one, and is good for cooling clear purples and making cold blues.
*Blue: Phthalo Blue. Old Holland Classic Oil Colours. Colourname: Carribean blue. Colournumber: 232. Extremely strong color intensity, brilliant transparency. The chemical name is Phthalocyanine. The same chemical manifests in many shades of green and blue-green, which are equally lovely and strong. Due to the nature of Phthalocyanine, even colors labeled Phthalo blue will have a greenish cast.
*Green: Viridian. Old Holland Classic Oil Colours. Colourname: Viridian green deep. Colournumber: 47. Pigment Green 18 or PG18. The chemical name is Hydrated chromium hydroxide. It is considered toxic, so if you are concerned about getting it on your hands, please choose the following green pigment instead.
*Green: Pthalo Green. Old Holland Classic Oil Colours. Colourname: Scheveningen green deep. Colournumber: 49. This is a variation on Pthalo Blue, listed above, and generally has all the same qualities: high color intensity, brilliant clarity and low cost. It is also called Pigment Green 7 or PG7. Its chemical name, also like the blue, is Pthalocyanine.
*Brown: Burnt Sienna - Old Holland Classic Oil Colours, Colourname: Burnt sienna. Colournumber: 61 (Synthetic iron oxide). A clear transparent reddish brown.
*Brown: Venetian red. Old Holland Classic Oil Colours, Colourname: Venetian red. Colournumber: 64. An opaque reddish brown.
*Black: Ivory black. Old Holland Classic Oil Colours, Colourname: Ivory black. Colournumber: 74. A transparent warm black.
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Amanda Sage's preferred Brushes
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Maura Holden's preferred Brushes
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*I mostly use synthetic brushes that have a soft touch.
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*I use a variety of brushes. The principle I look for in all brushes are: synthetic bristles that feel soft but springy to the touch.
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* Paintbrushes are a very subjective purchase. Depending on how one works and what one wants to achieve.
*I prefer using ‘Filberts’ which are slightly rounded at the tips, and I have a variety of them in different sizes, ranging from size 2 – 16+.
*I also have a smaller variety of ‘Flat’ brushes as well as some very nice ‘Round’ brushes.
* I prefer using soft synthetic brushes with long handles rather than bristle brushes. This allows for a much softer blending of paint.
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Filbert, Bright and Flat
Manglon Brushes |
* I’ve used a quite inexpensive and high quality brush that is sold through Utrecht Art Stores, it is called the Utrecht Series 239 Manglon Brush. You can have a look here.
* I only recommend the Filberts & Flats in the Manglon – the Rounds tend to loose their tip quite quickly.
* As for good Rounds. – I like to use ‘Liner’ brushes that are quite long & hold a nice quantity of paint, so you don’t have to keep dipping back into the paint constantly. I prefer using a short handle with Liners. |
Utrecht Series 239
Synthetic Taklon brushes |
* If you are buying Brushes for the first time. Get a nice assortment, but don’t go over-board, as you should discover what you like best before investing in too much.
* It is also important to not be too frugal in the brush department, for if you have cheap and frayed brushes, it will be hard to find satisfaction in your painting… good brushes are crucial.
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*I often use Blick Scholastic Golden Taklon Round brushes, for a variety of reasons:
#3/0 - This tiny round brush is good for the finest lines - delicate hatch work... radiating light beams... hair...
#2 - This medium round brush is good for distinct but coarser lines - coarse hatch work... contours... expressive bolder lines...
#4 - This larger round brush is good for glazing in tight, defined areas, where filling in an even but small patch of tranlucent glaze is the goal...
#8 - This largest round brush is good for glazing in medium sized, defined areas, where an edge is wanted, but a larger amount of space must be covered quickly...
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Blick Scholasti Golden
Taklon Round brushes |
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*Blick Studio White Synthetic Flat brushes #16
- This large flat brush is good for glazing the whole picture at once with a nice trancslucent film of paint...
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Blick Studio White
Synthetic Flat brushes |
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*Robert Simmons brand #4 Fan brush with synthetic white sable bristles
- This fan brush is good for blending & evening out slightly thicker glazes, or for blending a transition between two wet colors or shades of a color...
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Robert Simmons brand
Fan brush |
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