- Lesson details
Learn the fundamentals of oil painting with acclaimed artist and instructor Charles Hu.
This course breaks down the entire process of oil painting and is intended for beginning and experienced artists alike. Charles explains the important concepts of gesture, shape design, and composition. You will also learn what materials are needed, how to get set up, and the techniques used to apply paint.
After taking this course, you will be on your way to oil painting from life using a variety of different subjects and palettes.
In this second lesson, Charles explains the materials that are needed for oil painting: including brushes, mediums, cleaning supplies, and oil paints.
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materials for oil paint. I know there's kind of a handfuls of stuff
here but some of this stuff I don't always
bring with me, just I want to show you guys, you know, what
the necessary stuff that you need to have. So I will go over
the paint selections, the brush cleaning products,
the brushes that I use, and of course the pallet,
the canvas. So let's start
with the brushes. So my personally -
I use brights. And what that is,
this here, when it's brand new it looks like this. And these are
by Robert Simmon and they are, you know,
very expensive but if you guys can't find this, you know,
this particular brand, like I said, as long as it's - these are hog hair.
So as long as it's a square tip
that's, you know, that's fine. And the reason why I use the square tip is
because it helps me to sculpt the plane, it helps me to lay down, you know, like I said
flat planes. And also easier for me if I want to blend too.
This is filbert, which you can see it's got that slightly rounder
tips. And I use filbert for sketching.
As you can see it's because the sides slightly rounded so easier for you to
sketch, you know, sketch onto the canvas versus if we use these kind of
square bright ones the corner gets a little too sharp. Again this is a new one,
it gets too sharp so it's a little bit harder to sketch. Usually when I sketch into my drawing I like
to have very fine lines and these, the filbert, allow me
to do that. But I think that, again, the issues with the filbert, as you can see
though this is a smaller size, I think the contact point
to the canvas is a little too narrow. I like to, especially
when I'm beginning on painting I like to use big brushes just to kind of block in all of the
necessary color, value, and planes, versus a lot of times I have
some students like to use small brushes and they're just kind of wiggling on the canvas
and they're not really analyzing the plane and the value difference and that's
a major issue. So - and you can see I have a variety of sizes,
I have even more. What you should get is you should get
the even sizes. Like these are tens,
although this nine, I like this size. You should get at least two of each brushes because
you probably need one for the dark and one for the light. Okay. So
and then you need to have one, the giant one. This is a size 14, this will kind of wear out
a little bit to start looking like a filbert but this actually started as some of these bright brushes.
This is actually called broad. And then you need - I use this
for washing a tone, like when you start off a painting, you guys probably
have seen some artists, you know, do that. They will wash a color or wash
a tone, just to start off. And then later on I will show you guys and explain
why we need to wash, you know, put a tone down on a canvas. So you do need
a nice kinda fat one like this. And then we have
this, which is a sable, which this is actually
real sable. You can actually get a synthetic one, that's fine too, but
this is amazing brush, it's great. So you want it to have
a real sable brushes like this because you will get to some smaller
places like painting the lips or the eyelid
of obviously a very fine area and these, again, you can see
the hair it holds up really well. And again
even when you mix the paint, these still holds up in shape
so when you apply it will give you a very clean, very consistent application,
you know to the paint versus these brushes, as you can see
you know when you get - by time the hair starts to kinda split
and you can definitely see this one, the hair starts coming out, you know because these are just hog hair.
They're not really a, you know, kinda best hair.
So but these are obviously cost pricey
and you sometimes you might have to special order them because now sometimes its hard to find the real
sable. Like I said if you can't you can just use synthetic ones.
That's fine too. You just need a small size, this is a size four. Right, and then
again it's for the detail area in your painting. And again -
and these are the same thing, this is bright sable but this is the round. I rarely use it when I do
alla prima but if you sometimes if you, again, if you get to the
area that's, for example, like the pupil,
or maybe even eyebrow, somewhere that you really need like a fine
tip, needs a round tip. Again, like I said, I don't use that often.
But this is quite, you know,
I use more often. But again still, this is the bright, this is the flat
two for each brushes and
let's move on to some of the mediums. Okay so
as you can see the two jars here. There's one that's stainless
steel and this is one that's just kind of a glass jar. This is what we used to use
when we were students
and they are very inexpensive. This costs a little more, this is probably almost about
like 30 dollars. But I obviously can
see a difference. This is obviously - this is stainless steel
and it's -
they say seal tight. As students you put this in your luggage or
you know whatever tool or bag that you use, they get moving around and sometimes
like especially this, they can leak and they can create problems
when it leaks. And especially this plastic,
they deteriorate the plastic, right. Even though it says seal tight, you have this rubber
piece underneath this lip, by time that rubber piece is going to
deteriorate too and it still leaks. It's not going to last forever. Okay but
obviously this is a lot more durable than the glass container.
But one thing you notice they all have in common is they both have this -
you know you can see the strainer inside
right here and I'll explain in a second why they have this stuff inside and
you can see there's a coil. Okay. And why I have two
and the reason why is I use one purely just for painting
and this one purely just for cleaning. Because I don't like to use the
same one as for, you know, for painting as I use for my cleaning because they get dirty. And there's
the thing with oil paint you probably have heard
you know people ask how do you keep your color clean, how do you keep you
palette clean? A lot of time maybe just keep your solvent clean, that might be the issue.
Okay. So because I have two containers
so also I have two solvents. Well obviously
the one that I use for painting, which now we all use this at school now
is the gamsol by Gamblin. Which is, again, it's odorless, it can literally -
can smell and you can't smell anything. I have
a joke which I will never forget. I used to paint
with, you know, with a bunch of top professional
painters, with all my mentors, one of my
teacher's teacher, actually his name is Dan McCaw, we were painting, he put the one of this
gamsol in a styrofoam cup next to him and while we we were painting
the next thing we know we just hear a big spit and we turn
around and he almost accidentally drank this out of his styrofoam cup.
That means you literally can't smell anything. And
so we use to, before this came out we used
to use turpentine and if you guys ever used turpentine before you know there's
a scent to it, which is you smell it quick often, it actually gives you
a big headache. And so this
came out all the school, we required everybody to use this.
So but this is for my painting and
this is probably I think it's about 14 dollars, about 14 dollars, I use -
I make sure to get the large one. The reason why is because
when you pour this into this container, you have to make sure
you have to pour it over the strainers, okay. Because
you can't pour it below it. The purpose of these strainers, purpose of
these coils is when you're cleaning your brushes - and that's why I have my paper towel
here, always want, a very important, you know,
supplies that I use. I use a lot of these. Sometimes I can finish a whole roll
by just a single painting. What I do is
you have to imagine as you're painting
there's a bunch of paints on your brushes. What you do is you
basically push your brush against the strainers and scribble it
and scribble it and so what happened is the strainer will drag the paint and the
paint will sink underneath at the bottom of this container.
So you need to have, you know, these kinda
filters, strainers, to kinda drag all those paint out of those brushes.
And here you can probably see better, it's clear. So again you push down, and then
to this coil and then you basically just scrub against it and
again it will drag the paint down. So that means
when you pour these solvents
in there it has to go above this coil, above the strainers.
You know, because there's no point if you put it underneath and so you're
not - you know you're not able to get the benefit of. That's why I'm saying get the large size
and so because this actually was
brand new when I poured into this. Look it's half already gone.
A little more than half already gone. But luckily you don't just use
this once. These can last probably about a month. Now you can see just
basically just a clear as water. It looks like gluey and the color
start getting muddy and the solvent starts feeling thick, right, that's when you start
dumping away. Because, like I said, all those paint's residue, they will sit
underneath and the top will still be clean. So you can still use it, like I said.
You know after - by a month - when you start feeling kinda
opaque, start feeling kind of thick, that's when you decide to, you know,
to dump it. And that's why I don't like to use
the same one for my cleaning and for my painting because otherwise, like I said, it gets
dirty really quick as you can imagine from what I just explained.
So in this case, for the cleaning ones,
I don't need to buy a fancy expensive gamsol like this,
all I need - I just recently picked this up. Again this
is paint thinner. This is like - I think it was like 9 bucks.
Again versus that, that's like almost about 14. So - and you think that's
odorless and this is I think the cheapest one I got and there's some other ones
doing the same thing and they can cost all the way up to 25 dollars. But again,
like I said at the beginning, I'm not using everything as my sable.
All my brushes are used and the rest sable, I might find a different way to clean my
brushes. Because all these solvents, you know, they can get pretty abusive to your brushes.
And also the way I paint, again,
as you can se, it wears out your brushes. I
will say I'm more an impressionist painter, which I like to, you know, slap paint on a
canvas, I scribble paints on the canvas. So when you do that a lot
you actually are abusing your hairs. So over time they're gonna wear out and then you have to toss them
away. So I don't buy very expensive brushes and
some people they will actually, once they clean their brushes, they will put like
conditioner on the hair to hold it in places and keep it nice and
has a consistent flexibility. I don't put conditioner, like, but I do -
I'll show you the step I took, you know, to clean my brushes.
And because no matter how precise I clean over time
they're gonna wear out. I suggest having two
containers, one for paintings and one for cleaning. Right.
I know it gives you more weight to carry in your tool box but
I think it's worth it. You save this for you because this costs more and then it
keeps your color more clean also. So this is
again, this is the stainless steel and this is a glass.
Of course this is a glass so you just need to be more careful. They will break.
Okay so although they are kinda thick glass but still you don't
wanna drop it. Okay. And
also - so when I do alla prima painting
the medium I use are the gamsol.
Not all in part - I use two mediums. One is refined linseed oil right here.
You can see and then you can see some more liquid form than the sticky, like the
honey, the other type of linseed oil.
The purpose I'm using it just to keep my paint a little more smooth, more buttery.
Right. You know, some people use it for they wanna get the paint more thick
so they can layer the paint but I use it because
I like more painting wet, you know, sometimes
paint that you see, especially some of the colors, the earthy color,
even some of the white, they get really dry. And sometimes that frustrates me because I want
my - when I mix my paint I just want to have that easy mixture versus
I have to kinda stir my paint. So in that case, like I said
I might put some drop of these in the white paint
or some other paint to keep them mixing a little bit easier.
Or, like I said, I have this little container, which I put this in
here. Again I will dip in my brushes into this, I will mix paint
with it to, you know, again to keep my paints a little bit more easier to mix.
But one thing you need to be careful because
obviously as you know oil it gives you a shine.
So if you wanna make sure you be consistent with this.
Because sometimes what happens is if you only use the oil
for certain areas in your paint, on your canvas, and
in some moderate area you might just use the gamsol or use nothing else
when the painting dries, the part that you were using the linseed oil
will have shine and the part that you didn't will become matte. So to me
that doesn't look quite pleasing because it looks like you have this oil stains on your painting.
Although by the end you could varnish the whole thing and then you won't see a difference
but if you don't like to varnish, or sometimes when I do like just a sturdy alla prima painting
I don't varnish unless I do like a long extensive painting
then at the end I might varnish. And usually when I varnish, I varnish
kind of almost like a satin. I don't use a very glossy varnish
and I don't use a matte varnish, I probably use something in between so -
but so that's something be careful using the oil. So most of the time
even the demo that I will be doing, you probably will see most of the time I'll be using just
the gamsol. But that also gives you another problem because
these gamsol are mainly used for cleaning. Even though
these two - so what happens is they dissolve
these oil paintings just like that, okay. That means
if you put too much of these you're ot gonna be able to see much
paints on your palette anymore because one thing very important about palette mixing is
that you need to be able to see your colors.
Okay. This is my palette, okay. Well this
is what I require my students to get. I have a different palette,
I have this kind of easel palette. I have this years back which is this wooden
palette that you pick it up, you can put these
jars and brushes on the side and I have the mixing area in the middle.
But that palette costs me - a little more expensive.
This the cheapest way who just started with the paint.
The palette you can use for an extensive time and
I think it's an inexpensive way to make a palette. So this -
they're actually made for acrylic paint. Let me pick this up.
So this is made by Masterson, alright this brand you can find they have
actually come with a
palette paper, they come with it but I don't se that so I just
toss it away. In here this is glass,
it's real glass, it's supporting glass, it's not a picture frame
glass - too thin for for a picture frame, it will break.
And what I'll do is - I actually stick
a paper - you can stick white paper if you want, you can stick, you know, gray,
paper if you want, you know, I just stick with white because
I don't always tone my painting gray. Some people always like to tone their
painting gray or kind of umberish color. Then maybe you can put those
color paper underneath. But sometimes I do paint
straight on the white canvas. If I were painting outdoors. Sometimes when I'm painting harder key.
the edges, okay. So -
because if you don't, look what I have here, which as you can see
some of the paint's gonna sink underneath your -
the glass, which I should move to the middle so you can see it a little better.
Again see some
of the, you know, like I said earlier I like to paint
kind of, you know, wet in wet. You know sometime I add
the gamsol that I just showed you guys. Especially that first layer, that tone,
that wash tone, usually is a very thin, kinda liquidy. So
very easy to kinda start getting to the edges. So make sure you use
a silicon to seal the edges really well to kinda avoid this happening.
This whole half part is kinda starting to get that stain.
So this is the way I require my students
to prepare their pallet. I think the benefit is, again, you can put the lid
back on. Again you can still store the paint for a few
days, right. It will probably just be a few days because they don't really
kinda seal tight. But if you need to paint next day and the day after the paint
will still be wet. But I think after a fifth day you probably start
getting some of the skin. You know and then you might - can put some stuff
on top of course you don't wanna put small stuff, you can put a drawing board on top,
that's, you know, at least you can still layer stuff on top of it.
Because I have seen students, they just basically tape
a glass on a board but then again,
you can't put stuff on - we always, as artists, we always
got a bunch of material for other classes and this, again,
helps to protect your other projects and also it keeps the paint
you know wet a little bit longer. Okay.
Before I go into the way I lay out my paint and let me start
these color selections that I have, let me make sure I finish the solvent
part. Okay a couple more stuff. We got a scraper.
Okay so these basically, this scraper again you can get from the hardware
store. This is brand new, the blade is already
coming like this. I, you know, from my experience
I noticed if I use this for a while
what will happen is the paint starts to get dry
at the edges, where the blade that fits into that holder
that's gonna suck in some dry paint is what happens is
you're gonna have a hard time to take this blade out from this holder.
So usually what I do is I don't push the blade all the way in so I have some of the blade
that came out so if I need to take it out I just take a pliers and just yank it right out.
Okay. But again then you have to be careful because the blade
will always be, you know, be exposed like this. So -
and sometimes, like I said, these paints,
what will happen is again they can eat, I guess, they can eat your -
kinda eat through your blade. So what will happen is sometimes they get so hard to
bond to the blade so much even you take the pliers, you yank it,
there will be partially still stuck inside this holder. So make sure, again,
I wouldn't put it all the way in
and like I said when you need to
switch it, knowing it's starting to get a little dull, then just
switch it, don't leave it for too long of a time.
Okay. Very important. And that's why we have a glass
pallet. Okay, so it's very
important because earlier I said the problem with
oil paint, because it's wet all the time, it's not acrylic. So you need
to consistently to use the blade to scrape
the dirty paint or sometimes what will happen is the area kinda runs out,
you need a clean area for some clean color, more rich color,
you don't want to get contaminated, then you can just take a scraper and just
scrape it out in a clean area and then you can use that area. So it's very important.
That's why do not get Plexiglas. It doesn't work. You're gonna dig into
Plexiglas. Use a real glass.
This is just a
dish detergent. Nothing fancy, just dish detergent.
But don't get a cheap -
also don't get a cheap dish detergent, which I did before
and it ends up just too weak. Okay. There's not enough strength.
So this is Dawn, it's just a better dish detergent. So why do I need this
is that again, you saw earlier,
this guy right here I use purely for cleaning my brushes.
So that's my first stage. So I will use
again after paint section, I'll use this to clean out all
the acids, paints on my brushes
because they can stick between the hairs
so you wanna use this, scribble them and to clean them.
Squeeze out with a paper towel really hard. And that's why
I have this guy, the vial glove.
Okay so. If you're working, again, more
extensive paintings I sometimes, I wear this
again I get
messy. Sometimes I get paint all over me and
I do not like to get paint all over my hands because these are
obviously, you know, some of the paints, especially like this guy right here, the
cadmium, it's got a lot of kinda lead in there.
Some of the paints are not the safest products that you want
to get into body. So this helps.
It helps protect that. I think obviously the most experience you
have, probably gonna get less dirty, less paint on you. But if you sometimes -
we just start learning, learning how to paint you might
start getting paint on you and, like I said, wear a glove.
But when I clean, I always wear my glove.
Because like I said, I'm gonna take the paint,
kinda scribble out the paint, take this to squeeze really
hard, right, and sometimes again the paint might get to your -
you can already see the thinner is has already gotten to my glove. So that's my
first stage. And then I will go to the sink and
I will turn on the warm water, doesn't matter,
cold or warm water. I'll probably use the warm water,
and I will use dish detergent. I will squeeze it on my palm and then I will scribble
again, do a second cleaning, use a dish detergent to get even more
excess paint out. And imagine how the scribble right on top of my
palm I do not want to use bare hands to do that.
And that's the two stage that I do for cleaning my
brushes. Just this is not enough, again, just this
is not gonna get much out because again the paint is just too thick.
Too overpowerful if you're just gonna use
the dish detergent. So you need this first and then that. Okay. And that's all I
do. I don't put, you know, conditioner, you know I don't
put wrap paper over it. Like I said I have seen artists
that do a lot to take care of their brushes.
let me move these aside and
I'll get to my color.
actually today if I'm not -
today if I'm not a painter I would like to be a magician.
Today somehow I feel like I'm a magician. All this nice cloth
and tables. Okay. Anyway. So
here are the paint selections that
I use. As you can see, I don't use
professional grade. Okay. Well at least for the class.
I had - I know a watercolor,
top watercolors in the world, I got a chance to see him demonstrate,
he did a workshop and all he used
which, again, just student grade Windsor Newton watercolor paint.
The guy could paint amazing, beautiful
paintings. So it's all about knowing how to
apply these paints, knowing how to design, knowing the
relationships. It's more about, you know, how you paint, not so much
about the material. Of course, you know, of course
you don't want to get a cheap material also. The Windsor Newton,
Gamblin are a reliable brand. Again when we're
a student we use - I can't remember. I think maybe called Rotney or
something like - it's a least expensive paint. The white, it's like
water. It's like you squeeze it out and it's so weak
it's like you basically have to take the whole chunk of the table to lighten things up.
Of course you don't wanna paint like that either. Okay but this is
what mainly the two brands I use, the Windsor Newton and Gamblin. Okay.
So okay so here we go.
So obviously I have stuff on the right. I have my
ivory black, okay, so this is the black that I use.
And I don't use kinda
chrome black or other black, this is the mainly - the
black - it has a nice, rich, dark matte result to it. Sometimes
like when I get to the very, very dark, like the black area
either I like to the be very matte, just kinda sits on the canvas
or most of the time I will add some color into the black to, you know, to
intensify. Either I want to make it more cooler or I want to make it more warmer. So I want -
so I like to use this black so I don't use
any warm black or cool blacks because I basically adjust that myself
using the ivory black. White, I'm using titanium white.
You know I don't use another white. I don't use a zinc white because
it gets a little too soft and this
has a good body. And there's so many whites out there, there's
transparent white, there's underpainting white, again I
don't recall ever using a transparent white because I don't -
I assume it's going to be very soft, very thin.
Underpainting white when I did - which I used when working on, again, my personal
work I need a painting to dry quicker because
some of the paints
probably are never gonna be dry. Some of the very transparent colors
like alizarin crimson, a very transparent colors, some will take forever to dry.
Even like, you know, the surface might seem
dry and if you poke into it it will still be wet inside.
And then so
I usually use the most color that I will use - and notice if you look at my pallet, I put out
two kinda worms of the
white in my pallet. Another color you have to mix white into it so I wanted to
make sure that white can dry quicker so sometimes I will use
the color underpainting white and like I said they have mediums in that
painting to make it dry, to speed up the drying process. Okay
so I - burnt umber. That's what this
right here is. Burnt umber. Again it's a color that
I use kinda quickly to cool off my color
and darken - also darken my color at the same time. I don't want it to
darken so like too much
if I use the black. I just want something just to
again keep a little bit earthy but I just want it a little step kinda darker
and I'm kinda using a burnt umber, it just helps to keep that earthy harmony
and also shift the value just a step darker.
I have a raw sienna here, which is this guy right here and I have a
yellow ochre which is lighter yellow next to it. And
again if you're painting a lot of figurative
painting you notice sometimes we got like the orange, you can see me get
kinda pretty orange and the lighter part might start getting a little yellow. And then these
kinda richer yellows stay more in the half tone area, right before
the shadows. And so by having a color that's slightly
darker, slightly oranger, again just a quicker, you know,
color for me to get there. And if I wanna make it lighter
then I'll use the yellow ochre. But again
the raw sienna is, like I said, it's a good color for that skin, that half
tone, that rich color of the skin. Okay.
So that's the raw sienna. Okay I have a
cadmium red medium right here. Okay
cadmium is always -
it's I think the highest series, this is is series three because
it's the most expensive paint. I think this is
the only cadmium I have right here. But luckily we don't
need to use - usually with the cadmium color you don't need to use a lot because
they are really powerful. But I guess, again
if you don't wanna spend like some of these - this is, again, this is student grade, but
if you get a professional grade, I don't even know how much the large - I know the
even just a smaller tube will cost you like 40 US dollars and
that's very expensive. But the -
if you don't want to use the cadmium red, I also use a
scarlet red or
anything that's kinda deep, rich, you know, red
that you can find probably will work.
So I either use cadmium red medium or
I use scarlet red, which Windsor Newton has that
paint. Okay and so this guy
in the middle. And this is alizarin crimson.
Okay. So sometimes you will see a permanent alizarin crimson
okay and if you can get the permanent alizarin crimson, you probably
wanna get that because they don't stay. Like that's why they call it permanent
alizarin crimson. This color fades. These are very transparent. You can feel -
it feels lighter than these tubes of paint to. And so over time
they will fade out. So permanent one, it will stay. It's a beautiful color.
It's just this kinda rich, this kind rich, deep
kinda rosy, deep, rich color.
It just mixed with the black or it's just, you know, it's beautiful
in the very dark, dark area, you have
that warm showing through it's just a beautiful color, you know, to use.
And, you know, so this is alizarin crimson.
This is not a color that I
quite depend on. It's called transparent red oxide. For some reason for the Gamblin
their professional grade is called transparent earth red but their
student grade is called transparent red oxide. I don't know why. But what that is -
this is basically, it's like burnt sienna. Okay if you're gonna get -
make sure if you're gonna get burnt sienna, you can get
a Windsor Newton burnt sienna, which the color will look similar
as this guy right here. But don't get the Gamblin
burnt sienna because it looks very matte, very
dull, it's just not a pleasant color. But again the transparent red oxide is
beautiful. It's, again,
it's this kinda rich, earthy orange color. I, you know -
depends on a lot. So either burnt sienna by Windsor Newton or transparent
red oxide by Gamblin. Okay so we got
cerulean blue and
then we have ultramarine blue. So basically notice I have warm and cool
for each colors, you know, each primary basically. I have the alizarin
crimson which is cooler and the cadmium red which is warmer. Now I got the
ultramarine blue and warmer
cerulean blue. Okay. Again
here's my yellow. Okay so
I have the yellow ochre and this is my yellow medium.
Okay. I just, again, I just picked this up.
Because I have been using again the cad yellow medium
again. It's a more expensive color so again I'm gonna try to
select the color that's less expensive so the student can be able to
afford. So again I just need a brighter yellow.
You know for like this guy right here to, you know, if I wanna paint a landscape I need
that. If I wanted to warm up my shadows I need that more intense yellow
because imagine that's all I have the yellow ochre, it's just too dull.
Too earthy. So I need a little more powerful. You can get a lemon yellow too so
just - so this, it's a yellow that I
use kinda to substitute my cadmium yellow
medium. So the green tube, green, veridian green.
This deeper green here. And then I have a permanent green light.
Okay again, for costume, for painting leaves, or sometimes for, again,
cooling some of the skin tones
or - that's a good color to use.
But more of the time if I want cool skin colors I use mostly
the permanent green light because especially when you get to a lighter value of a
skin color for example you have this pinkish, kinda porcelain pinkish color
you want to just grade down a little bit.
That's a good color to gray down. Plus when you go out landscape
imagine that's gonna be your color for your light side of the leaves.
Okay. And then this is another color right here called
the radiant turquoise. And this is a color only by
Gamblin. This blue right here. Okay the reason
why I have his color here is because in a classroom
situation, beside a spotlight that we use,
most of the time the model is basically influenced by the fluorescent
light, the big fluorescent light for the room
and those fluorescent lights are very blue, they are very cool, very blue.
So I need something that's resembling that. So this color
I came up with, I feel like it's very kinda close to that because a lot of times
those fluorescent lights will be above you and a lot of the, for example,
a lot of planes facing towards that
light will get some of those blue. So this, again,
is a quick color for me to get to make it
a little bit cooler, a little bit bluer. You know and also if I
want to go to paint some of those highlights, those highlights are gonna get a little bit bluish
because the fluorescent light, I will take that blue and some of that white
to get, you know, to get to that color. So again it's a
good color too for, again, if you're in that situation, which
there's a lot of fluorescent light situations. But outdoors
I don't use it, you know, this is not what I use for sky, I use the - basically
use the cerulean blue or the ultramarine blue to get my, you know, to get
my sky. Okay. So the way that I set up my
pallet - these are, again, these are the selection of my paints.
There are other colors that I use. You know,
depends on the subject, depends on the
mood, what I wanna get out of my painting. This is the
basic selection I use for my classes and once
I think this is still, you know, like I said
intermediate colors. There are other colors, you know, it can
get a little more advanced like some of the phthalo colors, the super powerful
colors, you know some of the other colors that
not in here. But again I think, once you understand
how to play with these colors then you can still add the other colors that you like
just to experiment yourself to see what is the result that you get.
my pallet. Okay so, as you can see -
well I don't necesarily use all these colors. You know it depends on the
subject and it depends on the result I want to get.
But normally this is the pallet that I use for, you know, for
teaching my class, for my classes. As you can see I have my black
all the way in the upper corner right here, I have my white down here
on the right. So the reason why because the way that I set up this pallet
is first of all there will be value scale.
There will be dark and then when we get towards the right it will get lighter,
you know, lighter value towards the right. So you have the value
going this way. And also then you got - and that will shift,
the intensity which is going to be grayer or cooler or more intense.
I will show you guys when we start painting but in that way, like I said, I'm able to
control my pallet based on the value and also based on the
intensity or the temperatures, right. Because that's the
main things about painting. Value, you get the color intensity and color temperature.
Okay so as you can see on the top end I
got most of my earthy color. I have my - this is black,
this is my burnt umber, this is transparent red oxide,
and this is the camium red medium and this
is the raw sienna, this is yellow ochre, and this is the hanson yellow
medium. Okay so the reason why I didn't
put the alizarin crimson right next to my cad red is because I usually like to
put, you know, put them side by side. When I do landscape I do but when I do figure and
I do it less because earlier I said either I will add the transparent red oxide
or the alizarin crimson with my black. Okay. So because
I just don't like to use the pure black itself, again the
color looks a little too flat for me, I usually add a little bit of that
or add a little bit of that. It will give that little richness to it.
Again, it's just a little more closer, it's a neighbor so it's just easier for me to, you know,
to get to. And then you can see, you know, when we get to this side
also gets warmer too. So you get a little more earthy, got my warmer
family up here, I have my cooler family on this side right so this is
again these, the burnt umber, it's not really just a mud
right, and then we got this nice, rich, it's a warmer
orange, earthy color of the red oxide, and so is the red,
it's a warmer family. And then so, again, I got the slightly
warmer the raw sienna, slightly warmer than the yellow
ochre, and then the bright hanson yellow.
Here, like I said, this is my cool family. I got my, again, alizarin crimson,
ultramarine blue, it's more of a purplish blue,
now sometimes if I go out landscape - landscape
uses a lot of purple, I might have a dioxin purple in between.
But for indoor, for figure, I use less. So you can even
mix that with these two colors, you know, to get that purple.
This is my cerulean, this is, again, it's my veridian green,
this is my permanent green light. Sometimes another color I like to use is
a satin green. It's just, again, it's a beautiful, kinda transparent green.
But it's, again, it's a color
but it works better on the shadow side because it's more transparent,
not like this. If you're gonna paint costumes
or paint landscape, if you wanted to brighten that leave or
brighten that green dress, this is gonna get you there a lot more quicker
than using the satin green. But again it depends on
the situation. But this is the
permanent green light and this is the radiant
turquoise. I squeeze out two strips of white because
I like to keep them clean. I will use this
and then, like I said, once it starts to get kinda dirty or start kinda
use it up, then I'll use the bottom one, just so it helps me to keep them,
you know, keep them clean. So the canvas that we will be using
there are just canvas board. Okay again
just it's for - economical. They are just, you know, these are
Fredrix, which I like this brand,
and we're mainly gonna use 16 by 20 in the class.
The demo that will be using, so you know these Fredrix work. And I
have a 8 by 10 which these are just for warm up
or if you go landscape. Because when you go landscape you probably don't wanna use that 16 by 20
because you're gonna spend like
three or four hours on a painting on
that 16 by 20. When you do landscape you don't have that priviledge of time. Every
minute counts. Every hour the color changes. So usually I have a student
just using the small 8 by 10 canvas when we go out landscape.
You spend about an hour on each painting, you don't go more
than an hour. And some of the indoor painting that we're gonna be doing,
we're gonna do some warm up, just kinda color key
warm up, we will do those on these smaller canvas too.
And then take that onto a larger canvas.
So - and
like I said for these exercises, I won't recommend to use
a stretched canvas, although they have different response. Like every - you know the stretched canvas
is gonna absorb the paint differently, especially the
wash, the tone that you're washing in. The wash kinda bounces back a little bit so you also need to
use the paper towel, you know to kinda mop it
a little bit, then if you use the canvas board. But again,
it will work and so this is the
supplies that I have my students get. These are the supplies
I will be using for this series and
make sure - the paper towel I get
they are a large roll and this
is I think this is Bounty, in our Costco. But like I said these are great. Don't use,
again, don't use the kinda cheap one too. Just need a Costco and
Bounty, these works great. So we will put
the supply list on the site so if you guys, you know,
don't remember these, like I said you can download them from the site and then you can,
you know, so you can go purchase them.
If you guys don't have the brands where you live,
but like I said as long as it's similar to it
I know it will work fine. Like I said I'm not super
specific, you know, I think a painting is a painting. It's all about knowing
how to do it. Okay and I will show you guys all the stuff I know about painting
and I will share that with you guys. And so
here we go, this is the supply list that I use for this class.
to put some investment into these because some of these materials
will last and some probably are gonna wear out like the brushes. So if you can't
afford professional brands but I will suggest you get
student brand, that's fine. That works as well, especially you're probably gonna run
through a lot of material at the beginning. Winsor Newton -
and like I said Winsor Newton and Gamblin are reliable brands, which even though they're student quality
it's, you know, it's pretty good too. And especially, to be honest, especially those earthy
colors, like burnt umber or yellow ochre and those earthy colors,
you can just definitely get the student brand. You don't really need to get a professional brand even
I'm not using a professional grade as well. But obviously those more of the
cadmium colors make more of a difference. You know if you use the
less expensive one, which you don't get enough kick
into your colors so it ends up you have to add more to it. But like I said
if it's too much expensive for now, just buy the student grade. That will work just as well.
Okay. Thank you.
Free to try
1. Brush Preferences4m 55sNow playing...
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2. Mediums and Brush Care12m 27s
3. Basic Colors for the Palette21m 25s
4. How to Set Up the Palette7m 15s
5. Assignment Instructions1m 11s