hello, i'm stevie moore. welcome to my studiohere at the artist's attic in lexington, kentucky. alright, now i'm going to talk a little bitabout some of the oil paints we'll be using for our wooded scene. i would like to go aheadand let you know that if you don't have the luxury of having a whole lot of differentcolors of paint, it's fine to start out with just a few colors. there's several that you'lldefinitely want to have, and i'll make note
rembrandt oil paint color chart, of that as i go through the ones that you'lldefinitely want to have if you don't have the luxury of having many different varietiesof color. obviously the more color you can have, the more interesting a painting thatyou will have in the end. i have several different brands of oil paints that i use. just keepin mind, not all oil paints are created equal,
but they all get the job done. here i havemy warm colors laid out. we've got our cool colors divided into blues, earth tones andgreens. white is going to be essential, and you'll definitely want a lot of it. whiteis your most commonly used paint and you're going to go through it the quickest. movingdown to the warm tones, we have several types of yellow. i've got lemon yellow, i've gotcadmium yellow, a light tone, and i've got a naples yellow, and i've got yellow ochre.i have cadmium barium orange, got cadmium barium red. and then i have two dark reds,i have naphthol crimson and alizarin crimson. of these that you'll definitely want to have,you'll definitely want to have a light yellow, you'll definitely want to have an earthy yellow,which would be the yellow ochre. orange, a
lot you guys might be wondering, "why orange?why do we have orange in this painting?" that will come into play later when we actuallystart mixing paints. don't necessarily have to have the orange. you'll definitely wanta light red, and you'll definitely want alizarin crimson, the very dark, earthy red. movingto the blues, i've got cerulean blue, manganese blue hue, this is cobalt titanium blue. ihave cobalt turquoise, cobalt blue deep, french ultra-marine, thelo turquoise and prussianblue. you don't need all these blues, but they do help make the painting more interesting.cerulean blue is a very light blue. i would highly recommend having that. then of otherblues that you will definitely want, a cobalt blue is a nice, powerful darker blue. theloblue is also alright. cobalt blue is a little
bit darker than that. french ultra-marineis a very good blue to have, and prussian blue is going to be our darkest color. i useit in place of black very often and it is some of the darkest pigment of any paint ihave ever found. we have some violet colors, we have three here that i'll use: dioxin pigment,ultra-marine violet, permanent mauve, permanent magenta and dioxin purple. purple's alwaysgood to have. we're going to actually end up with quite a bit of purple in this painting.you can always mix your purples, but it's good to have a couple of purple pigments onhand as well. finally, we've got greens and earth tones. greens are probably going tobe one of our most important pigments in this painting. i've tried to select as many asi can. you really can't ever get enough greens.
try to get as many as you can get your handson. i've got yellow green. we've got thelo-yellow green, permanent green light, i've actuallygot two different types, we'll see that they're actually a different color each, sap green,permanent bright green, theridion is a nice dark green you can mix, prussian green, adark green as well, and i've got my two earth greens, oxide acromion and terra verte. anyand all of those i would recommend to get, as many greens as you can. finally we haveour earth tones, which are also going to be
essential. you're definitely going to wanta raw umber and a burnt umber, it's darker cousin. you're going to want a raw siennaand a burnt sienna. van dyke brown is also a nice one, it's a very dark brown. then i'vealso got paynes gray, which is also another
good earth tone to have.
