Oil Painting: Basics for Beginners | Nina Doerr | Skillshare

Oil Painting: Basics for Beginners

Nina Doerr, Fine Artist

Oil Painting: Basics for Beginners

Nina Doerr, Fine Artist

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10 Lessons (37m)
    • 1. Introduction

      1:08
    • 2. Class Project

      1:09
    • 3. Oil Paints

      1:51
    • 4. Mediums & Solvents

      4:41
    • 5. Painting Surfaces

      3:12
    • 6. Paint Brushes & Palette Knives

      7:37
    • 7. Setting Up Your Palette

      4:05
    • 8. Making Your Color - Earth Tones

      5:32
    • 9. Creating Your Color Chart - Primary Colors

      6:56
    • 10. Thank You!

      0:41
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About This Class

Over six years ago, I tried my hand at oil painting for the first time and fell in love with the medium. I have talked to many people over the years that believe that oil paints are intimidating and just don't know where to start. This class was designed to help you begin painting with oils with confidence. 

No matter if you are a beginner or just want to refresh your knowledge, this class will teach you everything you need to know to get started with oil painting. 

 I cover a lot of information in this class. The major information that I cover is: 

  • OIL PAINTS: What brands I recommend and what to look for when picking out paints. 
  • BRUSHES: My favorite brushes and the different marks that they make.
  • PAINTING SURFACES: I will cover a few of the different surfaces available and the advantages of each. 
  • MEDIUMS & SOLVENTS: I cover a few mediums that I use in my studio and what properties they have. I, also, cover what safe solvent I find works the best. 
  • COLOR MIXING: I will walk you through creating a color chart using a limited palette. This is the perfect reference to know exactly what colors you can produce. 

By the end of the class, you will have all the information you need to be more confident in starting this new medium. 

All of the supplies I cover in this class are linked below: 

Meet Your Teacher

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Nina Doerr

Fine Artist

Teacher

Hey everyone! I am Nina Doerr and I am a fine artist located in the small town of Auburn, ME, working to capture the beauty around us and help people bring a piece of nature into people's space.  I work out of my home studio with my daughter underfoot. I am super excited to be able to share what I have learned over the years. To keep up with what I am currently working on, follow along on Instagram. 


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Transcripts

1. Introduction: everyone. My name is Nina Door. I'm in oil painter, located out of a small town in Maine. I've been working with oil paints for over six years now, and I absolutely love this medium. I just love how vibrant the colors are, the texture you can create with it and just how versatile this medium can be. In today's class, we're going to be going over everything you need to know. To get started with this medium, we're going to be covering oil paints, mediums and solvents and painting surfaces. I'm also going to be sharing. My favorite brushes in the different marks of this class is perfect for beginners. I know that it can be intimidating, starting with oil paints, and my goal is to take away any fear and doubt you have while exploring this new medium. For your class project, you're going to be creating color mixing chart using a beginner's palette. This pallet is made up of seven colors is actually the seven colors that I learned to paint with. This gives you a great opportunity to get used to the medium and color mixing and gives you a great tool to use in your future painting practices. I can't wait to see what you create. Let's get started 2. Class Project: for your class project, you're going to be creating a color chart using a beginner's palette made up of seven colors, we'll be going through setting up your palate using a palette knife instead of a paint brush for mixing and creating the perfect color reference for your future painting sessions whenever starting with the new medium or adding a new color to my palette. I really enjoy creating a color chart because it gives me an opportunity to play around with the medium and get used to it and see exactly what colors I have to work with. Remember that this culture is a tool for you. So if it doesn't look exactly like mine, that's OK. It's all about getting you comfortable with working with oils and mixing colors For the first time. One of my favorite parts of this project actually is stumbling upon new color combinations that I didn't think of. It's just a great way to explore this medium for the first time and get comfortable with it and just have fun. You can find a project description, a materials list and my color chart in the projects and resource section of this class. I would love to see your finished color charts through the post a picture scan of it in the project section of this class so I can take a look. And the next lesson we're going to be covering oil paints. See you there. 3. Oil Paints: So first, let's talk about oil paints. So I wanted to show you how that we're gonna be working with today just so I can talk about the different brands that I have And, um, why I like them. So there's a lot of different oil paints that are on the market right now, and they can be really confusing knowing what is worth the money. What's a good quality? Um, it's the color gonna be okay. So these are the different brands that I really like. So I really like the gambling brand. I also really like the Windsor Newton and M Graham. So Gamblin and Windsor Newton are both, um, made with linseed oil. So that's just what's mixed with the pigment, um, to make it a paint. And the M. Graham is made with walnut oil, so it takes a little bit longer to dry. All of these brands have a amazing buttery texture for the pain. So the only thing with the M. Graham is if you have a not allergy, don't get these. But these are the brands that I recommend. I haven't using these pretty much consistently through the six years I've painted and these are the ones that I go to now. If you don't decide to go with any of thes friends, I do recommend going with artists grave instead of student grades. So with artists grade, you get more pigment. So more color where student grade you aren't getting as much color to your pain seem. I actually end up having to use more for the same job. So I do recommend getting artists greed just because when you're starting with a new medium , you really want to start with the best foot forward you. 4. Mediums & Solvents: so the next supply that I want to cover is mediums and solvents. So this is where a lot of people can get really overwhelmed when starting with oil paints. Because, unlike acrylic or watercolor, you can't just makes the paint with water because it's oil based. You have to mix it with solvents or other oils. We use mediums and solvents while working with oils. These are the ones that I use in my studio mediums. Mediums are what you mix with your pains, and it can change the liquidity and the texture of the pain. And it can also change the drying time so oil paints by themselves. Take anywhere is between three days and two weeks to dry, depending on the thickness of the layer that you create. But you can use mediums to either quicken it up to as little as 24 hours or slow it down so you can continue working on a painting. These are the two mediums that I use very consistently throughout my work. So the 1st 1 is Galkin by, um, gambling, and I will Lingle of thes. But this one, it makes the paint thinner so it thins the pain and it also speeds up drawing time. So when you mix this, it actually can speed up the drying time off oil paints to 24 hours. So I can lay down my first layer of paint on a canvas and come back to it the next day. And that layer will be dry and I can rework it. This is only recommended for the first couple layers. It cannot be used in the final layer, and it creates like a enamel finish to it, so it doesn't have like a creamy look to it. I really like this for the first layers I really want to get. Get it down quick, be ableto work straight over all of the painting and the next day. So the other medium that I really like is linseed oil. So I get the refined linseed oil from gambling refined linseed oil. It thins out the pain, and it also slows down drying time. So I like using this for the last couple layers off an oil painting so that I am able to rework areas and create a lot of texture and body with it. With the medium's, you can either put them straight on your palate, which can be a little messy, or I really like thes thes air, just glass jars with tin tops. That way you can put a little bit out and use it again for another painting session. And then because it's oil paint, you can't mix it with water. You need to be able to clean off your brush. It used to be that you have to use turpentine, which is super toxic. If you don't have the right ventilation, it just isn't rocket that recommended anymore. But gambling created this GAM salt, which is actually a mineral spirit. It's 100% odourless. The quality is four. Using it in your studio, I use this the clean off my brushes. You can also makes it with any of their mediums to actually thin out the medium even more. And I use it straight with the paints. A swell. So for today's projects were actually Onley gonna be using gam sol, or, if you don't want to get camps, all you can get a different solvent or brush cleaner. I just really like this because it can replace anything like you can literally just it paints and the GAM Saul, and be all set for the GAM. Saul, you can either use like a mason jar or like a recycled salsa jar sauce. Just something with a lid, because you really don't want it sitting out when possibly spelling. I really like this. This is just of stainless steel container, and it has the little latches on it, so it does really nice seal on it. And then the thing I really like about it, and kind of why I prefer something like this instead of just ajar is that it has this inner part that households in it. It helps clean your brush off because of the texture. So I hope that this answered a few of your questions and help clear of any worry you had around mediums there really simple. You don't need to get a bunch of different mediums. They're there for you as a tool not to get overwhelmed with other. We have covered mediums and solvents. I'm going to cover ah, few different painting surfaces 5. Painting Surfaces: So now that we've covered, um, oil paints and mediums and solvents, I wanna talk about painting surfaces. First, we're going to talk about shuts campus. That's what I have here. I really like these campuses. The Blick premier stretch canvas. So with stretched canvases, all it is is its canvas material stretched over the back of these bars that are made out of wood. You can get them in a lot of different sizes. This one is a 12 by 16. You can also get them in different profiles. So this is a gallery profile on a finished piece like this one. You can actually wrap the painting on all of the sides, right? And then, if you wanna hang it, it doesn't need to be framed. It looks perfect like that. One of the other options that you have for profiles is traditional, so this is only like 1/7 8 7/8 of an inch. The other thing four canvases is they come on, the structure bars different, so this one is a spine, which means that it's tucked in and it's super neat and beautiful on the back. Then they have back stabled, so it's literally just stapled into the stretcher bars. I recommend either getting a display lined or the back staples. They also have side Staples canvases, but it looks super messy, and I don't really recommend those. So the next option that you have is oil paper. There are a couple different options for oil paper. You can get something like this, the cancer in oil and acrylic. So this is actually already ready for oil paint. You don't have to prime it'll when getting paper is. You want to make sure that he's either says that it's four oil pain or you just so it. So it's like a white acrylic paint so that the oil paint doesn't seep through in the back and bleed. There's quite a bit of texture. It's textured a lot like the stretched canvas. One of the other options you have is something like this. So this is just so bored, and you can get either just so bored or wood panels. These people that prefer these because it's a completely smooth surface, so you're able to get a lot more detail in Yeah, it's just perfect personal preference, these air really nice. If you do enjoy the flat surface for painting. Now that we've covered the different painting surfaces. I do want to say that for today's projects, I'm actually going to be using the Kansan oil and acrylic pad when picking a painting surface. It all comes on the personal preference. If you like painting with texture, I would recommend either using a stretch canvas or the canvas paper. If you like the smooth, they have the wood panels, and you can also get arches. Oil paper, which has a little bit less texture. It's more like a watercolor, but it's suitable for real pains. Now the next thing we're going to cover is paintbrushes. 6. Paint Brushes & Palette Knives: So the next thing we're going to talk about is brushes and palette knives. So both of these things come in a lot of different shapes. These air a few of my favorite brushes, these ones right here are the ones that I use 90% of the time. So these are the Rosemary and Co. These ones are the hog bristle, so they're made out of hog bristles, so they hold a lot of paint. There's quite a bit of give to them. I really like thes. These have a little bit of a sturdier texture to them, so the actual brush marks on the paper show a little bit of texture. And then there are these ones. Thes air, kind of inexpensive brushes have had them forever. I have the Royal and Lengel and I also have Robert Simons. These ones are a lot softer. They still have quite a bit of give. I use these a lot for blending, but some people use these just straight for painting. So the first brush that we're gonna talk about is the flat brush. So the flab rush, as the name suggests, is flat on the top, and it's square on the sides, and this is really great because you can get a very broad stroke with it. So if you use just the side of it, you can get really nice broad stroke, right? And then if you use the edge of it, so the tip of it, you can get a super in line. If you do, you can do different patterns, so the flat brushes a really great beginners brush just because of the different marks that you can make with it. So, as you can see with the flat brush, it's completely flat on the end where you start the mark. So the next brush that we're gonna look at is the round brush around brush, depending on the brand, will look a little bit different, so I have a few here to show you. So as you can tell, the brush is a rounded and it comes to a point. So as you can see the bristles depending on the brand, the point is either really sharp or more rounded. So a round brush is the brush that I actually started painting with. This is like the only brush painted with for a couple of years just because of all the different marks so you can make with it. So if you use the edge of it, does it really nice, wider stroke, and that has a little bit of a tip at it. But just like the other one, you can use just the tip and get a pretty nice line. So with the rosemary and code last, the brush I'm using this one has more textured bristles. So when you do brushstrokes like that, you can see the bristle marks. So I use the round brush. Ah, lot for grass because it creates such a nice texture. The last brush is a filbert brush, so this is my absolute favorite brush. It is great for creating clouds. Just has a really nice texture to it for landscapes because it has a rounded tip. So if you look at a flat brush compared to the Filbert, you can see that the flat is completely for a flat on top, and then this one has a little bit of a curve. So when you paint with a filbert, it creates a lot of a similar brushstroke to the flat brush. But as you can see it is curved on the edge where you started it, and that has to do with the curve on the brush. And then you can make a very straight line with that one as well. And so you can create really, really nice texture with it s So all of these brushes, the three rushes, the round brush, the flat brush and the filbert are amazing beginner brushes. You don't need to get expensive brushes when starting out. Or I would recommend getting more expensive pains than brushes just so that you can get used to the material and the actual oil paint and then get nicer brushes as you move along . Because some of the cheap brushes air really, really nice, a swell. So the next thing that we're gonna go over real quick, he's palette knives. So I have quite a few different palette knives in a couple different shapes and sizes. So palette knives are amazing for whale colors, specifically just because when mixing with just a paint brush, it can get really dunked up in the bristles off the brush. It can shorten the life of your brushes just because it gets conked up. But with a palette knife. You're able to mix really, really well. So these air a few different shapes that I have. These four are diamond shape. So as you can see, it's just diamond. So there's a few different sizes. Some of them are skinnier and some from her fat there on the smaller side. So these three would be small in this one would probably be a medium. All that's talking about it was how big the actual blade of the palette knife is. So how much paint you can mix with it? And then I have this one. So this one is a medium size, and this one is a teardrop shaped, so, as you can see, it's a teardrop. I really like this for mixing a a large amount of paint. So if I'm if I'm painting in a really big part of a painting, um, I like creating that because I would rather mix a lot of it and have it sit out for a couple days and reuse it, then makes a small amount and not having often have to remix it and have to try to color match. And then I have this one this one is more for actually painting with a palette knife because how small it is, you're able to add paint straight to the paper so all of these power and I have so we can paint with. But this one is really nice, because you can really pack on the the pain and create really nice texture with it. So I like doing that for thicker areas where I really, really, really want to make sure that the texture is coming through just like that. So when mixing with a palette knife, you take a little bit and moving on to a clean area of your palate. Take a little bit of each, and then you just work it in by slowly pushing the paint together. And then you just keep doing that until it is combined and eight complete, like one unified color. You don't want any stripes when you're painting, so that's a quick overview of a few different paint brushes and palette knives. Now we're gonna go into setting up your palate and starting the project 7. Setting Up Your Palette: Now that we've gone over some basic oil painting supplies, let's go over the supplies that you're going to need for today's project, just as a reminder that there is a materials list and resource guide in the projects and resource section off the class. So the first thing you're going to need is paper. I'm going to be using the we can sin oil and acrylic paper. For this, I just cut it down to the size that I needed. You're also going to need a straight edge and a pencil for making your color chart. So making the grid and marking it out and then you are going to need a palette, something to put your paint on while you're working. So I use a glass palette. This is just glass out of an old picture frame that I had laying around. You can go to a place that sells like windows or something and have them cut the glass for you. You can also get glass pallets from art supply stores, and I actually have one linked in the description section. If you don't want to investment in a glass palate, you can get disposable pallets so They're just like pads, and you put the paper the paint on the pad and just rip it off after you're done with the painting session. So that's for pallets. The next thing you're going to need is mineral spirits. So something like the gambling gam sel just to clean off your brush and then you're going to need a container for it. So I'm using my little stainless steel container with the brush cleaner, but you can just use a mason jar glass jar for it. You're also going to need a rag toe wipe off your brush in between colors and cleaning it just so that there is an extra paint or the game soul on it, and then that you're going to need a brush and a palette knife. So I'm just using and the rosemary in CO filbert brush and a small diamond shaped palette knife. You can use any palette knife in any paintbrush. You want these air Just what I'm using for it. Next thing is colors, so you're going to need a white. I'm using titanium white. This is the color. I've always used any white works, and then you are going to need Payne's grave, you're going to need burn number and burnt sienna, so these are both more of a brown color. This one's like a reddish brown, and this is like a normal brown, and then you're going to need your primary colors. So a blue, a yellow and a red. I'm using ultra marine blue hansa yellow and not full red. You can use any blue, yellow and red that you want. Just know that if you do choose something different, it will change the way your colors look compared to the reference one that I made that just has to do with the types of pigments that are in those pants. So now to set up your palate so either get your glass palette or your disposable palette ready, and we're going to add the paint to it. So I'm going to be adding them in the color that I made or in making the color chart. So the first color is going to name my white, and I always put it on the edge so that I have enough room for mixing, and this just makes it easier for reference for later on. While you're mixing, you know exactly which color is which in the pile. Now that we have our palates set up with the colors before you move onto the next lesson, just make sure that you have your color chart made out. I listed all of the colors down both sides. Make sure that they're in the same order just so for easy reference. And this is again in the projects and resource section of the class for your reference now to create the color chart. 8. Making Your Color - Earth Tones: So now that we've set up our palate, we're going to work on filling in the color chart. So to start off with, we're just going to be filling in each color straight off the pallet without mixing. So the 1st 1 is going to be the titanium white, and then we're going to continue all the way down to the napped, all red while filling in these colors, make sure that you're cleaning off your brush in your gams all very well to make sure that you get in just the color that you want down on the color palette. So cultural works a lot like a multiplication table from school. So you use both of the row and the column to know what color your mixing in. So that's why we're working at a diagonal to fill in these first few colors. For the first color that you're born a mix, you're going to be using equal parts white and Payne's gray, using the palette knife to mix the colors together until you have one consistent color. A palette knife can be a little hard to use when starting out, so just make sure that you're using the edge of the palette knife to mix the paints in together, so we're going to be adding this color to the bottom half of the color chart. The bottom half the color char is going to consist of equal parts of each color mixed together, where the top half is going to be the same colors, just with a little bit of titanium white. The reason that we're setting up the color chart like this is just so that you have two versions of the same color, so one of them will be the true color, and one of them is going to be a lighter version of the same color. So now that we've added the Paynes grey and titanium white combination to the color chart, I'm just moving a little bit of that color over and adding more white to it. To lighten it up, you're going to be adding this lighter Payne's gray color to the top section of your color shirt. Payne's gray is a really nice dark blue color, and I use it instead of a black on my palette just so that I can mix a darker versions of the same color without losing the vibrancy and saturation of the original color. Now that we're moving onto the burn number, make sure that you clean off both your palette knife and your paintbrush to make sure that there's no extra paint from the Payne's gray on it. I'm just creating the two versions of the burnt number and titanium white, so the 1st 1 is going to be equal parts of each color, and then the 2nd 1 you are going to be adding just a little bit more titanium white to lighten it up. Burn number is a really nice cool brown, and I would consider it a very traditional brown color. So when you think of Brown's is kind of the color that comes to my mind so moving right along the color chart, the next color combination that were mixing is the Paynes grey and the burn number. So I'm using equal parts of both colors, just like we were before, and this creates an almost black light color. And I really like using this instead of the traditional black shit out of the tube because it has a body and warmth to it from deeper number. As you start laying more colors down on your color chart, you'll be able to see them next to each other and see the relationships that they have and how similar or different they are. The letter version of the burn number and pains Great creates a really beautiful gray color , and if you look closely, you can actually see the hints of the brown peeking through. Um, this is a beautiful color to use for stormy clouds or anything that Ott needs a shadow. But you still want a little bit of an earthy brown color, too. This is burnt sienna. Burnt sienna is a really warm brown color. It has a very strong red tint to it, and it is just a beautiful Earth tone. This is the color that a lot of artists use for under paintings. So when you lay this down as the first layer and paint over it with your actual desired colors, pieces of the warmth of the burnt sienna actually peeked through from the bottom layer, and it creates a really nice warm glow throughout your painting. When mixing the burnt sienna and the Paynes grey, you get a very similar color to the burn number in the Paynes Grey, you get almost a black color. This one, if you look really closely, has a warm glow to it. And this just has to do with how warm the burnt sienna is compared to the burn number. You'll be able to tell while looking at your color chart that this grey is very similar to the burn number and pains. Great. It's just has to do with them, both being brown's that you're mixing it with. But you will be able to tell that the one with the burnt sienna is a little warmer, which is really nice for stormy clouds in just adding a hint of warmth. Throw your painting now to make the two browns together, so the burn number and burnt sienna together create a color that is very similar to both. You get the warm tint of the burnt scana, and you get the very dark brown properties of the burn number. This creates a really nice brown toe work with throughout your painting. If you need something that's dark but still has that warmth to it now, I'm just mixing the lighter version of it by moving a little bit of that color over and adding some of the titanium white to it. Another reason the mixing a lighter version of each color is important is with some of the dark colors. It can be really hard to see exactly what a color looks like, but as soon as you add that little bit of titanium white to it, the actual color really pops through. This is gonna be really evident later on, with some of the primary colors that we aren't seeing right now with these more earthy tones. 9. Creating Your Color Chart - Primary Colors: Now it's time to start mixing the primary colors. So this is where a color chart gets really interesting because there are a lot of times where you think you know exactly what color it's gonna look like. And then, it turns out, toe look completely different. This is also we're going to find if you don't have the exact same colors that I'm working with. Your color chart is going to very just a little bit just because the primary colors change quite a substantial amount when mixed with other colors. I'm using an ultra marine blue here on my palette. This is the blue that I've most consistently used throughout my painting practice. It has a really nice warm undertone to it, and it creates the most beautiful sky blue. Now we're going to be mixing the Paynes grey and the blue, so you take just a little bit of each and mix it together. You'll notice that this is a very dark blue color, and that just has to do with the fact that the Paynes Grey does have a little bit of a blue tint to it. So all that's really happening is the ultra Marine blue or whatever blue you're using just becomes very dark and a little bit of the saturation is lost. So when creating the letter version of all of these colors, you can add as much titanium white as you like. I just add enough to see a little bit of a lighter version of each color. But if you add quite a bit more, you're able to see just how let you can get the color and the different range you get. This next color is the ultra marine blue, and they burn number mixed together, so you'll notice with all of the Earth tone. So when you're mixing stuff with the Paynes Grey, or either the burnt sienna or burn number, you're getting a very dark color on. This just has to do with how dark these colors are by themselves. And these colors take a lot of the saturation and really toned down the colors that you're mixing it with. Although these earthy tones look very similar to each other, I want you to take a second and notice the slight differences between them. This is really important because when using these in your painting, you can actually use a few of these earthy tones on top of each other or next to each other to create that throughout your piece. This is the ultra marine blue in the burnt Sienna together. So, like I just said, Thies look very similar to the other earthy tones that we've mixed. But you will be able to see that there is a warm tint to this one, and this comes from the reddish tone off the burnt sienna. Now it's time to start mixing our yellows. I'm using Hansa Yellow, which is a very vibrant and bright yellow, so it's very like lime yellow. If you use a different yellow like cadmium yellow, this might change a little bit. So years might be a little bit warmer or a little bit cooler. Just like with the ultra marine blue, you're going to have to mix quite a bit of white to create the lighter version of this color. The hunts of yellow and the Paynes grey create a very vibrant green, and this just has to do with the Paynes Grey not being super blue, so it is more of a muted blue. And this let's the strong pigment off the yellow peek through and create a very beautiful and vibrant green. The later version of this does still have a little bit of a brown undertone and is very similar to stop grain. So if you've used that color in the different medium, you might be able to see the similarities between the two. When I originally laid down the paints for the color chart, I didn't put enough of the burn number down, so I'm just adding a little bit more to my palette to be able to finish off the color chart . The Hansa yellow in the burn number created very interesting color wouldn't combined together. So the vibrancy of the yellow really peeks through, and it kind of creates an almost mustard brown color when mixing and these colors, I really like to think where I would use these in a painting. For instance, this light yellowy brown really reminds me of a desert or beach. Up next is the Hansa Yellow and the Burnt Sienna. This color is very similar to just the burnt sienna by itself. It just has a little bit of an orange tint to it and is a little bit lighter The reason that this color is so close to burnt Sienna is because both the burnt sienna and Hansa yellow are very warm colors. The letter version of this color is a very earthy orange and, as you can see the original color. So just the Hansa yellow and the burnt sienna is very transparent. Where the lighter version is more opaque. The Hansa yellow end the ultra marine blue, creating really cool green. Unlike the earthy green that comes from the Paynes grey in the yellow, this cool tone comes from the ultra marine blue overpowering de Hansa yellow. You're able to see the coolness of this color a lot more when you add the titanium white to it, so you're able to see that it's more of a mint green than a vibrant, yellowish cream. Now it's time to start mixing the not full red, so nap all red is a very strong and very pigmented color. It actually has quite a bit of staining power, So if you were to lay this down on a canvas or paper and then tried wiping it away because you didn't like where it was or whatever, it will actually leave a reddish pink tone to it, just like the other primary colors. It does take quite a bit of white to make a lighter version of this. As you can see on my color chart, my lighter version is still quite dark. This next color, the Knopf, all red and Payne's gray is one of those colors that surprised me a little bit when creating this chart. So the darker version has a very brown undertone to it. But when you actually mix the lighter version, you notice that it's almost a plum color, so it does still have a, ah, earthy undertone to it. But it is a lot more violent than I thought it was going to be. I think out of all the colors, the ones that surprised me the most were the ones that were mixed with this. Read the burnt Sienna and the napped all red create a really beautiful earth red. It's almost like a red clay color. The dark version of this, compared to the light version, is very more of in orange brown, the light version becomes a reddish plum color. At this point, you might be running out of room to mix the colors on your palate. I'm just trying to find little areas that still don't have any paint on them. But if it makes you feel more comfortable to clean off, some of the pallet do so. The ultra marine blue and that full red create a vibrant purple color. And it isn't until we add that little bit of titanium white that it's very visible. This is another one of those colors that really surprised me when I added the white to it. Now it's time to make their last color combination than that. Full red and Hansa yellow thes colors together create a very vibrant and warm orange. And this has to do with both the Hansa yellow and natural red being warm themselves. And now we're done with the color car. So, as you can see by looking at the completed one, there are quite a few different colors that you can get with a very limited palate. 10. Thank You!: you did it. You finished your color chart in this class, we've covered everything from oil paints to creating a color reference tool for you. Moving forward. I really hope that this cleared up any doubt or fear you had around oil paints and it gives you the confidence to jump into this new medium. I would love to see your finished color chart, So please post a picture in the project section of this class. Also, if you enjoy this class, if you wouldn't mind picking a few seconds and leaving me a review, that would be greatly appreciated. If you're interested in following along with my creative practice on a more daily basis, make sure to follow me on Instagram at Nina Door Artist.