The Amazing Transparent Earth Tones

Two of the most used colors on my palette are Transparent Brown Oxide and Transparent Oxide Red. I was turned to Transparent Oxide Red (TOR) in 2010 when I took a workshop with Chattanooga based painter Mia Bergeron. I had never heard of TOR nor had I used Rembrandt paints, but it was on her materials list so I picked up a tube. At first I felt that was an unnecessary purchase as the color was very similar to my go-to Burnt Sienna. However, during the workshop, my eyes were opened to the transparent properties of this color and its amazing uses. Both paints utilize the PR101 pigment - Synthetic Iron Oxide. The Winsor & Newton transparent brown oxide utilizes a linseed/safflower oil vehicle whereas, I believe, the Rembrandt transparent oxide red uses just linseed oil. I'm not positive on that one, if anyone knows for sure I'd love to hear it. 

Mixed with some Ultramarine Blue, TOR makes for a great grisaille color for under paintings, but my favorite use for it is in skin tones. I am beginning to evolve away from this formula now, but for years my starting point for caucasian skin has been TOR+Viridian (another wonderful color I purchased for the same workshop) + a purple I premixed from Ultramarine Blue, Purple Lake, and white. I have since replaced the purple pre-mix with Gamblin's Radiant Violet.  This basic mixture has been my jumping off point for years. I would mix a puddle of this generic skin tone and add other colors such as Cad Scarlett or King's Blue to warm/cool the color as needed. This same base color can be made with Burnt Sienna but I've found using the TOR instead leads to more vibrant, less muddy color. The TOR provides the earthy red/brown while allowing the other colors to shine through.

Transparent Oxide Red

Transparent Oxide Red + Viridian

Transparent Oxide Red + Viridian + Radiant Violet

Transparent Oxide Red + Viridian with Cad Scarlett (Bottom) and King's Blue (top) mixed to shift temperatures.

I started using the Transparent Brown Oxide about a year ago when I started painting with my friend and teacher Seth Haverkamp. Unlike the TOR, I rarely use TBO in any color mixes. I use it almost exclusively for my grisaille under drawing. Essentially it took the place of the TOR+Ultramarine Blue mix I had been using. I made the switch for two reasons: 1) the TBO is about $6 a tube vs. the TOR which is closer to $12, and 2) it dries ridiculously quickly. Both of these reasons make it perfect for the initial drawing. After completing the drawing I'll continue using the TBO to darken (yet keep transparent) the shadow areas of a painting but, again, I rarely use it in mixes. Mixing this brown in typically leads to dull, muddy colors in my opinion.

Grisaille done using Transparent Brown Oxide for the drawing and shadows, mix of lead white and Transparent Oxide Red scumbled in the lights.

* A note on brands: I continue to use Rembrandt brand Transparent Oxide Red since I'm really happy with the paint quality and texture. I initially used Rembrandt's Transparent Brown Oxide also, until I realized how quickly I went through a tube. The quality was great, but its a series 3 (I believe) which puts it close to $12 or $13 a tube. I have since switched to Winsor & Newton's Transparent Brown Oxide (series 1, $6) and I'm just as happy with it. 

My 'Why Not' Palette

I dove into oil painting on a bit of a whim about 7/8 years ago without a whole lot of research or guidance. My first oil palette was inspired by one of my favorite painters Shawn Barber. I pretty much copied his palette at first, learning what he used and why from his DVD, Foundation Painting. It was a fairly extensive palette consisting of about 16 or 17 colors, if I remember correctly.  After painting for a while and seeing where I have struggled in the past, I now recommend that new painters begin with a more limited palette, such as a Zorn palette if your desire is to paint portraits and figures. Having less colors on your palette forces one to become more adept at mixing the proper color, and also makes it easier to achieve overall color harmony in your painting. Once the new painter has gained some skill and confidence in the fundamentals of oil painting, then they should start experimenting with new colors as they see fit.

Anyhow, over the years my palette has shrunk, grown, and morphed into what it is now. What it has become is an extensive color palette. The palette itself is a New Wave Art Expressionist Confidant palette custom ordered with the neutral grey coating. I've only had this palette for a few weeks, but I love it. Its light weight and well balanced, smooth, and comfortable. I can't recommend this product and company enough.

From left to right:

• Transparent Brown Oxide (Winsor &Newton)
• Transparent Red Oxide (Rembrandt)
• Permanent Alizarin Crimson (W&N)
• Quinacradone Red (Gamblin)
• Cadmium Scarlet (W&N)
• Cadmium Orange (Rembrandt)
• Cadmium Yellow Medium (W&N)
• Cadmium Yellow Pale (W&N)
• Lemon Yellow (Rembrandt)
• Yellow Ochre (W&N)
• Permanent Green (Rembrandt)
• Sap Green (W&N)
• Viridian (Rembrandt)
• Olive Green (W&N)
• Pthalo Blue Turquoise (W&N)
• French Ultramarine Blue (W&N)
• Manganese Blue Hue (W&N)
• King's Blue (Rembrandt)
• Radiant Turquoise (Gamblin)
• Radiant Red (Gamblin)
• Radiant Violet (Gamblin)
• Dioxazine Purple (Gamblin)
• Mars Black (Gamblin)
• Warm Grey (Rembrandt)
• Ice Blue (Richeson) 
• Cremnitz (Lead) White (RGH Oil Colors)

I know what you're thinking: "who needs that many colors?" Honestly, no one needs that many different hues and shades on their palette. So why do I have so many? Because over the course of time, for one reason or another, I've bought various tubes of different colors of paint and have either liked them or I didn't. If I like the color and use it enough, or find a specific use for it, it earns a place on my palette, whether I use it on every painting or not. 

The key to mastering an extensive palette, in my opinion, is understanding that you don't need to (and really shouldn't) use every color in every panting. Out of all those colors there are probably only about 8-10 that get used consistently. But the rest of them are nice to have when the situation does call for it.

In this close up of my most recent self portrait you can can see the all of the little color/temperature shifts made possible by the plethora of color options on my palette.  I'll go more into specific colors and my thoughts and techniques on using extensive color in future posts.