Color Temperature

for Oil Paint www.milanartinstitute.com

YELLOW ORANGE RED

RADIENT LEMON C O RAW UMBER C T TRANSPARENT EARTH RED W T

CADMIUM LEMON C O TRANSPARENT EARTH BURNT SIENNA W T

C T
YELLOW
HANSA YELLOW C O VENETIAN RED W O
CADMIUM ORANGE C O
CADMIUM YELLOW LIGHT C O TRANSPARENT ORANGE W T
BURNT UMBER W T
CADMIUM YELLOW MEDIUM W O CADMIUM RED LIGHT W O
RAW SIENNA W T
NAPLES YELLOW HUE W O CADMIUM RED MEDIUM W O
TRANSPARENT EARTH
W T
CADMIUM YELLOW DEEP W O ORANGE RADIANT RED W O

YELLOW OCHRE W O ASPHALTUM W T CADMIUM RED DEEP W O

HANSA YELLOW DEEP W O MONO ORANGE W O INDIAN RED W T

INDIAN YELLOW W T CADMIUM ORANGE DEEP W O NAPTHOL RED W O

PERYLENE RED W T

ALIZARIN CRIMSON C T

QUINACRIDONE RED C T

QUINACRIDONE MAGENTA C T

QUINACRIDONE VIOLET C T

GREEN
VIRIDIAN C T

PHTHALO GREEN C T

COBALT GREEN C O

CHROMIUM OXIDE W O

EMERALD GREEN W O

PERMANENT GREEN LIGHT W O

SAP GREEN W T

CADMIUM GREEN W O

OLIVE GREEN W T

TERRE VERTE W T

BLACK/WHITE/GREY VIOLET BLUE

TITANIUM WHITE N O MAGANESE VIOLET W T ULTRAMARINE BLUE W T

ZINC WHITE C O COLBALT VIOLET W T COBALT BLUE W O

FLAKE WHITE W O ULTRAMARINE VIOLET C T RADIANT BLUE W O

FOUNDATION WHITE W O RADIANT VIOLET C O INDANTHRONE BLUE W T

PAYNES GREY C T DIOXAXINE PURPLE C T PHTHALO BLUE (RS) W T

IVORY BLACK W O PHTHALO BLUE (GS) C T

MARS BLACK C O CERULEAN BLUE C O

VAN DYKE BROWN W T PRUSSIAN BLUE C T

LAMP BLACK C O MAGANESE BLUE C T

BLACK SPINEL W T PHTHALO TURQUOISE C T

COBALT TEAL C O

ABBREVIATIONS: C: COOL W: WARM N: NEUTRAL O: OPAQUE T: TRANSPARENT RS: RED SHADE GS: GREEN SHADE
Painting Tips Painting Terms

Fat over Lean

1. Transparents: Light to Dark Add thinners to begin & thickeners at the end. Use thin-
ners like mineral spirits to start, as fatteners like oil, wax at
2. Opaques: Dark to Light the end.
3. Opaque Color + Transparent Color Impasto
= Opaque Color Thick, heavy brushwork creating texture.
4. Transparent Color + Transparent Color Alla Prima
= Transparent Color A painting created all in one sitting. (italian, -at the first)
5. Build Your Painting - Background to Foreground Chiaroscuro
an Italian “light dark”, a painting with strong contrasts,
6. Effective Background - Cool, No Contrast,
grounding your subject into background by juxtaposing
Blurry, Faded
light against dark and dark against light.
7. Foreground That Pops - Warm, Crisp, Contrast,
Dry Brush
Details, Graphic
An effect when you have very little moisture on your
8. Big Brushes to Small Brushes brush to apply the paint. When you use a dry brush you
lightly drag light opaque over a darker tone to expose a
9. Loose to Tight broken paint texture.

10. Work ALL OVER Your Painting, (not just in one
spot) Building Layers
11. Don’t be afraid to use LOTS of COLOR - Bright
to toned down
12. Create through process allowing painting to
emerge, rather than applying a painting.
Create from the inside out, not the outside in.
Scumble
Very thin layer of opaque or semi-opaque paint creates
a broken layer of color that is brushed over another so
that patches of the color beneath show through. It can be
done with a dry brush, or by removing bits of paint with a
cloth.
Indirect Painting
Creating an underpainting or tonal painting, or working
with radiants, to set up your painting for a glazing layer.
Working in layers, and process rather than direct painting.

Grisaille
Working from a grey or neutral monochromatic under-
painting.

Glaze
Layer of transparent paint mixed with glazing medium like
alkyd or liquin over a dried pigment layer.

Sfumato
Italian smoked, hazy, soft layer creating subtle gradation.

Trompe l’oeil
An illusionistic painting that ‘deceives the eye’, usually
challenging the picture plane

Plane Shift
When a flat plane or surface of the object hits the edge of
another plane, the light source exposes the plane shifts.

Fresco
Applying or mixing dry pigments into venetian plaster.