Color Management on My Palette

I’ve studied color theory before. In fact, I’ve studied color theory several times, following along with different books or different online instructors. I’ve learned the basics as far as “theory” goes, but truthfully, theory only goes so far. What I mean by this is that despite gathering a lot of knowledge, I’ve never really learned how to apply color theory.

Hopefully this is about to change. I’m now enrolled in an online course taught by Brent Watkinson, an instructor at the Kansas City Art Institute. I like his style, and I like his practical approach to teaching. It’s not so much about “color theory” in this class, but more about what he terms as “color management”. In other words, it’s not what we know but what we do that matters.

As you know, I’ve spent most of my recent time in the studio working in graphite. I’m preparing now, though, to get back to my easel. I want to start landscape painting again, using both oil paints and oil pastels. This, of course, means returning to the wondrous world of colors, so taking a course of how to “manage” color in my art is just what I need right now.

For several weeks, as I’ve contemplated my return to landscape painting, I’ve thought about the paints I currently have. Even though I haven’t brought them out of the supply closet, I’m guessing that they’re probably not as usable as they should be. I’m sure some are dried out, and then there are choices about what I really need on my palette.

I’m expecting to purchase new oil paints, so I’ve been going over different possibilities in my head. I know from past experience how easy it is to buy far more paints than I need. I intend to avoid that. Even before enrolling in this color theory class, I’d made up my mind that I would work with a limited palette.

So, I was delighted when I went over the list of supplies for the course and found that, indeed, I need to put together a very limited palette. We’ll be using:

• Cadmium Red Light
• Alizarin Crimson
• Cadmium Yellow Medium
• Ultramarine Blue
• Titanium White

Could it be any more simple? I love the idea of working with 5 pigments.

There are a few other suggestions, of course, if we wish to add these to our palette:

• Burnt Umber
• Burnt Sienna
• Sap Green
• Naples Yellow
• Cerulean Blue
• Unbleached Titanium — I’ve never heard of this one before!

Well, it’s done now. Yes, I’ve done a bit of online shopping, I’ve found each of the pigments I’ll need, and I’ve purchased a few additional supplies for the class. I’m all set, I think! And I’m excited. Even though “color theory” itself isn’t how I imagined myself stepping back into the world of landscape painting, it is a step that will eventually lead me in that direction.

It’s time now to get the studio ready, to clean off the “art table” in my painting area, to clean up my old palette and prepare to paint! Yes, I really am excited! For several months now I’ve been telling myself that I will get back to my easel. Now, I’m actually going to do it!

Do you agree that a “limited palette” can help us “manage” our colors more effectively? What’s on your palette?