Full Palette

I've decided to post my full oil paint palette that I've slowly settle on. Some things have changed since I started out. This has been the palette I've stuck with for a while now:

High + Medium Chroma

  • Quinacridone Magenta, PR122 - Winsor & Newton

  • ”Perylene Crimson”, PR179 - Williamsburg

  • Pyrrole Red, PR254 - M. Graham

  • “Quinacridone Burnt Scarlet”, PR206 - Daniel Smith

  • Scarlet Pyrrol, PO73 - M. Graham

  • “Transparent Brown Oxide”, PR101 - Michael Harding

  • Cadmium Orange, PO20 - Williamsburg

  • ”Raw Sienna”, PY43 - Williamsburg

  • “Transparent Yellow Iron Oxide”, PY42 - Williamsburg

  • ”Indian Yellow", PY110 - M. Graham

  • ”Unbleached Titanium Pale”, PW6 - Williamsburg

  • Bismuth Yellow, PY184 - Williamsburg

  • ”Green Gold”, PY129 - Winsor & Newton

  • Chrome Oxide Green, PG17 - Williamsburg (used only with Azo Green for a custom green mixture)

  • ”Phthalo Green Yellow Shade”, PG36 - Michael Harding

  • “Phthalo Green Lake’, PG7 - Micheal Harding

  • ”Cobalt Turquoise”, PB36 - M. Graham

  • ”Cobalt Teal”, PB28 - Gamblin

  • “Phthalo Blue Lake”, PB15:3 - M. Graham

  • Ultramarine Blue, PB29 - M. Graham

  • Dioxazine Purple, PV23 - M. Graham

Low Chroma + Darks

  • Titanium White, PW6 - Williamsburg

  • Ivory Black, PBk9 - Williamsburg

  • ”Mars Black”, PBk11 - Williansburg

  • “Van Dyke Brown”, PBr8 - Michael Harding

  • “Red Umber”, PBr7 - Williamsburg

  • ”French Burnt Umber”, PBr7 - Williamsburg

  • Perylene Black, PBk31 - Winsor & Newton

  • “Indigo”, PBr7 + PB27 - Williamsburg

I've got a lot of High Chroma paints in that list but you'd be surprised how rarely I use most of them.

For my base flesh tone I have two colors in the mid range “orange”, 5YR, that I alternate between: Trans. Brown Oxide and Red Umber. TBO is the darker, more chromatic and stronger tinter of the two. This color space is the core of my flesh tone mixes. TBO makes an almost perfect 5YR when mixed with white but human skin falls on either side depending on the person. I mix my flesh tone shadows by starting with Red Umber and adjust depending on the situation.

The companies these paints come from are very important to me! Paints with the same name can be totally different colors and have different handling characteristics from company to company. Most important to me is what pigment is used (I tend to stick to single pigment paints). Most manufacturers list this pigment using a industry standard pigment number. For example Ultramarine Blue is PB29. From this pigment base, it’s up to how the company mulls the pigment and which oil they use as a binder. The way the manufacturer mulls the pigment and the pigment itself combine to affect everything from transparency to handling characteristics. I like looser paints and M. Graham’s walnut oil based paints fit the bill for me but tend to dry slowly. Williamsburg is also a favorite, but their prices are high. Winsor & Newton you can find anywhere and are great paints as well in their artist grade. I prefer the handling characteristics of Graham, Williamsburg and Michael Harding but I have have some W&N when only they offer a pigment I want.


  • Epoxide Oil - Natural Pigments. Used in my main painting medium (I mix 2 parts Epoxide with 1 part Turpentine). I mix a small amount of medium directly into my paints. Most linseed oil paints will dry over night.

  • Oleogel - Natural Pigments. My favorite thing to glaze with when mixed with a little of the paint I’ve chosen and sometimes OMS. I use this to create very transparent mixtures for glazing. It can be treated like a clear paint, so there are no mixing restrictions on the amount used.

  • Gum Turpentine - Natural Pigments. The solvent I use for making my painting medium.

  • Gamsol - Gamblin. My main solvent thinning and effects.

  • Spike Lavender Oil - Natural Pigments. Less harsh on my studios air quality but very strong and expensive.