The 8 x 16 inch canvas panels for my oil color charts arrived and I'm sorry I ordered them. It took me an hour to section one using 1/4" tape. I was never very good at figuring fractions. After trying several mathematical ways to make the squares come out equally sized, I finally gave up and did it by eye. With a relatively equally divided board accomplished, I was too tired to get down to fussing with the paint. Plus, I suspected I should coat the board with clear acrylic medium to seal the tape edges to insure clean lines when the tape is removed. -- Later for that. I decided I needed to relax.
And relax I did with Lolita. The painting is going well thanks to just the little color charting I did while waiting for the official panels to arrive. My brush stokes are also getting a bit looser and more accurate. I was pleased with the days progress. But on the way upstairs, I did wonder why I decided to pursue skill with oils at this stage in my game? There's so much I don't know about the paint. While the medium no longer stinks, it is messy and takes forever to dry mixed with all that white--on the fifth step up I understood. All that white used in Schmid's mixes keeps the paintings wet enough long enough for the alla prima technique to be used the next day and the next pending the overall tonal values. Lightening colors with other colors not white (because white cools color down)was what I had been taught. But that doesn't work with the alla prima techniques--not if Speedo isn't your middle name. I get it! I'd better stock up on white.
A chart for every color on your palette mixed with white is Schmid's way. He said twelve charts should take two weeks of consistent work. I figure cutting down the number of colors and going with just five or six might do it for me, for now? Lolita's palette has five colors on it, (the vertical row on the right). I took the colors six steps to white on the left. It reads like Hebrew, right to left. This is only one chart of what should be six. The colors are all derivatives of the dominant Cadmium Yellow Medium. I also combined them all to find the gray, which turned out a range of lovely warm brownto a cool taupe.