The medium Colley Whisson uses is Chroma Arcihval Oils Lean Medium. Dick Blick carries it. The medium contains an alkyd drier that speeds drying time between layers. This can be an advantage and a disadvantage ... so like all new materials and techniques, there is a learning curve. The quick drying time allows you to move through the stages of your painting quickly. It also shortens the time you can work wet into wet.
Colley paints with large flats (#10, #12) in both bristle and synthetic. He also uses a #6 bristle filbert and a #2 or #3 synthetic liner brush. As always, it's the artist at the handle end of the brush that counts!
His palette is Chroma Archival Oils in titanium white, light red ochre (Venetian Red in Winsor Newton), yellow ochre, cadmium yellow light, cadmium yellow medium, cadmium orange, cadmium scarlet or cadmium red light, permanent alizarin, ultramarine blue and phthalo green.
Colley paints on a variety of surfaces, both board and canvas panel. The board was primed with amber shellac. The canvas was primed with acrylic gesso sometimes toned with a light wash of acrylic paint in red ochre. It does not matter what the surface, Colley is a master painter.
We will use our usual palette in December, but give the medium and larger flats and liner a try. A substitute for the Archival Oil Lean is Gamblin Galkyd Painting Medium. It is slightly thicker in consistency but can be thinned with OMS (Odorless Mineral Spirits). When using either, keep your brushes clean as you work, because the paint will set in your brush much more quickly than when working with paint alone.
Colley paints on a variety of surfaces, both board and canvas panel. The board was primed with amber shellac. The canvas was primed with acrylic gesso sometimes toned with a light wash of acrylic paint in red ochre. It does not matter what the surface, Colley is a master painter.
We will use our usual palette in December, but give the medium and larger flats and liner a try. A substitute for the Archival Oil Lean is Gamblin Galkyd Painting Medium. It is slightly thicker in consistency but can be thinned with OMS (Odorless Mineral Spirits). When using either, keep your brushes clean as you work, because the paint will set in your brush much more quickly than when working with paint alone.
, is a delight - both the text and images. His paintings get better and better. I recommend his book to anyone inteerested in landscape painting and plein air paintng. He works effortlessly between watercolor and oil. 
by Hongnian Zhang. This book is out of print, but well worth searching out. There are major sections on value, temperature and chroma; a thorough explanation of the three complementary palettes; a look at creating texture and then three chapters where Hongnian Zhang applies all of the above to the three genres of still life, landscape and figure. I highly recommend this book! 
" by Andrew Loomis covers the proportions of the head for different ages, the placement of the features, visualizing the head in planes and the simple bone structure of the head and neck. $8.95
is excellent for both drawers and painters. It covers line versus value, form and cast shadows, negative shapes, the two masses of light and shadow, perspective in the head, proportion and anatomy of the features. All of the drawings are in white and sanguine pastel pencil, but the information and approach applies to all media. $16.50 
