MANUAL — COLOR MIXING REFERENCE
SUBTRACTIVE vs ADDITIVE COLOR
Subtractive (paint): Mixing pigments absorbs light wavelengths.
The more colors you mix, the darker and muddier the result.
Primary pigment colors: Red · Yellow · Blue (traditional)
Or more accurately: Cyan · Magenta · Yellow (process primaries)
Additive (light/screen): Mixing light adds wavelengths.
Primary light colors: Red · Green · Blue (RGB)
Irrelevant to paint — but understand it exists.
THE PAINTER'S COLOR WHEEL
Primary: Red · Yellow · Blue
Secondary: Orange (R+Y) · Green (Y+B) · Violet (B+R)
Tertiary: Red-Orange · Yellow-Orange · Yellow-Green ·
Blue-Green · Blue-Violet · Red-Violet
MIXING CLEAN SECONDARIES
Orange: Cadmium Red + Cadmium Yellow (warm reds and yellows)
Avoid blue-leaning reds — they grey the orange immediately.
Green: Cadmium Yellow + Phthalo Blue (vivid)
Yellow Ochre + Ultramarine (muted, natural)
Violet: Quinacridone Magenta + Ultramarine Blue (clean)
Cadmium Red makes mud. Use a cool red for violet.
MIXING NEUTRALS AND GREYS
Warm grey: Burnt Umber + White + touch of Yellow Ochre
Cool grey: Ultramarine Blue + Burnt Sienna + White
Neutral grey: Complementary colors in equal amounts + White
Black alternative: Ultramarine Blue + Burnt Sienna (richer than tube black)
SKIN TONES — FOUNDATION APPROACH
Light warm: White + Yellow Ochre + touch of Cadmium Red + Burnt Sienna
Medium: Yellow Ochre + Burnt Sienna + White + touch of Ultramarine
Deep warm: Burnt Sienna + Cadmium Red + touch of Ultramarine
Deep cool: Burnt Umber + Ultramarine + touch of Phthalo Green
Shadow on skin always leans cool — add Ultramarine or Viridian.
Highlight on skin always leans warm — add Yellow Ochre or Naples Yellow.
SHADOW AND LIGHT MIXING
Shadows: Never add black to darken. It kills color.
Instead: Add the complementary color, or Ultramarine Blue,
or Burnt Sienna. Shadows are always a different hue, not just darker.
Lights: Add white carefully. White cools and desaturates.
For warm lights, add Naples Yellow or Yellow Ochre with white.
PAINT BEHAVIOR BY MEDIUM
Oil: Slow dry. Can be reworked indefinitely while wet.
Colors mix cleanly. Glazing (transparent layers) possible.
Fat over lean rule: later layers must contain more oil.
Acrylic: Fast dry. Colors shift slightly darker when dry.
Add retarder medium to extend working time.
Versatile — thin like watercolor or thick like oil.
Watercolor: Transparent. Cannot go lighter once laid — plan whites.
Pigment floats on surface while wet. Bloom and backrun
are features, not failures. Work light to dark always.
Gouache: Opaque watercolor. Can go light over dark.
Rewets when water is applied — plan for this.
Pastel: Dry pigment. Blends by physical pressure.
Spray fixative between layers. Final layer unfixed = richest.
MANUAL — MEDIUM & MATERIALS REFERENCE
CHOOSING YOUR MEDIUM — THE HONEST GUIDE
Oil Paint
The standard for serious painting for five centuries. Slow drying time
(days to weeks) gives maximum workability. Rich, luminous color.
Requires solvents (mineral spirits, odorless turpentine) for thinning
and cleanup. Ventilation required. Surfaces: stretched canvas (primed),
oil-primed linen, wood panel (primed).
Best for: Portraiture, landscape, anything requiring blending or glazing.
Learning curve: Moderate. Forgiving but requires patience.
Acrylic Paint
Water-based. Dries in minutes to hours depending on thickness.
Colors shift slightly darker on drying — account for this.
Versatile: thin for watercolor effects, thick for impasto.
Surfaces: canvas, board, paper, wood — almost anything primed or unprimed.
Best for: Mixed media, fast work, large-scale, outdoor use.
Learning curve: Low. Most accessible medium for beginners.
Watercolor
Transparent, water-soluble. Works on watercolor paper only —
minimum 140lb (300gsm) cold or hot press.
Cannot correct by painting over — plan composition before first stroke.
Pigment granulation and blooms are characteristic effects.
Best for: Botanical illustration, loose expressive work, plein air.
Learning curve: High. Least forgiving. Most rewarding when mastered.
Gouache
Opaque watercolor. Matte finish. Rewets with water.
Richer coverage than watercolor. Can go light over dark.
Used extensively in illustration, animation, and design.
Best for: Illustration, flat graphic work, mixed media.
Learning curve: Low to moderate.
Pastel (Soft)
Pure pigment in chalk form. No drying time. Immediate.
Requires tooth (texture) in the surface to hold pigment.
Surfaces: pastel paper, sanded board, velour paper.
Layers fixed between sessions with workable fixative.
Final surface left unfixed preserves the richest color.
Best for: Portraiture, still life, expressive color work.
Learning curve: Moderate. Fragile and dusty — ventilate well.
SURFACES & GROUNDS
Canvas
Stretched: Cotton duck or linen on a wooden frame. Standard.
Board (canvas board): Mounted canvas. Portable. Less spring.
Linen: Superior to cotton. More stable, finer texture, more expensive.
Always use primed canvas for oil — raw canvas absorbs oil from paint,
causes premature degradation.
Panel / Board
Cradled wood panel: Rigid. No flex. Preferred for thick impasto work.
MDF: Cheaper alternative. Sand and prime thoroughly.
Metal (aluminum composite): Archival. Expensive. Very stable.
Paper
Watercolor paper: Hot press (smooth) · Cold press (texture) · Rough
Sketch paper: Newsprint, cartridge, layout. Not archival.
Archival: 100% cotton rag paper. No acid. Will not yellow.
ESSENTIAL TOOLS
Brushes
Rounds: Pointed tip. Versatile. For detail and fill.
Flats: Square tip. For blocking in color and edges.
Filbert: Oval. Softens edges. Portrait staple.
Fan: Blending and texture effects.
Palette knife: Mixing and impasto application. Not a brush.
Rule: Buy fewer, better brushes. A good kolinsky sable round
outperforms twenty cheap brushes. Clean them properly and they last years.
STUDIO ESSENTIALS
Palette: Stay-wet palette for acrylics. Glass or wood for oil.
Easel: A-frame for studio, box easel for plein air.
Mahlstick: Hand rest for detail work. Reduces shake.
Varnish: Applied to finished oil paintings 6–12 months after completion.
Protects surface. Unifies sheen. Removable for conservation.
Fixative: For pastels and charcoal. Workable (reworkable) vs final.
ARCHIVAL CONSIDERATIONS
Archival materials do not degrade, yellow, or become brittle over time.
For work intended to last: acid-free paper, quality canvas, lightfast pigments.
Check pigment lightfastness ratings: ASTM I and II are archival.
III and below will fade. Every tube of quality paint lists this rating.
MANUAL — PRICING & SELLING YOUR WORK
THE HARDEST CONVERSATION IN ART
Most artists underprice their work. Not from humility — from fear.
Fear that no one will pay more. Fear that pricing high means arrogance.
The truth: underpricing signals low value. It undermines the work.
Price your work at what it is worth. Then do the work that earns that price.
PRICING ORIGINAL PAINTINGS — TWO METHODS
Method 1: Formula Pricing
(Height + Width in inches) × Your hourly rate × Hours + Materials cost
Example: 24×36 canvas · 20 hours at $25/hr · $80 materials
(24+36) × $25 = $1,500 + (20 × $25) + $80 = $2,080
Start your hourly rate low and increase it as your market develops.
The formula keeps pricing consistent across your body of work —
a 12×12 and a 48×48 won't be randomly priced.
Method 2: Market-Based Pricing
Research comparable artists at your career stage and experience level.
Price within that range. Adjust up as your recognition grows.
Never price below a comparable artist without reason.
THE CONSISTENCY RULE
Never price a painting lower than a previous work of similar size.
Collectors notice. Inconsistency destroys trust in your pricing.
You can raise prices. You cannot lower them without consequence.
PRINTS vs ORIGINALS
Original: One of one. Commands full price. Appreciates with career.
Open edition print: Unlimited reproductions. Lower price point.
Good for accessibility and passive income.
Limited edition print: Numbered series (e.g., 1/50). Signed.
More valuable than open edition. Collector appeal.
Giclée printing on archival paper or canvas is the standard.
Typical print price: 10–30% of original price.
Canvas prints vs paper prints: Canvas prints feel closer to the original.
Paper giclée on fine art paper is the archival choice for serious collectors.
WHERE TO SELL
Online — Direct
Your own website: Maximum control. No commission. Requires traffic.
Squarespace, Shopify, or Big Cartel are common platforms.
Online — Marketplace
Etsy: High traffic. 6.5% transaction fee + listing fees. Competitive.
Saatchi Art: Curated feel. 35% commission. International reach.
Artfinder: Juried. 33–40% commission. Quality audience.
Society6 / Redbubble: Print-on-demand. Very low margins. High volume.
In Person — Galleries
Consignment: Gallery holds your work. Takes 40–60% on sale.
Standard arrangement. Negotiate the split before agreeing.
Get the consignment agreement in writing. Always.
Rental: You pay to exhibit. Keep 100% of sales.
Not standard in serious galleries. Common in co-op spaces.
Representation: Gallery actively promotes and sells your work.
The goal for a developing career. Requires a consistent body of work.
In Person — Art Fairs & Markets
Local art fairs: Direct to collector. You keep everything.
Table/booth fees apply. High foot traffic. Good for building audience.
Juried shows: Apply for selection. Prestige if accepted.
Resume builder. Collectors and institutions notice award history.
APPROACHING A GALLERY
Do your research: Visit the gallery. Know their artists. Know their audience.
Submit a professional package:
· Artist statement (use your Statement tool)
· CV / biography with exhibition history
· 10–20 images of recent work (consistent body)
· Contact information
· A brief, specific reason why your work fits this gallery
Do not walk in with work unannounced. Do not email without researching first.
Follow up once after two weeks. Once. Then move on.
BUILDING A COLLECTOR BASE
The collector who buys a $200 print today may buy a $2,000 painting in five years.
Treat every buyer as a future collector. Stay in contact. Send updates.
Social media presence matters: Instagram is the dominant platform for visual art.
Document your process. Show the work being made. People buy from artists they know.
TAX & BUSINESS BASICS
In most jurisdictions, art sales are taxable income.
Keep records of: materials costs, studio costs, travel to shows, printing fees.
These are deductible business expenses in most jurisdictions.
Consult a tax professional familiar with artists and self-employment.
A business bank account separates personal and professional from day one.