http://underpaintings.blogspot.in/2010/12/workshop-tony-ryder-part-i.html Oil Colors The most surprising aspect of the supply list was Ryder's recommended choices in colors.

Ryder, who employs an open palette, uses many different pigments, and even the list below does not accurately reflect those colors which made it into his final painting. (During his first day of demonstrating, he was adding color s he had just received a few days earlier from Robert Doak & Associates, includi ng "Adobe Medium" which he returned to often). Colors in boldface (*) were reco mmended, especially for beginning students. However, this list should not be co nsidered a limitation; any colors could be used. The manufacturer of each oil c olor is unimportant unless where it is specifically noted. Titanium White* Flake White Zinc White Brilliant Yellow Light Naples Yellow (Winsor & Newton) Naples Yellow Green (Rembrandt) Naples Yellow Red (Rembrandt) Naples Yellow Light* Jaune Brilliant* (Winsor & Newton) Cadmium Lemon Yellow* Cadmium Yellow Medium* Cadmium Orange* Cadmium Red Medium* Brilliant Pink* (Old Holland) Alizarin Crimson Permanent* (Winsor & Newton) Cobalt Violet or Cobalt Violet Light* Cobalt Violet Deep Ultramarine Violet* Cobalt Blue* Ultramarine Blue King's Blue Cerulean Blue* Phthalocyanine Blue Phthalocyanine Green Cobalt Turquoise Viridian* Chrome Oxide Green* Cadmium Green Light Bohemian Green Earth (Schminke-Mussini) Sap Green* Cinnabar Green Yellow Ochre Raw Sienna* Mars Brown Burnt Sienna Flesh Ochre (Old Holland) Mars Violet Deep Ochre* (Old Holland) Raw Umber* Burnt Umber* Payne's Gray Ivory Black* (Currently, Ryder is recommending Old Holland Ochre and Transparent Brown Oxide in addition to the colors listed. Lead White [Flake or Cremnitz], Naples Yellow

, King's Blue, and Phthalocyanine Green have also joined the status of recommend ed colors. This makes for 27 suggested colors). Brushes For brushes, Ryder suggested nylon rounds. His preferred brands are Raphael 869 (sizes 4, 6, and 8; three of each size), Winsor & Newton University Series 235 (sizes 1 and 2; two of each), and Winsor & Newton Monarch Series 5503 (sizes 8, 10, and 12; two of each). Solvent In 2005, Ryder suggested odorless mineral spirits such as Turpenoid or Gamsol. He now uses Livos brand, Svalos 222 natural solvent. Painting Medium 2005 1 part Damar varnish 1 part Venice turpentine 5 parts light stand oil 20 parts odorless mineral spirits This earlier medium has been replaced by: 7.5 ml Larch turpentine/Svalos 222 (1:2) 45 ml Damar varnish (3 lb. cut) 150 ml Stand oil 300 ml Svalos 222 The medium was provided to the workshop participants by Ryder. Palette Tony prefers his students use a permanent palette, such as glass or properly sea led wood, as opposed to a paper palette. Ryder uses a "dusk"-colored piece of C orian countertop for his palette, which is supported vertically below his canvas while painting. Students were also encouraged to position their palettes verti cally by tacking them to an easel-mounted piece of Homosote, and this should be ke pt in mind when choosing a palette for this exercise.