Jackson Pollock's studio floor(01 of21)
Open Image ModalSprings, New York
Jay Batlle, "21 CLUB"(02 of21)
Open Image ModalJay Batlle, 21 CLUB The Stationery Series, Oil stick, food coloring, collage, and paint on giant restaurant stationery mounted on panel with collage on verso, 62 x 43.5 x 2 inches
Jay Batlle's palette(03 of21)
Open Image ModalJay Batlle's palette uses food coloring and oil sticks to make epicurean painting in his Brooklyn studio. He likes handmade shoes from England as well.
Brian Belott, "Bang Spangeled"(04 of21)
Open Image ModalBrian Belott, Bang Spangeled
Brian Belott's palette(05 of21)
Open Image ModalBrian Belott: The picture is of the table I work on in my Brooklyn studio. It is where I have made collages for the past 4 years. What we are seeing is liken to a riverbed's silt. It's my glacial grind through thousands of books. I cut up old and occasionally expensive books all the time. Though I could easily scan and print out my source materials, I prefer to use each book's original artwork for their rich colors and unique printing methods.
Katherine Bernhardt, "Kate Moss Japanese Vogue Cover"(06 of21)
Open Image ModalKatherine Bernhardt, Kate Moss Japanese Vogue Cover, 2009, acrylic on canvas, 60x48 inches
Katherine Bernhardt's palette(07 of21)
Open Image ModalKatherine Bernhardt: This palette has range of pastel colors as well as dark browns. The final painting is a representation of Kate Moss in a very spring-like sheer dress/tunic.
Patrick Brennan, "Indian Summer Dance" (08 of21)
Open Image ModalPatrick Brennan, Indian Summer Dance , 2010 - 2011, 60 x 48 inches, mixed media on canvas
Patrick Brennan's palette(09 of21)
Open Image ModalPatrick Brennan: My palette is an ever changing pile on my table and floor.
Melissa Brown, "Paper Fortune Teller"(10 of21)
Open Image ModalMelissa Brown, Paper Fortune Teller, 2009, woodcut on hand dyed paper with stencils and leaf, 84 inch x 84 inches
Melissa Brown's palette(11 of21)
Open Image ModalMelissa Brown: This example doesn't seem like it, but I usually steal palette ideas from nature. I like to key up the intensity between a shadow and highlight. Think: A snow bank with a bright blue shadows with neon lights reflecting on top. Something like that.
Angela Dufresne, "Constable Cover Winter From Hell"(12 of21)
Open Image ModalAngela Dufresne, Constable Cover Winter From Hell, 2011, 32 by 40 inches, oil on canvas
Angela Dufresne's palette(13 of21)
Open Image ModalAngela Dufresne: This is one of 3 covers of Constable paintings i have made- this one reflects our current winter and riffs on his romance and elegance with my own crude, if agile understanding of such pastoral fantasies. The palette is 4 paintings deep- and counting- but will be scraped down before starting the new canvas.
Andrew Guenther, work in progress(14 of21)
Open Image ModalAndrew Guenther, work in progress, 2011, work in progress acrylic, colored pencil, and papier-m
Andrew Guenther's palette(15 of21)
Open Image ModalAndrew Guenther: I usually work on the floor in front of the painting, using all the materials and conserving the waste to recycle, until the work is complete. The image shows my production materials; ready to mix papier-m
Karen Heagle, "Raw State"(16 of21)
Open Image ModalKaren Heagle, Raw State, 2010, acrylic, ink, collage on paper, 51.5 x 51.5 inches
Karen Heagle's palette(17 of21)
Open Image ModalKaren Heagle: My palette is usually a big mess. I don't have any system, I just mix what I need in the moment, really chaotically. For me it only has to serve its purpose, a surface to mix colors etc. My current palette is a scrap of plywood. I haven't really taken the time to commit to an ideal surface.
Carrie Moyer, "Cat Eyes"(18 of21)
Open Image ModalCarrie Moyer, Cat Eyes, 2010, acrylic and glitter on canvas, 36 x 66 inches, Courtesy of CANADA Gallery
Carrie Moyer's palette(19 of21)
Open Image ModalCarrie Moyer: I use acrylic paint, which starts to dry within minutes of being exposed to air. So my palette doesn't look like the traditional painter's set-up. Instead I mix batches of color in whatever jar I can find -- sometimes I have 30 or 40 jars going at a time. That's a lot of mustard, peanut butter and salsa.
Wendy White's palette(20 of21)
Open Image ModalWendy White: I use an airbrush and textile inks for my paintings, so my palette is a rolling cart with tons of crusty little airbrush bottles all over it. At times I use a dry-brush technique. For this, I use only the crappiest brushes and an old chunk of foam core to mix paint on. The foam core weighs about four pounds from all the hardened acrylic, mostly black. I hate new brushes because they don't leave skips and drags, so mine are Home Depot specials circa 2000. I test my airbrush on a piece of canvas that lines the top of the cart, so the edges look like the wall of 80s subway car.
Wendy White, "Orange (now Baxter)"(21 of21)
Open Image ModalWendy White, Orange (now Baxter), 2011, acrylic on canvas, wood, 84 x 95 1/2 inches