What? A Limited Palette? And Mixing Compliments

As I mentioned in the previous post, in the Wednesday studio classes we are studying color and color mixing using a limited palette. For those of us who started out with a full palette of color, (guilty!), we have a lot to learn. 

When I started teaching I began learning so much. I started setting up still lifes, so my students could learn the value of painting from life. I had painted this way, but not a lot. When I first learned to paint I painted mostly from photographs, (how NOT to paint). So, I began to "see" and identify value and color on a whole new level. What they say is true, to teach what you want to learn!

But, to stay on my topic, I then started teaching these color mixing exercises. The above photograph is one example. This is a wonderful way to learn to understand what your palette can do for you.

Use the color wheel as a guide and chose any two compliments. Paint a small square - use a palette knife or a size ten flat brush - on each side of the scale. No need to get fancy and draw everything out perfectly. You just want to practice this quickly and move to another set of compliments. Note - paint on a canvas sheet, and when it dries you can take it with you to class or use it in your studio as a guide.

When you paint your complimentary color on each side of the scale, allow about three inches in between. Now you begin to mix the two. The trick here is to use your eyes and not equal amounts of paint. The goal is to mix a neutral, one that does not lean toward either of the complimentary colors. 

So when I mixed yellow and violet, I used a LOT more yellow than violet for the neutral mix. It is important that you judge this correctly so take your time on this.

So now you have three spots of color. One compliment on each side and a their neutral gray mix in the center of the two. Now you will mix each compliment with the neutral mix, and your goal here is to lean the color mix toward it's compliment. So the middle right yellow spot will be less neutral than the center spot and more yellow than violet. On the left, the mix will be more violet than yellow. 

From here just add a little white to each mixture (toward a middle value), and paint it directly below the "pure" colors you just painted. Then do this again, adding enough white to mix a very light value. 

That's it. You will have fun using several different tube colors for each compliment. After you have done this with all three primaries, go on ahead and paint the secondaries and tertiaries the same way.

There are many more valuable exercises to do, but this one is simple and easy and will pay big benefits.

Last week we painted a still life set up using only black, white and ONE color. It was a fun learning experience and a good study of value and what you can do with one color.

Mixing Color

Years ago I taught a Color Workshop, and recently I have been teaching color mixing and how to explore color using a limited palette. So, I've decided to post the notes from the workshop so you can practice it at home (if you so desire).

Color Workshop

I held a one day color workshop at the Capital Art Center at 1200 S Street in Sacramento a few years back, and have decided to post it for any of you who might like to give it a go. It's a great little review for those who have studied color, but also for beginners who need to learn more about mixing color on the palette.

Some of the information I got out of the book, "How to See Color and Paint it" by Arthur Stern. The rest I have picked up while working with Anita Wolff, Brigitte Curt and Jim Smyth. http://www.classart.org/



STEP ONE: THE COLOR WHEEL

Making a color wheel may seem like a waste of time, but it is far from that. While making your own color wheel, you gain the experience of learning for yourself how the color wheel works. It is an amazing tool, when you understand it, and will serve you well if you want to master the art of painting.
In the workshop we used canvas (with gesso), and I used a black marker to draw the wheel before we painted the colors that we mixed onto the wheel. This worked great. Otherwise just use a canvas tablet that is large enough to get a good amount of mixed paint into each piece of pie or just a regular stretched canvas. Paper will not work well and absorb your beautiful colors!

• paint tubes



• palette set up



• mixing colors



• spectrum - The range or scale of colors on the Color Wheel (red, orange, green, blue and violet.

Making a Color Wheel (Spectrum Colors)

*Keep in mind when mixing two colors, you do not use the same amount of paint for each color, you must mix the two until you get the correct hue.

1. RED Mix Cadmium Red Light & Alizarin Crimson



2. RED-ORANGE Cadmium Red Light



3. ORANGE Cadmium Red Orange



4. YELLOW-ORANGE Mix Cadmium Orange & Cadmium Yellow Pale 



5. YELLOW Cadmium Yellow Pale (or light)



6. YELLOW-GREEN Mix Cadmium Yellow Pale and Phthalo Green



7. GREEN Mix Phthalo Green & a lot of Cadmium Yellow Pale



8. BLUE-GREEN Mix Phthalo Green & Phthalo Blue + a touch of Alizarin Crimson + a hint of White



9. BLUE Mix Phthalo Blue & Ultramarine Blue + a hint of White



10. BLUE-VIOLET Mix Ultramarine Blue + a touch of Alizarin Crimson + a hint of White



11. VIOLET Mix Ultramarine Blue & Alizarin Crimson + a hint of White



12. RED-VIOLET Mix Alizarin Crimson + a hint of White

Next we will learn to mix Complements to create beautiful 

neutralized colorful grays!

Class Demonstration - Floral Color Wash Technique

Yesterday in class I painted from a live floral set up using the Color Wash Technique. It was an interesting exercise in warm and cool. The shadows looked cool, but they were really on the warm side. The key in a case like this one is to compare the color temperatures to one another.  When I was judging this set up, the flowers were very warm, which made the shadows look rather cool. It works much like values, the easiest (not easy), way to judge is to compare.

I like to look at my subject and compare the shape that I'm working on to the shape next to it. When I'm making a color decision, do the same and compare the shape you are working on to the shape next to it, while squinting at your subject or set up.

Color temperature decision making is one of the more difficult things for a painter. Color itself can be tricky. We get a little confused because we sometimes think that a color is either warm or cool. Not so! It is all relative. Try to make your decisions based on whether your color/value shape is darker or lighter and also warmer or cooler than the surrounding shapes.

This will be a little easier after you have blocked in the original color value shape - and you get it right or nearly right. At this point you can judge more easily.

Plein Air Day at Sand Harbor...

About edges.....

I wanted to share a few ideas with you about controlling edges. This is one of the most important visual elements in painting. It is also a more advanced technique, I believe. I say this because it takes time for our eyes to observe edges correctly. 

The way we see: The human eye takes in what is in front of us in a way that you might not have considered while painting. We zoom in on something as we observe. While doing this, everything around the object of our attention goes into "soft lens mode". Our eyes move from subject to subject, in "zoom mode". Continually, everything that is not in focus is out of focus. 

This is what we must consider as an artist while painting. When you look at a painting, it is best viewed in zoom mode. So pick your focal point early in the painting process. I have found that it works best for me to keep all my edges soft, unless I'm working in an obvious focal area of the painting.

Carolyn Anderson says that our problems with edges have to do with our perception, the way we process what we see. I get it, the image goes in, but we might be getting the message wrong. You can read her post on edges here.

I finished up this little demonstration piece this morning. I started it during my class in Sacramento last Tuesday. It was dry of course, but fortunately I had left the edges soft. It was mostly underpainting, painted using the transparent color wash using the "sauce".

I only had to ad a few strokes to finish it up and I left a lot of the transparent wash as a lighter value in the flowers. I had no photo reference, so I used my imagination. I do this more and more lately, and it's not problem because if I don't like the way it turns out, I throw it out! That takes all the pressure off and allows me to experiment while having no concern (ok, maybe a little), for the outcome.

Okay, about painting edges. Consider that an edge can be painted as a sharp edge, soft edge or even no edge. When two similar values come together, usually in shadow, there is no edge. A cast shadow, at it's base is usually a sharp edge. as the shadow moves away from the object blocking the light, it will turn into a soft edge. A form shadow is almost always a soft edge. At the focal point, use big value and temperature changes and a sharp edge! 

You can learn to create a soft edge with your brush. Paint one value/color shape into the one next to it. Paint from an abstract design, and don't draw on the canvas. Mark your composition using slight marks with paint but don't draw. Stay soft. Keep away from thinking too much and making everything just "so". 

Paint right "into" the shape next to the shape your are painting! Let it blend. If you see an edge that is too sharp, using a clean brush, use a light stroke to pull them together from top to bottom, not side to side with many strokes. 

Use a light touch with your brush. If you see an edge that is too sharp and the paint is dry or is drying, mix the two colors together on your palette and paint that into the edge.

Please comment and leave your questions, or send me an email. We can talk about this further. I'll demonstrate in our next class, just remind me. 

A very tidy palette indeed Suzanne! And I like your notan too!!

One of the set ups at the Studio last week.

Blonds painting flowers!

Everybody in class did a great job. I do love teaching and I love painting flowers so for me, it was a win, win.. 

I was really happy to meet some new painters in my group. You were all a joy to work with and I'll look forward doing it all again in our next class on March 24th.

We talked about a lot of things, but first and foremost, we talked about how to see value and color. What is going on with that? We must learn to see value before we can see color relationships. This is a big topic and I hope to get back to you soon with more about this... R

"It's on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly." Claude Monet

I am finding this truth these days, so it is a great comfort to find a quote like this one.

Today's effort...

I'm working on 5 paintings right now. It's tough because I don't get to spend the hours I need to in order to work on each one further to finish. The smallest piece I've got going is 24x24. So, they have to wait, which means they will be dry between sessions.
I'm teaching tomorrow and then preparing for a trip to Sacramento on Sunday. I'm hoping to finish this piece at least, in preparation for my class on Tuesday at Patris Studio and Gallery
In addition to this piece I have started another floral, along with the 4 big pieces I've got going. Below is my commission piece (almost there), and the 30x30 Squaw Valley piece. They will have to wait until I get back next week.
I enjoy working wet into wet, but with large pieces and life in the way, it doesn't happen much for me.

I'd like to know what you think about the Claude Monet quote. Let's get some feedback on this one. 

See you soon!

Studio Class Schedule Update and ... Venice?

 

WEDNESDAY CLASSES AT STUDIO BLASQUEZ

This class is ongoing throughout the year on most Wednesdays. It is designed for the beginner through intermediate painter. We will study the basic elements of painting and paint many studies. It is my belief that the student who practices these basic elements through regular exercises will soon become comfortable with them and begin to use the creative side of the brain. This is where real painting begins.

Please call and let's talk about how we can work together toward your goals as a painter. 

Here are the dates on the 2015 calendar...

March 11 and 18

April 8 - 22 - 29

May 6 - 20 - 27

I'd would like to incorporate some plain air painting on Wednesdays this Spring and Summer. It will be a great opportunity to learn about painting outdoors. I can help you with the set up so you can get comfortable with the Plein Air experience. 

Price: $50.00 per class or buy 4 for $185.00

Location: 10382 Donner Pass Road #2, Truckee CA 96161

*Class dates are subject to change. I will update the working schedule as time moves forward.

**Stay tuned because I can't wait to announce a painting workshop in VENICE, Italy next year. This is an amazing opportunity and not an easy venue to get into. I am working with a wonderful company to customize this workshop. Mark your calendars for the last week in September and the the first week in October 2016! 

CONTACT INFORMATION: 

Contact: Randy
Email: ranblaz@hotmil.com
Phone: 916-952-7914

California at it's Peak

"California at it's Peak"

Oil on Linen   30x30"  

Available Here

This painting was a total experiment. I didn't have a real reference photo, and had to settle for a very poor quality shot. For the most part, I made it up. Believe it or not I used a web cam shot from the internet. What else can I say accept that I was desperate for snow. Does it look anything like Yosemite? Yes, really!
I tried to leave some of the underpainting untouched, but didn't really succeed. I have to say I had fun with it and loaded on the paint.
I'm hoping to get to the other two snowy pieces that I washed in with the transparent sauce, but first I will need to finish the commission piece, so I'll post that next.
Until next time,
Randy

Squaw Valley Sunset - transparent block in
30x36"

California at it's Peak - transparent block in
36x36"

Squaw Mountain Late Day - Early Spring - transparent block in
36x36"

Horsetail Falls - transparent block in
24x36"

 These paintings are all blocked in using the transparent color-wash method. It is a great way to start a painting. Yes, I'm in the mood to paint BIG!

They will look quite different when they are finished, but I do love the illumination of the transparent colors. My hope (and goal), is to allow plenty of the color-wash to show through the finished piece.

Of course, I also love the impasto of oil paint so there will be that as well.

When creating a piece of art, it is a good idea to have a variety of texture. Usually a transparent dark will dominate, OR the lighter values of an Opaque color will dominate. It is always better that one takes up more space on the canvas than the other.

It is like the idea of keying the painting in a dominant value, either high key, middle key or low key. Variety is the spice of life? (painting)!

I'm talking about lot's of variety, as in variety of value, (above), variety of shape, edges, etc. The more variety, the more interesting right?

"Squaw Valley Sunset"  Oil on Canvas
8 x 8"
Available Here

Truckee Winter Wonderland (Woes?)

"Afternoon Light Show" 

Oil on Linen   36x24"

Available here

"Afternoon Light Show" is a new piece that I painted in the studio. It was painted using the color wash method. I took the photo at Christmas, when we got a few inches of snow, just about all there has been this season.

We've been busy in the studio though. We started out with  a few changes that seem to have been a good idea. First, by going to weekly classes, everybody is very much more focused. The class time is shorter and I am giving out homework. We are beginning with a very limited palette to see where it takes us.

First we began by painting complimentary color charts. Then we used what we learned there to paint some little studies. It is amazing how much you learn from painting with two compliments plus white.

At this time we have moved into the primaries plus black and white. The homework assignment this week is to paint one or two small studies using this palette, but also to chose a dominant, secondary and little value plan. That means that the real estate or square inches used on the canvas by the "largest value" will be the dominant value. In other words, if the dominant value is a "middle" value, the secondary value might be the "light" value and the "little" would be a "dark". This would be considered a "middle key" painting. A high key painting would have a large amount of the canvas painted with the "light' value. A low key painting would have the largest amount of canvas painted in a darker value.

In class, we name our values: L - "light", ML - "middle light", M - "middle", MD - "middle dark", or D - "dark". It really helps to start your paintings with 3 to 5 large value shapes at most. We sketch out a quick notan to nail down this design idea, making sure to try and identify the largest dominant value.

Maybe a few photos will help this make sense.

The above painting is a low key painting, with the middle-dark/dark dominant value plan, a secondary mid-light value and a small amount of light value.

 From our exercise this week, this painting is a high key painting with a dominant light value, a secondary mid-value and a small amount of dark value.

If you can, come on up to the studio next Monday Night, I'd love to show you around!

Learn to Capture the Concept of your Painting....

"Apple Bouquet"
Oil on Canvas   12x12x1.5"
Available Here

Yesterday class resumed at Studio Blasquez. I wanted to start the year off with a demonstration and give an overall question and answer opportunity before we start with the weekly mini lessons - the basic elements of oil painting.

I was happy that the class wanted to see me paint using my "color wash technique' and "the sauce". This technique was adapted from what I learned studying with Ovanes Barbarian. I washed in the underpainting with this thin wash, and followed with the opaque layer while leaving a lot of the underpainting showing through. This makes for a loose and glowy painting.

For this piece, I textured the canvas with gesso and then varnished it. The varnish helps a little to keep the paint from being sucked into the gesso, leaving a nice surface for the brush.

The Concept

I spent a lot of time the day before the demo setting up the still life. I started with a lot more flowers and fruit. I kept moving things around and ended up removing most everything until I could find inspiration. I also changed the lighting around a lot. After each change I used my view catcher to see if there was something special about what I seeing. 

It wasn't until I removed most everything and simplified the set up that I found the concept. The concept is what the painting will be about. It is what you want to say. This is an important part of painting, but it takes time. 

For me it was years really, until I understood this. My brain just wanted to see things. A concept is not usually a thing. It is an idea that you are attracted to. It is what you love about what is in front of you. It can be about the time of day, the mood or a story, balance, imbalance or almost anything. It is the emotional content of the painting. Perhaps it will help to read a few quotes:

A painting is good not because it looks like something but rather because it feels like something. (Phil Dike)

Never lose the first impression which has moved you. (Jean-Baptiste-Camille Corot)

A work of art which did not begin in emotion is not art. (Paul Cezanne)

I want to touch people with my art. I want them to say, 'he feels deeply, he feels tenderly.' (Vincent Van Gogh)

For this piece, by the time I finally saw something that I liked a lot, I had removed a lot of the clutter.  Once you feel inspired you know you have a concept. Then, you must identify it and name it. So here I wanted to describe the beautiful shadow shapes in front of me. The concept was the simple and lyrical shape of the middle value shadow shapes. I went into it hoping to communicate this idea. The idea came while I was looking through the view catcher. 

Although I rarely get the result that I imagine through my visual inspiration, I feel good about the fact that I can now find inspiration through "concept". It's progress right? I will just keep at it, that's all we can do. It's the journey ya know? 

So, go ahead and give this idea a try. Ruminate on what your concept will be, and what you want to say. Keep at it and you are bound to get good at getting closer to saying what inspires you, and the viewer will know it when this happens. The painting will communicate to the viewer and he/she will get the concept, even if it is subliminal. This is a good thing!

A New Year Already and Covering the Basics

"What was any art but a mold in which to imprison for a moment the shining elusive element which is life itself---life hurrying past us and running away, too strong to stop, too sweet to lose."

Willa Cather (1876-1947)

"The Branch"

Oil on Linen   8x16" 

Available Here

I just wanted to send out a post this morning and wish you all a Very Happy New Year. It is also a good time to bring you up to date on upcoming classes and events.

Classes will be starting up again in the Studio in Truckee this week, kicking off with a full demonstration while covering the basics of Oil Painting. Composition and Design, Value, Color Mixing, Observation Translation, Edges, will be addressed, as well as the

 three ways to start a painting and a few studio tips. We will start at 10am and go until the painting is finished, about 2pm. I will be happy to answer all of your questions about the way I paint. Bring a snack and I will provide water and coffee.

Here is the thing: Every artist has his or her own way of doing things, as do I. But when it comes down to it, the basics are the basics. This is what I will be focused on teaching in the studio. We will tackle them one at a time over and over again. Artists at any level needs this practice, just like a tennis player or golfer needs to keep sharp on their skills. 

Send me an email if you'd like to attend this demonstration on Wednesday January 7th. Classes are $50. or 4 for $185. Call me with any questions. (regular class times are 10-1:30 on Wednesdays) ranblaz@hotmail.com

I will be in Truckee most of January and February, so you can plan to attend these classes if you choose, after that I will be moving around some. I plan to teach at Patris Studio a couple of times on Tuesdays in March (Sacramento) and then I will be attending the Plein Air Convention in Monterey (one last time) in April. That means at least two or three Wednesdays in the studio in March and at least two Wednesdays in April. 

It is my belief that practice of consistent learning in the classroom is the best way to learn. In addition I believe in homework assignments and will be adding that into my classes this year. I will work with each individual at their own level and on the areas of their own weaknesses, along with keeping focused on their personal goals. 

Class size is limited.

I'm happy to announce that my painting, "Last Light over the river L'aude", was accepted into the California Art Clubs "Romance of Europe Exhibition". 

Oil on Linen  8x10"
$975
Available through CAC 

EXHIBITION DATES:

January 30 – May 26, 2015

LOCATION:

Altadena Town & Country Club 2290 Country Club Drive Altadena, CA 91001

"Last Day at Squaw"

oil on canvas, 10x10 $675
Available Here

Also on exhibition is the Small Works Show in Sacramento. You are welcome to come and enjoy all of these little beauties on Second Saturday January 10th 

Patris Studio and Art Gallery

3460 2^nd Avenue

Sacramento ca 95817

In February look for a group exhibition at The Red Dot Gallery in Sacramento. I will be one of twenty-one artists participating in the exhibition California Scape:Beyond the Snapshot, at Red Dot Gallery, in February 2015.  The premise of the exhibition is to showcase the work of artists who have a unique take on the regions, locations and/or elements of California, which go beyond the postcard imagery widely associated with our state.

"Ski Day" 

Oil on Linen   11x14x.15"

$875

See the show at the Red Dot Gallery, 2231 J Street in Sacramento, February 14, Valentines Day for the reception.

A Couple of Demo's and Holiday Shows.....

"I dream of painting and then I paint my dream"

Vincent Van Gogh

"Butterflies and Coffee"

Oil on Linen Panel   8x6"

Available Here

In Class this week at Studio Blasquez I painted a couple of demonstration pieces. We discussed how important it is to paint small and often from life. It is the best way to learn the art of observation. When an artist learns to "see" or observe, he/she will learn how to paint. I was inspired by Carol Marine's new book, Paint Small and Often. I highly recommend it!

"Green Apple, Blue Cup and a Mirror"

Oil on Linen Panel   8x8"

Available Here

I will be showing a few pieces this Holiday Season at two upcoming shows. The first one is at Patris Studio in Sacramento, "Small Works" Winter show. Opening Reception - December 13th, 6-10 pm. 3460 2nd Avenue, Sacramento 916-397-8950.

Additionally, I have entered one piece in the Holiday Treasures show in Southern California, at the Debra Huse Gallery on Balboa Island. Opening Reception is on Thursday December 4th, 5-8pm. The show will run through the holidays if you are in the area. 

Hours are OPEN 10-5 Friday-Sunday. 

Please call 949-723-6171.

Enter around the corner from Marine Avenue on Balboa Avenue

A Better Painting Every Time!

October Gold

Oil on Linen Panel   6x8"

Available Here

Above is an example of a quick notan sketch in oil paint. I used a photo reference for this, along with my little plein air piece that I brought back to the studio. I was preparing to paint a larger piece, and was showing my students how to use this idea, (I planned to use the little plein air as a color reference.)
Do yourself a favor and paint a little notan while exploring your subject. It's quick, easy and it will really get you into the discovery process that is so important with design. If you take time to paint a beautiful piece with extraordinary color and brushwork and the design is not right, the painting will not be great. Something will be "not right", and no amount of "fixing" will do it.
And don't forget, this exercise will get the creative "right" side of your brain in motion. It will free you up to explore and create your best piece yet. Use your pencil or brush for this preparation, or both!

Just thought I'd share with you the idea of working with values while designing a painting. Yes, I said "design". Composition and design are an essential element of preparing for a good painting. If you jump right into your beautiful scene before having a strong design in mind, well, it may not turn out to be as good as it could be.
I like to suggest to my students to draw a quick notan sketch or three. Look for the best rhythmic dark/light pattern (notan). Start here and then look for the value shapes by squinting a lot to allow the values in front of you begin to form larger shapes. Sketch them quickly, then name them. This is a decision process, you are looking for what appeals.
I suggest that you paint a large value scale with no more than five values plus black and white. Use this scale to find the value that you've decided on for each shape. Here is a trick, while mixing paint with your palette knife check each value by moving the knife over to your scale, hold it over the value you are going for and squint. If it goes away, the value is correct.
This will teach you to see value and after this consistent practice it will begin to go easy. Give yourself time and be patient. We are learning to see in a whole new way. Now you will have a better painting every time!
Trust me when I tell you that this is the way the Masters see! It is worth the time and effort.

Blog Post Review

a photo of the smokey Truckee area and red moon last month

I've been a little under the weather this past month, so not a lot of painting these past few weeks. I also spent another week in Sacramento doing some family stuff.....

But I have not forgotten about you! I've concluded that with a condition like "chronic fatigue syndrome" and "autoimmune disease" that I cannot continue to try and live my life as though it was not a part of my life. I've finally accepted the fact that it will not get better unless I slow down. I'm not sure how that will all unfold, but we will see.

I didn't finish the 30 paintings from the Leslie Saeta challenge this time. Perhaps I will get it done, but again at a slower rate. Painting and teaching is also a part of me and I will continue with those things, also at a slower rate. (for now)

I've decided to re-post some of my old posts. I've been going back through them and reviewing some of the lessons I've shared over the past five years. I have many new students and I thought it might be a good idea to re-share some of these ideas. 

Yes. life is again a changin! Life is very good and I will just slow down a bit and look at where all this is going. In the meantime, I appreciate my readers, students, and friends. I appreciate all of you. Please let me know what topic you would like to discuss here on the blog. My desire is to post painting lessons on the blog in a "chapter" type manner, covering one topic over several weeks. 

Be sure to comment on them and also add your ideas about the subject matter. Enjoy!

Just a Few Tips

By doing a few things different while painting, you can save yourself a lot of trouble and who needs trouble when painting is hard enough?  (It's not that I"m an expert on these matters, but along the way I have learned ways to make my life easier.)

It may seem like a small thing but cleaning brushes correctly is going to save your brushes. This goes for me too! If you want your brushes to last, it's important to take the time to keep them clean and conditioned. There are many ways to go about this, and I'm not saying mine is the best but this is how I do it (with very good results):
When I'm painting in the studio I use my brushes starting with the large ones and moving to the smaller ones. When I clean them, I start with the smaller ones and move to the larger ones. When I'm finished painting, I wipe each brush and squeeze out the paint with a paper towel. Then I dip it into the mineral spirits. The first dip (and this goes for during painting also), doesn't touch the bottom of the can. It will get the brush wet enough to get more paint out of it with another squeeze of the paper towel. The next dip is the swish into the tray inside the spirit can. Try to  gently wipe the brush back and forth inside the can to remove the paint. Wipe again with a paper towel. Do this one more time. Now dry the brush with the towel as much as you can to get the mineral spirits off. Mineral spirits, when left in the brush will dry the brush and make it brittle. After a brush gets brittle, the hair will break, and you will be buying another new brush before you know it. If you are going to clean your brushes with soap when you get home, you can put them away. If you are not going to get to it, take another step before you pack up. Invest in some walnut (or other)  oil and dip your brush into it, wipe again with your paper towel. As you wipe shape it and put it away. This will keep your brushes conditioned until you can soap them. When you use soap, use a gentle soap. http://www.brushflush.com/
I use brush flush. It will get paint out of anything and everything, even dried paint. It is very important that you don't let the paint dry in your brush. When cleaning with the soap, dip it into the soap and a little water, suds it up in your (gloved) hand, rinse. Repeat this until there is no more color coming out in the rinse water. Now wipe a little bit of the clean suds onto the bristles, shape with your fingers and lay flat to dry.

I am always trying to find ways to keep my mineral spirits clean while I'm painting. This in turn will keep my painting clean because my paint will stay cleaner. Also, if my mineral spirits aren't too mucked up, my brush will be cleaner and I can paint a brush stroke with clean color.
So let's say I've been painting in my studio, as I'm painting I wipe my brush after every brushstroke or two with my paper towels. I use as many paper towels as I need in order to keep the paint from getting all over everything. It is well worth going through a bunch of paper towels in order to get good results. It does you no good whatsoever to continue to try to use a paper towel if it is covered with paint! So, don't hesitate to throw away your paper towel, even if it is not half way used. You won't be sorry and your paint won't be all over you and your hands. (And everything else!)

It is also very important to keep your palette clean. After I've laid in my painting, I clean my palette. Scrape it with your palette knife, save your piles so you can use them in your painting, and wipe it down. If you need to you can dip your paper towel into your mineral spirits and wipe. A baby wipe works well to, but be careful because it may leave a little residue on your palette. Now you are ready to continue painting. This will save you considerable grief! Repeat as many times as you need. At the end of a session, use your razor blade scraper and scrape down your palette. I move my piles of paint at this point, into a clean area, clean underneath the area where the paint sits, and them put the paint back in it's place. I am now ready for my next session with clean juicy paint (and brushes). Put a lid on your palette. If you don't have a lid, wrap it with saran wrap, tightly. When you get home, put it in your freezer. It will last longer and be fresh the next day.