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1 cotton canvas
toned mid brown (see swatch) 16” x 20” to 20” x
30”-ish
(NO LARGER)
1 cotton canvas toned celedon
green (see swatch) – smaller, perhaps 10” x
12”
see website
swatch page
To tone,
mix acrylic color into acrylic gesso base to match color swatches (does
not have to be an exact match, but as close to the swatch as you can
get – students will be mailed
color swatches prior to the workshop start date. You
can also refer to the Swatch Page but it may vary slghtly according to
your computer screen. Please do not
come to class with white canvases. Paint two coats of the colored gesso
on top of at least one or two coats of white acrylic primer ON TOP OF
ready primed canvas.
MATERIALS
Charcoal - Medium/soft (not
compressed charcoal)
Non-workable matte (gloss if you
can’t
find anything else) final fixative. Either Prismacolor Final Fix (used
to be called Grumbacher) Or Unscented hairspray (aquanet
etc) Please do not bring any other kind as I have had no end
of trouble with other brands/types.
Oil Paint – These
are all essential so that everyone has the same painting experience:
Please No Substitutions!
Mussini translucent red oxide N.365
Mussini bohemian green earth No. 646
Mussini verona green earth No. 668 or Holbein terre verte verona H297
Old Holland yellow ochre light # A53
Williamsburg Cold Black or Holbein Blue Black + Old Holland Ivory Black (to make cold black)
Old Holland Mixed White No.1(Flake+Zinc) #A4 (NOT No.2
with Titanium) or Gamblin
Flake White Replacement – I like to use both whites at different
stages of the painting. You do not have to buy both.
If you have trouble finding these in your local art supply store you can mail-order them from New York Central Art Supply, Artisans or Pearl Paints. They have web sites and accept credit cards. Please allow extra time for delivery! It takes at least 7-10 days from your ordering it for it to reach you in time for the class.
Plus any or all of the following selection
of colors (you don’t
have to buy them all, just bring what you already have; these are only
suggestions):
Cadmium red deep
Olive green
Sap green
Ivory black
Ultramarine blue
Cobalt blue
Indian red
Venetian red
Burnt umber
Sepia or Vandyke brown
Lemon yellow
Dioxazine Purple
Brushes:
Mixture of brushes: filbert, round,(one or two flats if you absolutely have to
but please No brights (these
are an even shorter version of flats - they are only good for painting impressionist
pictures or spackling walls!) 1-2 of the brushes should be soft-haired filberts
or rounds (sable or mongoose - synthetic if you really have to, but not too pointed)
1 or 2 fan brushes if you have them already.
Miscellaneous:
Gamsol odourless solvent & jar – small can, enough
for final cleaning of brushes (it is much less toxic than turpenoid and others)-
I find the Silicoil cleaning jars very good. We will use the Gamsol mineral
spirits only at the end of the painting day for final brush cleaning as part
of our effort for a non toxic studio environment and for personal life extension.
Small quantities of following (all essential and some are available in small bottles. Please make sure you have them all):
Cobalt driers
16+ oz Walnut Oil (see below)
Black Oil either Williamsburg
or James Groves** *please see below
and for the Glaze medium:
Damar varnish
English distilled turpentine
Venice turpentine
Sun thickened or Stand oil
Walnut oil & jar for cleaning brushes while
painting and also for the painting medium – at
least 16oz. You can
use ordinary walnut oil for cooking from the supermarket (I found a
Litre bottle at Wholefoods for just $5.75). M. Graham does litre cans
and there are other brands at the art store including Williamsburg,
they are just more refined and more expensive.
Small 6-oz., screw-top jar – for
mixing glazing medium in
Roll of Bounty Paper towels (preferably
white - the patterns are so ugly)
Small Palette knife (NOT a painting knife, painting
knives look like little cement trowels, palette knives are also trowel shaped but have a longer and less wide blade)
Palette- if you use a new wooden palette, coat both sides with three coats of shellac.
* The black oil can be used in the
middle layers. I personally use it at a certain stage in my paintings, for
reasons that I will explain in class, but some people in my classes have complained
about the smell and said they got headaches from it and it is not imperative
that you use it at all. It is up to you if you want to buy it and try it although
it may bother some, and if so, we’ll have to stop using it in class
and you can experiment further with it in your studio.
** Lefranc&Bourgeois have stopped making Black
Oil. James Groves, a varnish maker in Maryland is now making a version in small
batches. His details are on the Bulletin Board page.
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