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| Paints ( Vasari Paints or Old Holland) Genuine Naples Yellow Light (Vasari Paints, vasaricolorsny@aol.com, 1-800- 932-9375) Yellow Ochre Venetian Red or Terra Rosa Cadmium Yellow Deep Cadmium Yellow Light Cadmium Red Light Pthalo Blue Ultramarine Blue Burnt Umber Raw Umber (Vasari or Windsor Newton) Ivory Black Alizarin Crimson (Vasari) Transparent Oxide Red (Vasari or Old Holland) Flake White (a.k.a. Cremnitz White, Silver White, Lead White) Get pure Lead White, not mixes (i.e., with Titanium or Zinc) Brushes Trekell Brushes (http://www.trekell.com) Hog Bristle regular filberts and/or long filberts (#2, 3, 4, 6, 8, 10, 12) suggested (some sizes here not available yet with Trekkell; use another brand like Rosemary Brushes http://www. rosemaryandco.com. https://www.rosemaryandco.com/index.php? cPath=268_326&osCsid=3idsk443cmikdhrr5qdt5n2cg7 Preferred Medium Maroger Flemish Formula (it allows the paint to flow) and Venetian Wax Medium (only use in the lights; it allows the paint to be fluid but at the same time remain thick) (Old Masters Maroger; http://www.oldmastersmaroger.com/flemish.htm; 505- 758-2382/ PO Box 1936/ El Prado, NM 87529 USA) DO NOT BUY ROBERSON’S MAROGER as it is nothing like the real Maroger, in feel or color and is a waste of money. Preferred Surfaces: Smooth Inner Glow boards http://www.billewing.com/Panels.htm (1-877-430-3639). Both sides can be painted on, which encourages experimentation. On the second day of a painting, you can start the subject again on the reverse side, thereby warming up before tackling the first-day’s efforts. This trick can alleviate any nervousness about losing the start. Portrait linen with lead priming from New Traditions. http://www.newtraditionsartpanels.com/store/l600.php. This is a very smooth surface, but with the texture of linen. These boards are lightweight and thin as well. I recommend having them mounted on gatorboard. Tone boards with a medium value using a medium and Ultramarine Blue and Burnt umber, or any neutral combination. Then use a paper towel to take off excess and create an even tone. The number of boards depends on how the student works. If you are interested in doing more “starts”, then bring more boards, at least one a day. If you want to learn how to go past a particular “sticking point” in your work, then three should suffice. Stretched linen canvases (for those with time and an industrious nature) If double-primed, add one more coat of white lead and allow to dry for two weeks before using. Thin white lead (flake white, cremnitz white, silver white) with a little turpentine or Maroger and use painting knife to “press” the paint into the holes of the canvas, not obliterating the weave, but filling up the holes. Then scrape off the excess. Continue process until the surface is smooth and yet still has the character of linen. This is the most sublime surface on which to paint. How many canvases or boards to bring? It depends on the student’s level of experience. Those just starting out as well as those more experienced who want to make a big change in their work will want more boards in order to do more starts and experiments. Those that want help moving past a place in which they get “stuck” may want to work on fewer pieces and take them further in order to resolve the problem in class. However, no one will go wrong erring on the side of bringing more surfaces than needed. Bring varied sizes to accommodate different compositional ideas. Size is up to the student and what they feel they can handle. Palette Use Plexiglas or glass palette. If using Plexiglas, peel off the protective paper that has writing. If using glass, put a piece of cardboard on the back to give it a medium value while painting. Please do not bring paper palettes as their white color makes judging value very difficult. A280, L280, and OG280 Painting Knife Please have a clean painting knife with a long, graceful shape. Use a razorblade to scrape off any encrusted paint. Bounty Paper Towels |
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