Paint: any paint that goes by “artist’s color” will do fine. The only kind of paint to avoid, even if you are a beginner, is “student grade.” Examples include “Winton” by Windsor & Newton, and Gamblin’s “Sketching” line. I think they want to market these paints to those who don’t want to spend the money, but, dang. The difference between these and regular W&N or Gamblin is… vast. Good paint makes for easier painting. Having said that, the super boutique paints (Michael Harding, Old Holland) can make one feel miserly, that is, you may be scared to blob on the color when you know that each drop on your palette costs 10 dollars.
Here is a color list (yawn, you already have these):
Raw Umber
Burnt Umber
Burnt Sienna (or, transparent red oxide)
Alizarin Crimson (or equivalent)
Cad red deep or medium
Cad orange (I like to have it; some mx their own)
Cad Yellow light
Yellow Ochre
Viridian
Some sort of crazy green (thalo, etc)
Ultramarine blue
Cerulean Blue
Violet or Purple of some sort
Ivory black
Flake white : this is really good to have; should you be scared, try Gamblin’s substitute);
Titanium white: why do I ask for both? Because they are so different.
If you do not need all of these colors (example: you are painting a silver carburetor), then don’t go buy them all just because they are on this list. If you can do your whole picture with three colors, then that is all you will need.
Glazing colors (if you want to glaze):
This all depends on what you are painting. If you are painting blue glass, then thalo blue would be a good choice. But here are my favorites, by far:
Transparent Red Oxide
Alizarin
Transparent Gold Ochre
Ivory Black
I can do a lot with these – and then, of course, there are all the other semi-transparent colors you already have (ultramarine, Burnt Umber, etc) that can be used. But transparent gold ochre is a must!
Supports (what to paint on):
I LOVE the Centurion oil-primed linen boards. You can order them from Jerry’s Artorama. I Also like Gessobord by Ampersand. Of course, there’s traditional canvas and stretcher bars. All fine and good, but do NOT try to work on anything mega-cheap, like the thirsty acrylic-primed cotton duck canvases. That’s why I like the Centurions – not expensive at all, and they perform beautifully. There are so many good brands out there now, so bring whatever you like, so long as it works. I like panels because they are so easy to cut down, if needed, and they are easy to frame.
What Size?
We have five days. That’s not a lot of time, if you want to finish your picture. My guess is, 16x20 is probably the maximum for this sort of still life. I love working small (around 11x14), but for some that is like doing a miniature. Remember – small is NOT small in importance – look at those beautiful little Vermeer paintings, or tiny Chardin pictures.
Solvent
I think Gage is committed to Gamsol. This is important, as all other solvents are nastier. PLEASE have a brush tank with a LID—Gamsol is good, but if there are ten people with open containers of solvent, that makes for a lot of headaches!
Brushes
Bring whatever you like, but please do not try to paint tiny things with a big brush. Have some small ones too. And, get a big, soft fan brush – they are really useful. I like the badger hair ones, or the Windsor and Newton Scepter Gold.
Palette Knives
Bring your usual assortment. I like to have large and small knives for mixing and for effects.
Palette
I think an arm palette is best, because I think it makes for easier color comparisons with your set-up. Dipper cups are a must. As for the glass mixing palette, that is fine too. I actually like to have both—the glass on the table for mixing, and the arm palette for standing/painting. Those paper disposable ones are not bad as a glass substitute.
Mediums
I like regular linseed oil, but in our class, we only have five days, so I suggest something faster drying. All the Gamblin Galkyd products are good, but my current favorite is the Liquin/fine detail. It isn’t as stinky as the original Liquin, and dries fast enough. Try a little bottle and see.
For glazing, there’s the classic stand oil, which works well, or the three-part formula (solvent, varnish and oil) too. But my current favorite is the Gamblin “Neo-Megilp.” I love this stuff, because it stays wet for a long time, and this allows you to paint into it with no problem. In case you are wondering, we will be glazing as a last-day finishing step, and only if you want, so the slower dry time is not an issue for our class.
Drawing stuff and other things
I want to leave this open. If you wish to draw first, and then transfer to your support, that is a great way to work, so bring paper and pencil/charcoal etc. If, on the other hand, you want to draw with paint right on the canvas, that is also perfectly fine.
I really love having dividers or calipers when drawing. They help me. Also, I like framing Ls, which are two large L-shaped pieces of mat board or cardboard, through which one looks at one’s still life set up. There is a little plastic one you can buy, which do work but I think they are too small. I like using plumb bobs too, for checking verticals and such.
Questions? Feel free to call me at my studio: 518-758-8884. JOHN