|WORKSHOP MATERIAL LIST|
All class demonstrations
will be done with Golden acrylic products.
Colors listed are Heavy Body Tube Acrylics. Highlighted colors are essential.
- Ultramarine Blue
Quality brushes are essential to good painting technique. (If you already have favorite synthetic fiber brushes, you may substitute them. Do not use your good sable watercolor brushes with acrylics.) (Brand names are only suggestions.)
- 2" plus flat
wash brush, (optional but useful) (my personal preference is a DaVinci,Series
For The Studio Workshop:
Most participants will prefer to work flat on the tables furnishing the studio space. If you prefer working with your painting surface vertical or slanted, you will need to provide your own table easel.
For The Plein Air Workshop:
If you are an experienced plein air painter, bring the equipment that you are comfortable with. My personal preference is a Julian easel; however, there is a variety of portable easels available. Just keep in mind that water media painters will need an easel that will allow them to keep their palette level during the painting process.
- (Recommended) A Masterson Sta-wet Palette helps keep heavy body acrylics moist throughout a work session and is best for plein air and studio painting. (Sta-wet palettes are available in 3 sizes and can be purchased on-line at Cheap Joe's or Dick Blick)
- (An alternative) A flat porcelain butcher's tray (or equal) is best for acrylics using traditional watercolor techniques; however, it will allow the paints to dry very quickly on the palette. The techniques that I will be demonstrating in class will work much better with the Stay-wet Palette.
- White Acrylic Gesso
(Golden 8 oz. bottle will be adequate)
SOMETHING TO PAINT ON:
For the Studio Workshop:
- 5 gesso primed panels,
canvases, or canvas boards (small, no larger than 12" x 16").
- Previously used Cold Pressed Watercolor Paper (especially the #300 variety) makes a good surface on which to apply the techniques we will be demonstrating in class. This can be over a failed painting simply by applying 3 or more coats of gesso, sanding lightly between each coat. No need to throw away that expensive sheet of paper just because you messed it up with a painting you don't like. This alternative also allows you to mat and frame your painting under Plexiglas qualifying it for watercolor exhibitions.
For the Plein Air Workshop:
Any of the surfaces described above will be appropriate for this workshop.
A note to those who will be painting with watercolor or painting with acrylics using traditional watercolor techniques. It is quite acceptable if you choose to paint on watercolor paper or another surface of your choosing.
If you need clarification
on any of these recommendations or comments, feel free to contact me at
the phone number or e-mail address listed below.
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