Artist Guild Supply List

Transcription

1 Artist Guild Supply List The following list includes all recommended supplies for drawing and/or oil painting. This list applies to all work done with Sherrie McGraw, David Leffel, Jacqueline Kamin and Gregg Kreutz. Rose Frantzen s Additions Rose Frantzen comes from a slightly different tradition than David, Sherrie, Gregg and Jackie. We think this will provide our participants with a taste of the numerous approaches possible to representational or realistic painting. Like apples, oranges, and humans, genetically these traditions share a great deal in common, (which we are excited to explore with you) but, the evolution and growth of these are different. These differences will require some variation in the supplies participants are asked to bring for the Artist Guild week. Rose s modifications are built off the skeleton of the AG list. If you want to see Rose s complete supply list, contact Scottsdale Artists School for a copy. DRAWING Supply List Drawing Pads At least one newsprint pad for gesture drawing (students will do many gesture drawings throughout the week.) and at least one drawing pad with off white paper (Omni Pads or anything comparable, paper that isoff white instead of brilliant white. It is easier on the eyes.) Small sketchbooks are available from Kunst & Papier ( papier.com or phone ). My favorite styles are the Binderboard Sketchbooks and the Wire O Sketchbooks. Any size that appeals works beautifully. At least one pad needs to be 16 x 20 or larger for the long poses. Students can just use newsprint if money is a factor, as it is off white. But they should also know that newsprint isn t archival and will yellow and eventually disintegrate. Paper Bring a variety of colored papers (neutral tones), BFK Rives Paper, Somerset, Speckletone or Sennelier pastel card (expensive, recommended for advanced students). Legion papers ( Collection/By Brand/Stonehenge.htm) have all these papers, including a new color in Stonehenge paper called Kraft. Students will use white conte on these papers to create an enhanced feeling of light on the model. (optional; Instead of buying toned paper, you may make your own tone on white paper with contè or charcoal) o Vine Charcoal soft and medium o Conte` Pencils and sticks Sanguine, black, sepia and white o Kneaded eraser o Single edged razor blades o Sanding Block or medium and fine Sand Paper o Chamois

2 Niji Waterbrush for use with conte to make a wash ( This is also optional, but a beautiful tool in making washes. Optional (recommended for advanced students): Bistre and/or Sepia Ink with a watercolor brush #4 (or a variety of small ones); if possible, a retractable water color brush will be most handy, available through Escoda Sabates, S. A., and/or a quill pen obtainable through An open mind PAINTING Supply List Paints (Vasari Paints or Old Holland) Genuine Naples Yellow Light (Vasari Paints, vasaricolorsny@aol.com, ) 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) Rose Frantzens Preferred Paints All the paints from the above list work, but Rose also uses these: Titanium White (Norma by Schminke, Old Holland, or Utrecht) Permanent Red Medium (Rembrandt) Permanent Red Violet (Rembrandt) Viridian (Utrecht or any brand) Cobalt Blue Pure (Utrecht or any brand) NOTE: If you think of yourself as rather inexperienced, Rose may want to work with you using a limited palette. This would allow for a softer ease into learning and working with oils. For this, you will need the white, the black, and a burnt umber of any brand. To this we could add a slight bit more color bring any red, yellow, and blue with the former three.

3 Brushes Rosemary Brushes, either the Classic series or a favorite right now is the Ivory series, both of these come long filberts. The Ivory series are synthetic, hold their shape, lay the paint down beautifully and clean up very well. Go to: r5qdt5n2cg7. And/ or Trekell Brushes ( Hog Bristle regular filberts and/or long filberts (#2, 3, 4, 6, 8, 10, 12) suggested. Rose Frantzens Preferred Brushes: Rose use a variety of sizes in the following brands (again buy what you wish or use what you have): Hog bristle filberts and flats (most used sizes: 4, 6, 8, 12): Rose uses these Dick Blick Masterstroke and/or Rosemary& Co Classics and Ivory Red sable filberts and flats (most used sizes: 2, 4, 6, 10): Dick Blick masterstroke and Rosemary and Co. Mongoose long flats and filberts (get a range from 0 10): These amazing brushes only come from Rosemary and Co. 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; / PO Box 1936/ El Prado, NM 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. Rose s medium is of stand oil, (1 part), and Gamsol (5 parts) Preferred Surfaces: Smooth Inner Glow boards ( ). 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. 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.

4 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. Rose Frantzen s Preferred surface Canvas /panels Students may use any of these listed above, but with Rose you will want to leave a couple white, without the umber/ ultramarine middle tone. Rose tones her painting according to the subject and the specific conditions of the model. Rose will be working on this: stretched Utrecht Claessens Belgian Linen Dp (portrait weave) stock no You can also use canvas panels with L600 or Claessens #13 (C13). These should all be double primed linens. There are several good manufacturers of panels: New Traditions Art Panels. Newtraditionsartpanels.com Source tek canvaspanels.com (sold at SAS) Gesso Boards by Ampersand Ray Mar art panels raymarart.com (sold at SAS) 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

5 Painting Knife Please have a clean painting knife with a long, graceful shape. Use a razorblade to scrape off any encrusted paint. Paper Towels Bounty or Viva Container This will be needed for your mineral spirits to clean your brushes while you paint. Odorless Mineral Spirits Gamsol made by Gamblin (sold at SAS) Miscellaneous Sketch pad (small) and preferred sketching medium PLEIN AIR Landscape Easel: If you are going to do plein air painting with Gregg Kreutz, then you will need to bring an easel and portable equipment for outdoor painting. If you are painting indoors all week, the school will provide studio easels. Art Supply Resources Dick Blick: dickblick.com Rosemary and Co: rosemaryandco.com Trekell: trekell.com Jerry s Art a Rama: jerrysartarama.com SAS supply store