WORKSHOP SUPPLY LISTS
ENGLAND, AUGUST 2023 SUPPLY LIST
(tips for traveling with artist materials are at the bottom of the page).
DRAWING SUPPLIES
Drawing Paper: Single sheets mid-tone grey or creme. Any good quality mid-tone grey, light blue, or creme drawing paper that you like–you will need at least 6 sheets at least 18×24. I will be bringing Pearl Grey, Creme, and Sky Grey Canson “Mi Teintes” (smooth side).
Pitt pastel pencils # 190 https://www.dickblick.com/items/20546-3130/ or conte sanguine pencil
Colored pencils: Black and Terra Cotta. any brand (Prismacolor Verithin is best if you can locate) at least 2 of each
Generals charcoal sticks https://www.dickblick.com/items/22921-2001/
Generals charcoal drawing pencils: soft, medium and hard
Generals white pencil (called charcoal white)
White Conte chalk or similar (one stick)
Soft vine charcoal
Kneaded eraser
Masking or artist’s tape
Chamois cloth
Pencil sharpener or razor blade
Inexpensive bristle brush for blending
PAINTING SUPPLIES
Oil paints: ivory black, burnt umber, burnt sienna, cadmium yellow light, cadmium orange, cadmium red light, permanent rose, alizarin crimson, manganese violet, dioxazine violet (optional), ultramarine blue, cerulean blue, phthalocyanine blue (optional), viridian, phthalocyanine green (optional), titanium white
Brushes: hog bristle filbert shaped bristle brushes: #2, #4, #6, and #8 (Any brand of hog bristle is fine but Rob likes Silver Brush “Grand Prix” type). Filbert Series 1003 filbert shaped sable brushes: #2 and #4 (Rob likes both Silver “Renaissance” sable brushes or Escoda Brand sable brushes.)
Palette: Avoid a white palette. Wood palettes or grey paper palettes work well
Palette knife
Medium: Linseed oil (or medium of choice) Rob Will be using primarily Oleogel from Natural Pigments https://www.naturalpigments.com/oleogel.html
Solvent: will be provided at studio
Canvases or panels: five canvases or panels no larger than 20×30 toned mid-grey with acrylic paint to ensure they are dry for class. Centurian linen canvas is especially good for the price. https://www.jerrysartarama.com/canvas-surfaces/stretched-canvas/centurion-artist-quality-linen-canvas. If you prefer cotton I recommend “Yes” cotton canvas or Frederiks Watercolor Canvas. For panels I like Ampersand Gesso Board. You can tone them with white plus a little ivory black and a hint of burnt umber or use something like “Golden Heavy Bodied Neutral Gray N6” premixed acrylic. The canvas should look similar to this box:
Plein-Air Sketching Supplies: (optional)
Paper
sketch book or single sheets of paper cut down to around 8×10. I’ll be using single sheets of Canson Mi Teintes, Ingres, and Twinrocker watercolor paper placed in a notebook folder.
Watercolors
Small travel watercolor set
Tube of white gouache
Small plastic tray
Brushes
Round sable brushes #6, #4, #2
A few old brushes for casein/ gouache
Walnut (brown) ink
Knib ( crow quill or similar) and holder
Pens
Pigma Micron Archival pens sizes 005, 01, 03 ( prismacolor Premier sepia pens are good as well)
Pencils
Graphite pencils 2B,HB, H, 2H
Generals Charcoal white pencils or Similar
Sharpener
Eraser
Cup or small container for water
Easels
We will provide easels in the studio but you might like to bring a small pochade box or plein-air/French easel for optional outdoor sketching. Lina will be bringing a New Wave “u.go” easel with tripod and I will be bringing a home-made plein-air easel made with a pochade box and tripod.
————-
ANATOMY DRAWING WORKSHOP
18″x24″ newsprint pad, at least four sheets of good quality drawing paper
like Canson (white or off white), charcoal or pencils, conte pencils in
black, sanguine and white, kneaded erasers, chamois cloth.
COLOR FIGURE AND PORTRAIT PAINTING WORKSHOPS
Paint colors (oils): burnt umber, burnt sienna, cadmium yellow light, cadmium orange, cadmium red light, permanent rose, alizarin crimson, manganese violet, diozixine violet (also called Windsor violet), ultra marine blue, cerulean blue, phthalocyanine blue, viridian, phthalocyanine green (Winsor & Newton calls their’s Winsor blue -It comes in two shades, red and green. Either if fine but if you are newly purchasing it, get the green), winsor green, titanium white, lead white or lead white replacement (flake white). Rob likes Winsor & Newton oils, but any brand above student grade is fine.
Brushes: hog bristle filbert shaped bristle brushes: #2, #4, #6, and #8 (Any brand of hog bristle is fine but Rob likes Silver Brush “Grand Prix” type). Filbert Series 1003 filbert shaped sable brushes: #2 and #4 (Rob likes both Silver “Renaissance” sable brushes or Escoda Brand sable brushes.)
Wood palette
Palette knife (optional)
Medium: stand or linseed oil (or medium of choice), solvent such as turpenoid or gamsol. (For students traveling to a workshop, remember that solvents cannot be taken on a plane so we will have extra at the travel workshop sites – plan on bringing a small empty lidded container or jar.)
Rags (or good paper towels)
Easel if you have one since the sponsor may not have enough for every student.
Canvas: need two or three 11″x14″ or 16″x20″ toned mid-gray with acrylic paint. You can tone them with white plus a little ivory black and a hint of burnt umber or use “Golden Heavy Bodied Neutral Gray N6” premixed acrylic. Canvas should be similar in color to the gray box:
VELAZQUEZ TO SOROLLA WORKSHOP: EXPLORING THE SPANISH CLASSICAL TRADITION
CANVASES AND PANELS: 4 or 5 Canvases 16×20 or 18×24 (linen is preferable) plus 2 gessoed panels such as Ampersand 8×10 or 9×12. Tint the canvases with white plus a little ivory black and a hint of burnt umber (similar to the color of the gray box shown above) or use “Golden Heavy Bodied Neutral Gray N6” premixed acrylic. During the first two days Rob will be using a herringbone weave canvas prepared with gesso (similar to Robert Doak’s “Twill 84”). http://www.robertdoakart.com/web_page.html
PAINTS: The modern colors are available in most art stores and they are reasonably priced. The authentic colors can be found at online sellers such as http://www.naturalpigments.com/, but they can be quite expensive. Rob will have a selection of historic pigments and mediums to sample in class.
IT IS NOT NECESSARY TO PURCHASE BOTH. The modern colors will allow you to achieve similar results.
BLUE: authentic: Lapis Lazuli or modern alternative: Ultramarine
YELLOW: authentic: Yellow Lead Tin Yellow or Genuine Naples Yellow or modern alternative: Cadmium yellow and/or Yellow Ochre
RED: authentic: Vermilion or modern alternative: Cadmium red light or scarlet
CRIMSON PURPLE: authentic: Madder Lake genuine or modern: Alizarin Crimson
GREEN: Green Earth (Terra Verde)
EARTH COLORS: Burnt Umber, Burnt Sienna, and any of the following: Transp. Red Iron Oxide, Ercolano red (Natural Pigments) or Indian/Venetian Red.
WHITE: authentic-Lead White (Flake White) or modern: Lead white substitute, or Titanium mixed with Zinc
BLACK: authentic: Vine Black or Bone Black or modern: Ivory Black or Mars Black
ADDITIONAL COLORS: Viridian green, Thalo Blue, Thalo Green
BRUSHES: hog bristle filbert shaped bristle brushes: #2, #4, #6, and #8. (Any brand of hog bristle is fine but Rob likes Silver Brush “Grand Prix” type.),
Filbert Series 1003 filbert shaped sable brushes: #2 and #4 (Rob likes both Silver “Renaissance” sable brushes or Escoda Brand sable brushes.)
PALETTE
PALETTE KNIFE (optional)
MEDIUM: stand or linseed oil (or medium of choice), solvent such as turpenoid or gamsol. Rob will be bringing two other mediums which are basically thickened linseed oil with the additions of either calcite, wax or glass. Rob will bring enough for everybody to try. If you would like to purchase a similar product try Velazquez medium from http:// www.naturalpigments.com/
GRISAILLE FIGURE PAINTING AND CHARCOAL DRAWING WORKSHOP
Paint colors for grisaille workshops (oils): burnt umber, burnt sienna, cadmium orange, titanium white, lead white or lead white replacement (flake white).
Brushes: hog bristle filbert shaped bristle brushes: #2, #4, #6, and #8 (Any brand of hog bristle is fine but Rob likes Silver Brush “Grand Prix” type). Filbert Series 1003 filbert shaped sable brushes: #2 and #4 (Rob likes both Silver “Renaissance” sable brushes or Escoda Brand sable brushes.)
Wood palette
Palette knife (optional)
Medium: stand or linseed oil (or medium of choice), solvent such as turpenoid or gamsol. (For students traveling to a workshop, remember that solvents cannot be taken on a plane so we will have extra at the Florida and Ireland workshop sites – plan on bringing a small empty lidded container or jar.)
Rags (or good paper towels)
2 sheets Strathmore Charcoal or Canson Mi-Tientes paper neutral or buff colored.
Soft vine charcoal
Compressed charcoal stick
Charcoal pencils soft, medium and hard
Kneaded eraser
Chamois cloth
Easel if you have one since the sponsor may not have enough for every student.
Canvas: need two or three 11″x14″ or 16″x20″ or toned mid-gray with acrylic paint. You can tone them with white plus a little ivory black and a hint of burnt umber or use “Golden Heavy Bodied Neutral Gray N6” premixed acrylic. Canvas color should look similar in color to the gray box above (shown under “Painting Workshops”).
PORTRAIT/LANDSCAPE TRAVEL WORKSHOPS
Paint colors (oils): burnt umber, burnt sienna, cadmium yellow light, cadmium orange, cadmium red light, permanent rose, alizarin crimson,manganese violet, diozixine violet (also called Windsor violet), ultramarine blue, cerulean blue, phthalocyanine blue, viridian, phthalocyaninegreen (Winsor & Newton calls their’s Winsor blue -It comes in two shades,red and green. Either if fine but if you are newly purchasing it, get thegreen), winsor green, titanium white, lead white or lead white replacement(flake white). Rob likes Winsor & Newton oils, but any brand above student grade is fine.
Brushes: hog bristle filbert shaped bristle brushes: #2, #4, #6, and #8 (Any brand of hog bristle is fine but Rob likes Silver Brush “Grand Prix” type). Filbert Series 1003 filbert shaped sable brushes: #2 and #4 (Rob likes both Silver “Renaissance” sable brushes or Escoda Brand sable brushes.)
Wood palette
Palette knife (optional)
Medium: stand or linseed oil (or medium of choice), solvent such asturpenoid or gamsol. (For students traveling to a workshop, remember that solvents cannot be taken on a plane so we will have extra at the Florida and Ireland workshop sites – plan on bringing a small empty lidded container or jar.)
Rags (or good paper towels)
Sketchbook
Plastic garbage bags to store wet canvases or whatever else. Useful for keeping things dry if it rains.
Small drawing board about 16×20. Either a piece of wood or one with clips.
Easel French wooden easels are recommended for plein air painting since are nice and sturdy and have a little box that holds the paints, etc. for working outdoors.
Clips and tape to hold canvases on to your easel.
Folding stool Many people find these useful.
Windbreaker or jacket, brimmed hat, sunglasses, bag to carry supplies, sturdy shoes or light hiking boots and anything you might need to be out in the weather.
Canvas: bring a roll of canvas or panels. Rob says it is not necessary to prime the canvases that you plan to use for landscape painting. Approximately 8×10 or 9×12. Bring enough for one to two paintings each day you plan to paint. If you would like to, you can tone canvases ahead of time (mid-gray) with acrylic paint. You can tone them with white plus a little ivory black and a hint of burnt umber or use “Golden Heavy Bodied Neutral Gray N6” premixed acrylic. Canvas color should look similar in color to the gray box above (shown under “Painting Workshops”).
Rob will be demonstrating in a variety of techniques, so you might want to consider the following:
Optional: Watercolors and ink and related materials (brushes, paper) if you would like to work in various mediums and pencils or charcoal, erasers and related materials for those who would like to draw.
TRAVELING WITH ARTIST MATERIALS:
Oil Paint and Medium
Though oil paints and some artist’s mediums are not flammable, airport security guards will confiscate them if you try to take them as carry-on.They must be checked with your luggage. Make sure to pack them well and double bag them in plastic bags or containers so they don’t soil your other belongings if they are punctured. There is also a possibility of bursting since they will not be in the pressurized part of the plane.
PLEASE CHECK WITH YOUR AIRLINE FOR THEIR SPECIFIC RULES AND REGULATIONS REGARDING ARTIST’S MATERIALS. Solvents CANNOT be taken on the plane in any instance. Rob will have extra solvent on hand, so please bring a small empty lidded jar. Another option is to ship oil paints and other non-flammables to the workshop destination ahead of time. Be sure to ask the workshop host if this is an option. If all else fails, contact Rob and he may be able to supply oil paints for you in some situations. Here are more travel tips for traveling with oil.
Wet Canvas
There is no easy solution to transporting wet canvas. I recommend using Liquin or cobalt dryer for the last week of a workshop to speed drying. Also consider using alkyd white the last few days of a workshop. You may want to separate your work with clips or painting carriers. Here are some links where you can find wet canvas carriers:
http://www.jerrysartarama.com/art-supply/catalogs/0057225000000
http://www.artworkessentials.com/products/ezport/index.htm
Sketchbook
Don’t forget your sketchbook on trips! I make my own with twinrocker paper. No need to go larger than 11″x14″.
Easel – Most workshops provide easels but not all, so be sure to ask ahead of time.
French (wooden) easels are ideal for travel since they are nice and sturdy and have a little box that holds the paints, etc. for working outdoors.