(I buy my supplies online at ASW, Jerry's Artarama and Dick Blick).
Titanium white
Cad Yellow
Yellow Ochre
Raw Umber
Cad Orange (optional)
Burnt umber (optional)
Cad Red
Alizeran Crimson permanent
Burnt Sienna (optional)
Dioxizine Purple (optional)
Ultramarine Blue
Cerulean Blue or Cobalt Blue
Permanent Green (optional)
Viridian
Olive Green, Terre Vert or Greenish Umber (optional)
Ivory Black
Winsor and Newton Underpainting White
(Madison Art shop is the best price I have found for Underpainting White 120ml tube. Click Here).
You can call Madison Art Shop at 1 (800) 961-1570 to order by phone.
BRUSHES
Assortment of bristle brushes (flats and filberts)
Soft sable flat for blending (synthetics OK too)
Small sable rounds for details
SUPPORT
Gessoed wood panel (My preference) but stretched canvas or canvas mounted on panel is fine.
INCIDENTALS
2” gesso brush
paper towels (Blue shop towels are the best)
refined linseed oil
liquin and palette cup
Gamsol turpentine substitute and conainer
Damar retouch varnish (spray can is best)
Pallet knife for mixing colors
Kneaded eraser
soft vine charcoal or soft pencil, sketch book, pigma pen and spray fixative.
(A table easel is useful. There are tables and chairs at my Portsmouth and Lowell studios, please bring your table easel if you prefer to sit.) I have standing easels available if you wish to stand).
*I have extras of everything on this list, you are welcome to borrow whatever you need in class if you forget something or have trouble finding it at the art supplier.
Tod
ReplyDeleteI'd be interested in your thoughts on Cad yellow. Donald Jurney says he avoids it like the plague (well he didn't exactly put it that way) and I find that I am always fighting to de saturate it without going chalky.But it works fine for darker greens, just screams out at you in the sunlit areas.
Hi Bruce,
ReplyDeleteVan Gogh used it and I use it and love it. If you start with super saturated cads, you can always go down in saturation until you get mud. You can't start with mud and work your way up to high chroma cads. For me, that range insures Cads a spot on my palette.
I think in the end we will all realize that palettes are so personal and in capable hands, almost any combination of colors can make great work. Proof of this is evident in the countless examples of masters who will forever dazzle us with what was present or absent on their palettes. As Donald pointed out, Rembrandt could in all likelihood use shoe polish and a toothbrush to create a masterwork.