Art Materials
If you do not have any art materials yet I charge $5 per class. If you have a voucher and it says that materials are included - they will be! If you have old materials please bring them with you, we will go through your box and decide what you have to buy.
Colors
to have:
Ivory
Black
Permalba White ( Titanium white) (large tube)
Burnt umber
Burnt Sienna
Yellow Ochre
Vermilion (alt. Cadmium Red Light)
Ultramarine Blue
Persian (phtalo) Blue
Cerulean Blue
Alizarin Crimson
Cadmium
medium yellow
Phtalo green
FOR ACRYLIC:
Mediums:
16oz container of runny GEL MEDIUM aka acrylic varnish
Paper palette or STA Wet-premier palette
Mediums:
Retarder or Extender— Extends the drying time of acrylic paints. Increase open time for use of techniques that are normally limited to slower drying oil paints.
Lascaux Acrylic Mediums are milled to
ensure smooth and even consistency.
Add Lascaux's premium mediums (Gloss,
Matte, and Satin) to create textures and special optical finishes.
Impasto Gels — Use alone, or mix with colors, to create different sheens and
textures.
Impasto Gels dry to a waterproof film that is lightfast,
flexible, colorless, non-yellowing, and crack resistant. They retard drying and
improve adhesion. Use them to create impasto textures, and for glazing,
extending color, color blending, and collage.
Polymer Mediums — premium mediums (Gloss, Matte, and Satin) to
create textures and special optical finishes.
Modeling Paste A — A finely ground paste that dries to a smooth, sandable
finish.
Modeling Paste B — It has the same artist-friendly working properties as
Modeling Paste A, but it incorporates approximately 33% silica sand, which
gives it a rough texture. It is especially suited to fresco-type priming of
almost any support.
Modeling Paste C — Similar to Modeling Paste B, but with larger grains of silica
sand, for an even rougher texture.
FOR
OIL:
Mediums:
For oil paint mediums I recommend to use an English brand called Gamblin: www.gamblin.com
They make all kinds of oil: from poppy seed to stand oil. Linseed oil that they make is cold-pressed, raw and old fashioned. Their special mediums are mastics (aka mastic tears), a natural resin that makes paint more luminous and can be mixed and combined with both oil and turpentine. Its color and consistency (by Gamblin) equals these of linseed oil and stand oil and can even replace them in painting, also drying much faster then oil. GAMSOL that they make is an variation of turpentine with NO smell at all and is the only version of solvent allowed to use in Art School 99.
Classical Ingredients:
Rabbit skin glue
GESSO:
Classical (oil based) *Linseed Oil
Stand Oil
*Gum Turpentine (or a
replacement)
Venice Turpentine
*Damar Varnish
Oil wax
Turpentine (also called spirit
of turpentine, oil of turpentine, and wood turpentine) is a
fluid obtained through the distillation
of resin
obtained from trees, mainly pine
trees.
Venice
Turpentine is thicker and is collected from larch trees.
Shoemakers used it for glue for many centuries.
GESSO is the Italian
word for "chalk"
and is a powdered form of the mineralcalcium carbonate
(marble). Gesso was traditionally mixed with animal glue, usually rabbit-skin glue,
to be used as an absorbent primer coat for panel painting
with tempera
paints. Classical GESSO is a pure mix of rabbit skin glue, chalk and marble dust.
ACRYLIC
GESSO Modern "gesso" is actually a
combination of calcium carbonate
with an acrylic polymer medium, a pigment
and other chemicals that ensure flexibility, and ensure long archival life. It
is sold premixed for both sizing
and priming canvas
for painting.
While it does contain calcium carbonate to increase the absorbency of the
primer coat, Titanium dioxide
or titanium white is often added as the whitening agent. This allows the
"gesso" to remain flexible enough for use on canvas.
What is what?
Linseed Oil is a flax seed oil: a clear to yellowish oil obtained from the
dried ripe seeds of the flax
plant .The oil is obtained by cold pressing, sometimes followed by solvent extraction.
Linseed oil is a common carrier used in oil paint.
It can also be used as a painting medium, making oil paints more fluid,
transparent and glossy. It is available in varieties such as cold pressed,
alkali refined, sun bleached, sun thickened, and polymerized (stand oil). The
use of linseed oil was a significant step in the technology of oil painting.
Stand
Oil is linseed (flax) oil that has been boiled and
thickened.
Damar
Varnish is Damar gum.
It is obtained from family of trees in India and East Asia.
After being taken from the tree it is dried into crystals and crushed and cooked
into resin “varnish”
Many other oils can be used in oil painting. Vegetable oil, corn
oil and olive oil are not recommended, because of how slow they dry and how
yellowish they later become. Mineral oil (sold as “car oil” in hardware stores)
is usable, but needs a lot of filtering, standing and smells. Walnut oil, poppy
seed oil are good, but dry slow.
Classic Recipes for Painting
Mediums:
Leanest Basic Painting
- 5 Parts: Gum Turpentine
- 1/2 part Linseed oil
- 1/2 part Damar Varnish
Leaner Basic Painting Medium:- 1/2 Part: Linseed Oil
- 1/2 Part: Stand Oil
etc..
BRUSHES:
Paint brushes are made from
stiff or soft hairs, which be either natural hairs or synthetic fibers. Soft brushes
are ideal for thin paint,which spreads easily, and for detailed work as they
form a sharp point which allows for precision painting. Robust, hard brushes
are ideal for pushing around thick paint and for creating brush marks in the
paint.
What natural hairs are used in paint brushes?
- Sable: The ultimate soft brush is made from the hairs on the tail of a sable marten; these taper naturally, so when they're put into a brush they form a point. Sable brushes are expensive, but are renowned for their softness, flexibility, and fine point. Kolinsky sable from Siberia has traditionally been considered the best hair for watercolor brushes.
- Squirrel: Cheaper than sable, squirrel is a soft hair with little spring. Larger squirrel brushes work better than smaller ones because the mass of hairs together gives them support.
- Hog/bristle: The ultimate hard brush is made from the hairs on the back of a pig (hog), which are strong yet springy. The bristles have natural split-ends, which increases the amount of paint they hold. Used for oils and acrylics.
- Camel: Brushes labeled 'camel' hair are really made from other types of soft hair. Camel hair is unsuitable for brushes because it's too woolly. ·
- Ox: Long, strong and springy hair.
- Pony: Coarse hair that doesn't form a good point. Often used in cheaper brushes ·
- Goat: Lacks spring, but forms a good point. Used in calligraphy and Chinese Brush painting.
http://www.dickblick.com/info/brushshap
what kind of brushes you will need and how many will depend on which class you are taking, your level and materials you will be working with. We will come up with your list on the first or second class. In a meanwhile, you can use school brushes.
