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10% Discount Card
for Art Supplies at
Cape Cod Photo, Art & Framing
in Orleans!
Discount Card may be picked up at museum after registration for class.
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See registration information listed below workshops.
Supply lists for classes are also listed at the bottom of this page. To register online, click on the underlined price.
SUMMER CLASSES 2010
Wheel-Thrown Pottery: Three Classes with Nat Doane
4 weeks / Tues & Wed, June 29 - July 21 / 6 - 8 pm
Members: $170 Non-members: $195
$45 materials fee All levels
This class focuses on the fundamentals of “throwing” on the potter’s wheel, an introduction to the basic visual and technical issues involving ceramic forms. Through demonstrations and individual assistance, Nat helps each student develop skills using the potter’s wheel to create functional forms such as cups, bowls and vases.
8 weeks / Fridays, July 2 - August 20 / 10 am - 1 pm
Members: $215 Non-members: $240 SOLD OUT
$45 materials fee
4 weeks / Tues & Wed, July 27 - August 18 / 6 - 8 pm
Members: $170 Non-members: $195 SOLD OUT
$45 materials fee
OPEN CLAY STUDIO
Students with previous clay experience can pursue their own projects outside of a structured class. No instruction provided. This is for wheel-throwing and hand-building and includes a bisque firing, not including glazing which is set up at a separate time. Students must have prior clay experience or permission from Nat Doane, clay studio manager.
Per individual session: Members $30 Non-members: $45
Must use CCMA clay. Clay price including bisque firing: $21
Students must call to register for Open Clay Studio; 508-385-4477 ext 16.
Tuesdays, June 29 - August 17 / 2 - 4:30 pm
Thursdays, July 1 - August 19 / 5 - 7:30 pm
Fridays, July 2 - August 20 / 2 - 4:30 pm
Beginning Wheel-Thrown Pottery with Nat Doane
August 23 - 27 / 1 - 3:30 pm
Members: $265 Non-members: $290
$45 materials fee
This class focuses on the fundamentals of “throwing” on the potter’s wheel, an introduction to the basic visual and technical issues involving ceramic forms.
Fundamental Drawing with Michael Giaquinto
SOLD OUT
5 weeks / Tuesdays, June 29 - July 27 / 5:30 - 7:30 pm
Members: $85 Non-members: $105
Drawing is the foundation to all art. Build a strong foundation and enhance your understanding of crucial artistic principles. Focusing on still life, students gain valuable insight into traditional methods and fine art practices. All levels welcome.
Plein-Air Landscape Painting with Julie Siler Olander
4 weeks / Wednesdays & Thursdays, June 30 - July 22 3:30 - 6:30 pm
Members: $250 Non-members: $275
Starting with a thumbnail sketch, learn how to design your painting, see the correct values and interpret color. A variety of landscape subjects will be covered including beaches, woods, water, skies and structures. Students should have some painting experience. Painting will be done in the mid-Cape area, or indoors if weather is not conducive for plein air work. Necessary materials are listed below.
Pastel Painting with Barbara Stone
4 weeks / Wednesdays, June 30 - July 21 6 - 8 pm
Members: $75 Non-members: $95
Learn to explore the unique, vibrant medium of pastels. Work with simple still life and landscapes to practice composition and the layering of pastels. Students will work on a sanded paper with multiple underpainting techniques. Color theory is emphasized with discussions of color temperature and color recession. All levels welcome. Necessary materials are listed below.
Beginning Painting with Robert Roark SOLD OUT
4 weeks / Thursdays, July 8 - July 29 / 6 - 8 pm
Members: $75 Non-members: $95
This class addresses the needs of the beginning painter, who may work in their medium of choice- watercolors, oils, acrylics, pastels. Emphasis is on basic drawing and painting skills along with an in-depth, ongoing discussion of materials, color theory and composition. Demonstrations illustrate all facets of the artistic process.
A Passion for Opera: Leonard Bernstein with Murray Beer
4 weeks / Tuesdays, August 3 - 24 / 1 - 4 pm
Members: $45 Non-members: $60
August 3: Biographical information on Leonard Bernstein; view and discuss West Side Story
August 10: View and discuss Trouble in Tahiti
August 17: View and discuss Mass
August 24: View and discuss Candide
Each class features a champaign intermission.
Wood Carving a Weather Vane with Eric Kaiser
4 weeks / Thursdays, August 5 - 26 / 5 - 8 pm
Members: $125 Non-members: $150 All levels
This is a great course for wildlife artists and folk artists alike. Carve and paint a weather vane inspired by an Elmer Crowell period piece in the form of a Pintail drake. The first class emphasizes carving the head shape and eye set to give your carving that “special look.” Subsequent classes emphasize painting technique. While referencing the real bird, blending oil paints is used to create the illusion of softness with realistic and dynamic color. You may choose to paint your creation in a more primitive form, as Elmer did with his original. Wood cut-outs, paint medium, sandpaper and references are provided. Needed materials are listed below.
SUMMER WORKSHOPS
Painting Birds in Oil with Aleta Steward Enrollment closed
Four-day Workshop
July 17 & 18, July 24 & 25 Saturdays: 10:30 am - 4:30 pm
Sundays: 12:30 am - 4:30 pm
Members: $350 Non-members: $375
For anyone who wants to capture the fascinating beauty of a bird in its natural setting, this workshop will help you learn how to analyze the important characteristics of different buirds with the goal of portraying them accurately and with life. Lighting, color harmony, feathers, eyes, size relationships and other aspects unique to painting birds will be covered. Specific instructions in how to break it all down into steps will take away any hesitation in tackling these sometimes intimidating sugjects. Students should have some experience with oils. Demonstrations, color mixing to create atmosphere, form and value studies are emphasized as students work from photographs. Needed materials are listed below.
Two-Day Pastel Painting with Barbara E. Stone
Sat & Sun, August 14 & 15
Saturday 10:30 am - 4:30 pm Sunday 12:30 am - 4:30 pm
Members: $225 Non-members: $250
Explore the intense, vibrant hues of pastel painting! Working on Wallis paper, experiment with underpainting techniques using watercolor, acrylic and/or metallic washes. Composition, color theory, temperature and color recession is part of the instruction and critique. A half-day of plein air painting is planned, weather permitting; students should bring photos of landscapes with early morning or late afternoon light. Day one includes a demonstration and preparation of surfaces, a quick review of materials and composition strategies. Day two is painting on location, then a return to the classroom for light “adjustments” and a brief critique.
Sailor's Valentines with Sandy Moran
Two Workshops
August 7 & 8 / Sat: 10:30 am - 5 pm; Sun: 12:30 - 5 pm
Members: $725 Non-members: $775
The August Workshop will focus on an oval center design of flower branches, such as apple blossoms, created from beautiful brown, pink and turquoise shells. A handmade mahogany case, sea shells, tools and all other materials are provided.
September 8 & 10, 9:30 am - 3:30 pm
Members: $725 Non-members: $775
In the September workshop, create very imaginative flowers for a special flower garden inside the box, with a border around the inside. A handmade mahogany case, sea shells, tools and all other materials are provided.
FALL - WINTER WORKSHOPS
Collage Techniques and Creative Exploration 2010
Jonathan Talbot
Saturday & Sunday, October 23 & 24 / 9:30 am - 5:30 pm
Members: $300 Non-members: $325
Explore composition and the creation of a personal visual vocabulary with internationally known artist Jonathan Talbot. Enjoy opportunities for new spontaneity as you learn his exciting collage technique that eliminates liquid adhesives from the collage-assembly process. Other subjects covered include the paperless transfer of printed and photocopied images, tissue overlays, permanency of materials, preparation of substrates, sources of tools and materials, presentation and framing of finished works, and more. According to Jonathan, “The only prerequisites for this workshop are initiative and imagination.” For more information on Talbot and his work, see his website: www.jonathantalbot.com
Painting Skies and Water
William R. Davis
Saturday & Sunday, November 6 & 7
Saturday 10:30 am - 4:30 pm
Sunday 12:30 - 4:30 pm
Members: $285 Non-members: $310
This workshop will address the painting of atmospheric skies and its reflections on water with a master of landscape and seascape painting. Davis will teach an approach to cloud structure, color and its effects on still or moving water, with an emphasis on the stages of underpainting in oil. Class participants should have some experience with oil painting. Materials list is below registration information.
Smalti Mosaic Workshop
Joshua Winer
Saturday & Sunday, November 13 & 14 / 9:30 am - 5:30 pm
Members: $265 Non-members: $285
Smalti mosaic is the traditional sparkling, highly colored glass seen throughout European churches, palaces and garden walls, and is unsurpassed for beauty, utility and permanence. Working with small glass smalti (5/8”) from Mexico, create an original mosaic on a 10” x 10” panel. Topics include design, panel preparation, purchase of materials, cutting mosaics, adhesives and grouting. Workshop is for both beginners and mosaic artists who would like to develop advanced individual projects. Materials are provided, including glass cutter.
White-Line Woodblock Printmaking
Kathryn Smith
Saturday & Sunday, November 20 and 21, 10 am - 2 pm
Members: $225 Non-members: $250 Materials fee: $10
This weekend course will provide the student with a brief introduction to the white-line printmaking process begun in Provincetown in 1915. Participants will learn the basics of making a white-line print: image transfer, cutting the block, and hand-printing the image to make your print. The course runs 4 hours per day, for a total of 8 hours. Students will need to bring the following items: watercolor and brushes of various sizes (either cake or tube watercolor is fine); carbon or transfer paper, one or 2 sheets; tracing paper, one or two sheets; pencil, ruler, drawing paper, one or two sheets; D’Arches Cover PRINTMAKING paper (NOT watercolor paper), one sheet; a silver or stainless steel tablespoon; Exacto knife with #19 blade; a 6 x 8 linear image.
Painting the Sea – in 2011
Don Demers
Saturday & Sunday, Jan 29 & 30, 2011 / 9 am - 5 pm
Members: $345 Non-members: $395 Intermediate level+
This workshop focuses on the theory and method of painting water and shoreline. Included in the subject matter will be techniques and methods for painting breaking surf on a rocky shore, breaking surf on a beach, calm water, marshes and the various objects and forms found in a shoreline environment. The class format includes demonstrations, paint-alongs and personal critiques of the students’ work. The workshop is in the studio, so each student must have no less than 4 small studies (no larger than 8x10) done on location; two studies of rough water and two studies of calm or inland water. These do not have to be finished paintings but must have been created on location. The student should create these studies with the idea of using them as reference for a larger work. This is an essential requirement for participating. If the student arrives without these studies they will not be able to participate in the class. Students should not worry if they don’t have much experience painting outdoors. These studies are a training exercise only. Photographs may be used, but these do not take the place of the small studies. A supply list is posted below registration information.
GENERAL INFORMATION FOR CLASS REGISTRATION
Please register early! Enrollment is first-come, first-served basis.
To register online:
Click on appropriate underlined price.
To register by mail:
CCMA, P.O. Box 2034, Dennis, MA 02638
To register by phone:
508-385-4477 ext 16
CCMA members receive a reduction in class fees. Click here to become a member.
Ask about our sibling discount.
Adult classes are open to high school students.
Materials lists are given upon class registration or will be provided at the first class session. Materials are provided for children's classes, unless otherwise noted. See class descriptions for specific information.
ALL CLASS AND WORKSHOP FEES ARE NON-REFUNDABLE UNLESS CLASS IS CANCELLED BY THE EDUCATION DIRECTOR.
For additional information regarding courses, please call Linda McNeill-Kemp, Education Director, at 508-385-4477 ext 25.
Cape Cod Museum of Art is not responsible for materials or artwork left on the premises.
Materials Lists for Selected Classes
Beginning Acrylic Painting - Michael Giaquinto
Colors- Carbon Black or Ivory Black, Cadmium Red Medium, Cadmium Yellow Light, Cobalt Blue, Titanium White
Brushes: Variety of sizes of acrylic paint brushes
Palette
Canvas paper (comes in pads of several sheets)
8" x 10", 11" x 14" plastic tubs with lids
Empty coffee can
Clean rags
Oil Painting for All Levels - Robert Roark
Colors- Ivory black, burnt umber, burnt sienna, yellow ochre, cadmium red, cadmium orange, cadmium yellow, alizarin crimson, ultramarine blue, viridian green, titanium white.
Brushes- An assortment of flats and rounds in various sizes will be fine.
--Turpentine
--Paper towels
--Painting and/or mixing knife
--Palette
Drawing - Michael Giaquinto
14” x 18” drawing pad
Pencils: HB, 2B, 4B and 6B
Gum or kneaded eraser
Blending stump
Figure Drawing - Patrick Blackwell
Drawing pad: your choice: sized 9" x 12" to 12" x 18" recommended
Soft pencils
Eraser
Charcoal
Dry Pastels - Peter Richenburg
Set of dry pastels (the larger, the better)
Paper will be supplied by instructor
Sheet of medium sandpaper
Roll of artists tape (purchase after first class)
Small chamois
Q-tips
Optional: Drawing board for your paper to be taped on (masonite is fine)
Bird Carving: Create a Crowell - Eric Kaiser
Loew-Cornell paint brushes (or similar): 7020-2 Ultra Round, 7300C #6 Shader and 7200 Small Fan
#11 X-Acto knife; small carving knife, or, X-Acto Basic Knife Set (or similar)
Intermediate Oil Painting - Shawn Nelson Dahlstrom
Colors: White (Titanium or Zinc); Payne's Gray, Burnt Umber, Cadmium Yellow, Orange and Red; Alizarin Crimson; Thalo Blue; Ultramarine Blue, Diozanine Purple
Palette and palette cup
Odorless paint thinner
Vine charcoal
Painting knife
Brushes: Filberts: #2, 4, 6; Rounds: #2, 4, 6 (if you wish to purchase only two brushes, choose Filbert #4 and a round #4)
Cloth or paper towels to clean your brushes
Canvas
Water-Base Oils and Acrylics - Karen North Wells
For oils, my preference is Artisan water-base oils by Winsor Newton plus.
Stand oil made especially for water-base oils. Stand oil gives paint a sheen plus makes them buttery in texture, quite creamy! Stand oil is NOT used with acrylics. Or you may use Linseed oil instead of Stand oil with oils. I just happen to like Stand oil.
For acrylics my preference is Liquitex.
For oils and acrylics I use pretty much the same colors as I do for watercolor except for a few differences.
Cadmium Lemon, Yellow Ochre, Cadmium Yellow Medium (optional), Cadmium Orange(optional), Cadmium Red Light or Cadmium Red, Cadmium Red Medium, Alizarin Crimson(optional)(good with Viridian Green to make black), Permanent Rose (used for flowers), (French) Ultramarine Blue, Winsor Blue (Phthalo Blue), Cerulean Blue, Viridian Green (Optional, but good with alizarin crimson to make black), Ivory Black mixed with lemon yellow to make green, Titanium White (I get large tubes because this is used the most of all the colors.)
I highlighted in bold the colors I think are absolutely necessary. Others can be bought later if needed.
Canvas (stretched) or Masonite or canvas board -- I coat canvas or Masonite(without waffle-like backing) with Gesso and then undercoat painting with cadmium red light acrylic paint before painting subject. If canvas is already white, then it has already been primed with Gesso.
Brushes of all sizes and unlike watercolor, the cheaper the better- round, flat and filbert made for oil or acrylic paints
Lucite right-angle triangle (the larger the better for horizon lines)
Two jars or plastic 16 oz containers (filled with water if painting outdoors)
Paper towels
Palette made from Masonite, Lucite, plastic plates or disposable paper sheets that are made to use as a palette
Watercolor Painting - Karen North Wells
Palette: I have used Jones palette but like John Pike Big Well Palette because it is sturdier and has room for 1½" flat brush
Watercolors: I like Winsor Newton, but NOT their Cotman series
Cadmium Red, Cadmium Lemon (make sure it does not have titanium nickel), French Ultramarine Blue (for shading), Cerulean Blue (for skies), Winsor Blue (red or green shade; this is a Phthalo Blue I use for water), Prussian Blue (to mix with Lemon Yellow for green), Yellow Ochre (for sand, skin, sky and warm whites)
Optional colors, but needed eventually: Cadmium Yellow Pale, Cadmium Orange, Permanent Rose (for flowers), Alizarin Crimson
Brushes: I like Pro Arte, Langnickel, and Richeson
Flat: ¼", ½", 1", 1½" (None of these you need right away except the 1½")
Round: as small as #000 or #00 for signing name; also #10, #12, #16 and a larger one which is VERY important-Either a #20 or #24
And a #1 or #2 rigger, but not necessary to start out
Paper: D'Arches Block 140 lb. cold or hot pressed (I buy blocks)
Other supplies: Masking fluid (I like "Incredible White Mask" from ASW), masking tape (if you don't use watercolor blocks), sponge or spray bottle (optional), paper towels, 2 water jars, #2 pencil, eraser (Eraser Staedtler Mars Plastic is terrific, sold at Staples)
Watercolor - Kely Knowles
Colors: Permanent Alizarin or Quinacridone Rose, Cadmium Yellow or Cadmium Lemon, Phthalocyanine Blue or French Ultramarine Blue and Cobalt Blue OPTIONAL: Cadmium Orange and Cerulean Blue
Brushes: Synthetic watercolor brushes: #2, #5, #8 round; 1" and 2" flat (or 1.5" flat)
D'Arches Watercolor 140 lb. paper (rough or hot press or cold press); block or single sheets
Masking tape (any width)
Any waterproof board (slightly larger that 1/4 sheet watercolor paper)
Paper towels or cotton rags
Paint palette or mixing tray (white ice cube tray)
2H pencil and dark soft pencil
Medium sketch pad
Kneaded eraser
Calligraphy - Rick Paulus
Calligraphy pens, any type
Ink
Sharp pencil, eraser
Ruler
Paper for practice
Quality paper for experiementation and finished pieces
Optional:
Paint brushes
Quality watercolor paints and/or gouache
Colored inks
Compass
Large pens
Plein Air painting with Julie Siler Olander
Oils or acrylics
cups for medium
brushes
Canvas or paper
Water or medium to mix paints
Palette
Apron or smock
Standing easel
TV tray
Stool or chair
Umbrella for easel (optional, but recommended)
Backing board
Drinking water, snacks, lunch
hat, sunscreen and/or bug spray
Hand cleaner
Rags or towels
Pencils. erasers, pad of paper for thumbnail sketches
Painting Birds in Oils with Aleta Steward
Oil Colors: Burnt Umber, Burnt Sienna, Ultramarine Blue, Titanium White, Yellow Ochre, Cadmium Red Light, Cadmium Red Deep or Rose Madder, Cadmium Yellow Pale or Lemon Yellow, Cadmium Yellow Deep, Sage Green
Small primed panel, 9 x 12 or 11 x 14, or primed canvas on high grade portrait weave (cotton or linen)
Drawing pad, at least 11 x 14, white paper only
Drawing pencils, gum or kneaded eraser
Selection of Kolinsky sable or red sable brushes: sizes 4 round, 4 flat or filbert, 6 & 8 flat or bright. Synthetic brushes are fine in good condition.
Small jars of painting medium
Several good quality photos of the bird selected to paint, and background elements such as tree branches, flowers with stems, roses, etc.
Jonathan Frazier Plein Air Painting Workshop
Sketchbook for planning sketches and notes
Oil colors: Ultramarine Blue, Burnt Sienna, Titanium White< Cadmium Lemon (aka "yellow light"), Cadmium Medium or Deep Yellow (and orange yellow), Cadmium Red, Alizarin Crimson, Cerulean Blue or Phthalo Blue
Turpentine or Turpenoid, linseed oil, 2 small jars and paper towels
Brushes in a variety of shapes and sizes (common hog bristle works best)
Cotton cloth rag (preferably white, not prone to leave lint)
Palette: wood or disposable paper- make sure it's large
Palette knife for mixing paint (ideally a large blade offset from the handle)
Outdoor easel
Pastel Painting with Barbara Stone
Wallis paper - minimum of 9 x 12 size (professional or museum grade)
Preferred brand of pastels: Rembrandt, Unison, Terry Ludwig
A few Nupastels for underpainting (in burnt sienna, reds, oranges, yellows)
1" - 2" paint brush
Mixing jar, rubbing alcohol
Painting Skies and Water - Bill Davis
Colors - Ultramarine blue, Ultramarine violet, White blend mix of titanium 50% & zinc 50%, Cerulean blue, Ivory black, Cadmium Yellow medium, Cadmium Yellow deep, Cadmium orange, Cadmium red deep, Venetian or Indian red, Yellow ochre, Green earth (Rembrandt), Sepia, Greenish Umber (Rembrandt)
Optional colors - Transparent red oxide (Rembrandt), Transparent yellow oxide (Rembrandt), Dioxazine purple
Brushes -
Bristle rounds 0, 2, 4
Bristle flats 2, 4, 6
Nylon flats 12, 20
Fan 2, 4
Sable round 0, 1, 2
Medium - 50% turpentine & 50% linseed
Plein Air Painting with Don Demers
Oil Paints:
Ultramarine Blue, Cobalt Blue, Prussian or Thalo (optional), Viridian, Cad. Yellow light or Lemon Yellow, Cad. Yellow Medium, Cad. Red Light, Cad. Red Medium, Alizarin Crimson
Earth Tones: Yellow Ochre, Raw Sienna, Burnt Sienna, Terre Verte (optional), Burnt Umber, Raw Umber (optional), Greenish Umber (optional)
Painting Medium of your choice. I prefer a fast drying alkyd medium in gel or liquid
Brushes:
A combination of bristle brushes. I suggest small medium and large in three styles.
Filberts, Rounds and Flats.
One or two Sable flats and rounds in medium and large sizes for blending and softening edges
Canvas or linen mounted on board or gessoed board. Sizes can range from 6x8s to 16x20s but nothing much larger.
Portable Easel or pochade box for working outdoors.
Sketch Pad with soft pencils
View finder (home made or manufactured)
Click here for CHILDREN'S CLASSES
PREVIOUS CLASSES
Oil Painting in Primary Colors - Lance Walker
Colors: Ultramarine Blue, Cadmium Red Light, Cadmium Yellow Medium, Titanium White (large tube)
Brushes: Bristle, Flats: #2, 4, 6, 8 or a set; Filberts: #2, 4, 6, 8 or a set; Synthetic round #4
Canvas, stretched: 8 x 10, 9 x 12, 11 x 14
Linseed oil
Odorless mineral spirits
Small jars with lids (like baby food jars)
Palette
Palette knife (metal or plastic)
Rags, paper towels
Life Modeling Sculpture - Robert Marcus
--Large board, at least 12" x 12" and 3/4" thick or larger. This should be coated with polyurethane, paint or varnish. It will be the platform for your modeled figure. Since one of the poses will be a reclining figure, make sure your board is larger than the figure you want to make.
--Large plastic bag such as a garbage bag. This is used to keep the sculpture clean between sessions.
--Modeling tools: Two wire loops (small loop and large loop) and a wood-blade modeling tool
Optional: Wire armature. This is useful for larger figures that need structural support.
Note: The oil-based clay (about 15 lbs) is purchased from the instructor.
Classical Landscape Painting - Arnold Desmarais
Colors- Cadmium Yellow (light), Cadmium Orange, Alizarin Crimson, Burnt Sienna, Umber, Viridian, Cobalt Blue, French Ultramarine Blue, Alkyd Titanium White or regular Titanium White
Brushes: 3 Brights, 3 Filberts, one soft blending brush and a small round brush for detailing.
--Pencils
--Medium vine charcoal
--Clear plastic 12-inch ruler
--Odorless solvent such as Turpenoid or Gamsol
--Linseed oil
--Paper towels or lint-free napkins
--Small trash bags
--3 foundations: canvases, panels, boards (primed and/or gessoed)
Still Life Oil Painting - Sarah Son-Theroux
Colors: (37 ml tubes, Utrecht brand is good)
Burnt Siena, Yellow Ochre, Burnt Umber, Alizarin Crimson, Cadmium Red Medium, Cadmium Yellow Medium, Ultramarine Blue
Zinc White (150 ml tube)
Brushes: bristle- filberts #2, #4, #5; pure red sable round #1
Palette knife (a diamond-shaped 2 3/4 inch is good)
Palette cups (set of two), medium to large
Painting Medium or Linseed Oil (Utrecht Oil Painting Medium, 8 oz. is good)
Odorless Mineral Spirits ( 1 qt.)
4 canvases, or panels, 9" x 12"
Rags or paper towels
Palette at least 12" x 16" (disposable paper palette is good)
Dish soap to clean brushes
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Landscape Oil Painting - Joseph McGurl
Suggested palette* (oil or alkaloid): Hansa Yellow Light, Cadmium Yellow, Cadmium Orange, Cadmium Red Light, Cadmium Red Medium, Alizarin Crimson, Permanent Green, Greenish Umber (Rembrandt Paints), Cerulean Blue, Ultramarine Blue, Thalo Blue, Burnt Umber (alkyd) Raw Sienna, Ivory Black, Dioxanine Purple, Underpainting White (Winsor & Newton), Titanium White
*NOTE: I strongly advise against using "student grade" colors. There is not enough pigment in certain colors, and it makes mixing difficult.
Other supplies:
Sketching easel or pochade box
Sketch pad, Charcoal, Eraser, Pencil
Liquin painting medium
Mineral spirits or turpentine
Paper towels
Suitable assortment of brushes
Oil and turps cups
Palette
Portable stool
Palette knife
Two small masonite panels (approx. 6 x 10)
One larger masonite panel (approx. 8 x 12)
Knapsack or method of carrying supplies
Viewfinder
Hat, sunblock, bug spray, jacket, lunch and drinks
High School Portfolio Development - Daniel Springer
Charcoal sticks/pencils - black & white
Charcoal paper, decent quality
Kneaded erasers
Paper blenders (tortillons)
Ebony pencils
Drawing paper, decent quality
Traditional Oil Painting Class - Elizabeth Mumford
Colors - Titanium White, Burnt Umber, Raw Umber, Raw Sienna, Burnt Sienna, Yellow Ochre, Cadmium Yellow, Cadmium Scarlet, Alizarin Crimson, Prussian Green, Viridian, French Ultramarine, Cobalt Blue, Manganese Blue, Cerulean Blue, Indigo Blue
--Liquin for medium
--Odor-free paint thinner
--Brushes of one's choice (the instructor suggests watercolor brushes, and will bring brushes for students to try.)
--Prepared canvas or panel
