Learn the underpainting and glazing technique of the of Old Masters, using contemporary materials, and still life to create paintings with jewel-like colors that absolutely glow with light and look as if they are lit from within. I have updated this Old Masters technique to use contemporary oil painting materials that dry quickly. You will learn a step-by-step process that you can use to paint anything, and how to successfully paint from photographs so that you can create detailed paintings with confidence. During the first class, with my help and materials, you will set up a still life, and during the following weeks you will create your painting using this marvelous technique that has a lot of safeguards in it.
Drawing supplies:
18 or 24” C-thru ruler (transparent, with inch measurement on both sides) (optional)
2H pencil
kneaded eraser
white Magic Rub eraser
Drafting or masking tape
19 x 24” pad of tracing paper or 2 sheets of tracing paper
Painting supplies:
12 x 16 inch WHITE paper palette (make sure it is for OILS, not acrylics)
Palette seal to fit the paper palette – (optional, but recommended)
Palette knife for mixing paint (I prefer one with a bent or offset handle)
SOFT paper towels, like Viva brand
Winsor & Newton Sansodor or Gamblin Gamsol
These are the ONLY two solvents allowed in my class.
Small jar for Sansodor such as an artichoke heart jar - optional
Murphy’s Oil Soap in a small container (optional)
Winsor & Newton Liquin Original (NOT Liquin Fine Detail or Light Gel)
Wipe-Out-Tool, optional, but useful (I make these available for purchase.)
black graphite (transfer) paper, make sure it is erasable!
stylus or ball point pen with a fine point
Oil Paints: Except for the Titanium White, these are all transparent colors that are used for glazing. This class is about glazing and the most beautiful glazes are made with transparent paint. Glazes can be made with opaque colors, but they are not as lovely as those made from transparent color. You won’t need these for the first class.
Titanium White – I suggest using Titanium White over other whites because it is the most opaque. With that in mind, bring a good professional or artist grade paint. I prefer Rembrandt brand. Student grade brands, such as Winton or Daler-Rowney’s Georgian brand will not have the opacity that is necessary for underpainting.
Transparent Yellow (Rembrandt is a good brand, and less expensive than Winsor & Newton)
Cadmium Lemon (bring it if you have it)
Indian Yellow (Gamblin is preferred, but Winsor & Newton will be fine)
Perylene Red – Gamblin brand or Winsor and Newton’s Winsor Red Deep
Permanent Alizarin Crimson or Permanent Carmine (Winsor & Newton)
Ultramarine Blue or French Ultramarine Blue
Viridian - optional
Sap Green (Winsor & Newton is good, just don’t get Gamblin brand)
Payne’s Gray – (I prefer Grumbacher) (optional)
Ivory Black
Brushes: synthetic or sable, they should not be stiff like a bristle brush, rather they should have a nice “spring” to them, and a soft texture.
Flat brushes –1 or 2 of each size: 2, 4, 6, 8, 10, 12, and 20 (this one is optional)
I suggest any of the following:
Da Vinci Nova synthetic series (brights)
Da Vinci Nova Red Sable series 1810 and 1812 (brights)
Winsor and Newton Scepter Gold II (flat)
I have appropriate brushes available for purchase during the workshop or on my website www.janejonesartist.com
Mop brushes: these are the only ones that are brand specific.
2 Silver 1/8" Mini Oval Mop and 2 Dynasty 1/4 " (These are very small mop brushes and are hard to find, so I make them available for purchase. I also make the following larger mop brush available for purchase.)
Silver brand White Oval 1/2 mop
2 or 3 disposable gloves – these will be used for applying a first layer of paint, so if you wear gloves while you paint, you will need more for that.
Painting surfaces:
Choose the size to go with your image. Canvas (portrait grade) or hardboard prepared with gesso such as Gessoboard from Ampersand (this is the best product and can be seen at www.ampersandart.com ). Other brands such as Houston Art are too rough and inferior in how they perform. You will only use one painting surface, but bring two just in case you need an extra.
Recommended book: Classic Still Life Painting by Jane Jones
