The human form is one of the most complex subjects to paint, but also, and only partially because of this, the most satisfying. In this class you will learn how to break down the complex task of painting the figure, all in one go, into manageable chunks, through a well-defined process that really works.
We’ll start by stringing out the process over the course of the first 3 sessions, not to layer paint and build a highly rendered figure, but to create a solid foundation that will later be compressed into single session sittings for the final three sessions.
Watch as I demo the steps, get hands on help as you work, and learn to paint generally to specifically in this class that will take your skills to the next level, from wherever you are.
The Thumbnail Study - a 1,000 foot view
She’s Got Good Bones - drawing just enough, before you paint
Our Hero, Value - Organizing your palette and painting for success
Check the Thermostat - learning to find subtle differences in color
Let it Shine - Turning on the light to build form
Here (n)or There - Selectively defining edges
Restating the Obvious - Finishing touches before signing wet paint
Painting Surfaces
For sketches and color studies:
Watercolor paper, cold pressed paper, or thick paper of any kind, coated in acrylic gel medium, shellac or gesso.
OR primed canvas (My new favorite is Centurion Deluxe oil primed Linen Paper)
Gaffer’s tape for defining borders (black is best).
For your alla prima paintings:
At least four 8”X10” (or similar) prepared surfaces. You may use the substrates from above mounted to a backing and taped to size, or use primed panels, or stretched and primed canvas.
Oil Media paint brushes
A variety of long handled. flat rectangular or filberts ranging from 1/4“ to 1”. Two of each!
Medium and Brush Cleaner
Odorless spirits, ideally "Gamsol" in a sealable brush washing container
Linseed Oil
Oil Paint
The following colors of oil paint (professional, not student grade or knock offs, 37 ml tubes are best):
• titanium white
• cadmium yellow light
• indian yellow
• cadmium red medium or light
• permanent alizarin crimson
• ultramarine blue (not french)
• viridian
• ivory black
Palette
• Glass or wood palette, no paper palettes.
Additional supplies
• Masking tape or gaffers tape
• A backing of any kind to support surfaces that are not sturdy on their own
• Viva paper towels, shop towels or plenty of rags
• Small diamond shaped or rectangular shaped palette Knife
* Vine Charcoal and a #2 Pencil
