Sunday, August 23, 2020

WELCOME ALL!

This is your intrepid professor working hard to keep you informed and up-to-date on things you need to know in order to succeed in our Painting Classes.

Please check regularly with this blog, Blackboard, emails and texts--all of these platforms will be actively used in this class.

Since we have three sections of Painting in one class, I will be dividing the time up on Wednesdays and scheduling private Zoom meetings for each of you. I hope you all have the means of photographing and sending me jpegs of your work. I will be relying on this in order to see your progress. After every session of painting you do each week, document your progress with a photo and send jpegs to my cuny email along with your name, what assignment it is and any comments or questions you might have. This back and forth will help me, as well as you!

Part of one's college experience is learning responsibility, so make sure you stay in touch with me and don't let things slide! 

I am committed to your success and will try my best to give you a good (virtual) experience.

Julia Healy

262 and 263 Painting Syllabus_Fall 2020_ Professor Healy

                                                                      QCC/CUNY

Department of Art and Design

Painting—Arts 262/263—Fall 2019

Wednesdays; Online Zoom 3:15-4:15 p.m.; 4 hours, 3 credits
Professor Julia Healy

BLOG:

http://paintingatqcc.blogspot.com

Jhealy@qcc.cuny.edu
text/cell: 646.285.7976

 

    

Course Description: (from college catalog):

262: Assumes basic knowledge and experience in oil or acrylic painting. Individual creativity encouraged.

263: Continuation of Arts 262.

 

Academic program(s) for which the course is required:

A.S. Art: (Concentration: Art and Design)

 

Course-specific student learning outcomes:

1.    Personal Aesthetic: Student will demonstrate the ability to construct a unified work by employing color, value, composition and/or processes that are indicative of an established and evolving creative personal aesthetic or process.

2.    Revision: Student will participate in group critiques to analyze the formal elements of a painting and to formulate objective criticism. Student will evaluate objective criticism directed at his/her own work to revise and refine its formal qualities.

3.    Composition: Student will demonstrate competence in composition as evidenced by balance or expressive choices in the use of positive and negative space, patterns, rhythm and/or visual paths through the arrangement of all elements on the canvas.

Program-specific outcomes:

1.    Demonstrate a progressive understanding of the various elements and basic interrelated processes of creation, interpretation, and execution within their discipline

2.    Integrate personal observation and objective criticism in the evolution of their artistic work.

3.    Apply increasingly sophisticated design principles to various media and visual forms.

Other program outcomes (if applicable).

A.  Integrate knowledge and skills in the program of study

 

Introduction: This course will further your exploration of painting.  Students will continue to develop their skills using form, tone, color and composition. Subject matter will include a focus on personal choice that might include the still life, the landscape and/or portraiture.

 

Attendance and LatenessAttendance is mandatory and essential to your performance.  There is no substitute for working and participating in class. Three absences are grounds for a failing grade. Please be on time.

Class online begins promptly at 3:15 p.m. If there are any changes, I will let you know in advance. Two tardies can be counted as one absence.  If you will have an ongoing scheduling conflict, please discuss it with me at the beginning of the semester. NOTE THAT YOU ARE ALWAYS WELCOME TO ATTEND THE EARLIER, 161 ZOOM SESSION, AS WELL, WHICH STARTS AT 2:10!

Make-Up Policy: As a student in this course, it is your responsibility to make certain you obtain information covered, should you miss a session. This syllabus, Blackboard and our blog have the information you need to know as to what we are working on and when it is due. Previously-absent students must come to the following class with all of the appropriate work finished for that class.

 

Methods by which student learning will be assessed and evaluated; describe the types of methods to be employed; note whether certain methods are required for all sections):

The general education outcome is assessed by participation in lectures, class discussions and group critiques. An analytic rubric is used to assess knowledge and skills as evidenced by the integration of various elements of painting to achieve a unified whole, while expressing a particular vantage point or personal creative aesthetic.

GradingIndividual grades will be given for each of your paintings and averaged to make up 80% of your grade. Class participation/preparation and attendance will count as 10% and Written Reflections will count for another 10%. Two unexcused absences will lower your grade (From a B to a C, for instance).

I expect you to already know and understand:

262:

•The color wheel

•Primary, Secondary, Tertiary, Complimentary Colors

•How to dull colors without using black

•The idea of edge (as opposed to line) in painting

•How to blend

•How to make different marks with the same brush and different brushes

Composition

•Foreground/Middle Ground/ Background

•The importance of light and dark to create illusion

•How to use texture to great advantage

•The importance of subject matter


263:
•The color wheel

•Primary, Secondary, Tertiary, Complimentary Colors

•How to dull colors without using black

•The idea of edge (as opposed to line) in painting

•How to blend

•How to make different marks with the same brush and different brushes

Composition

•Foreground/Middle Ground/ Background

•The importance of light and dark to create illusion

•How to use texture to great advantage

•The importance of subject matter

•Understand some of the possibilities of glazing, scumbling, sfumato and chiaroscuro.

•Be able to identify transparent colors

•Be able to identify opaque colors

•Have a rudimentary understanding of the interaction of color

ªHave a body of work that exhibits a personal style

•Have a direction you want to explore this semester

 

Course Objectives/Outcomes:

At the end of the course, students will:

•Refine techniques of mixing and blending color
•Create the effects of three-dimensional forms with shadow and light

•Use composition to create dynamic works

•Analyze personal work through critique and feedback from classmates and the instructor

•Examine works by other artists that relate to their process

•Create five or more personal paintings, including a baseline painting.

•Continue to develop thinking and writing skills through reflections on your work and that will highlight your personal aesthetic inquiry.

 

Supplies: See below. Materials and supplies for this class are not inexpensive but if you take care of them, they will last a long time. We will discuss how to approach buying the materials the first class.  You must come prepared to work every week, with all the materials you need. I have placed a sample order on Blackboard to use as a guide if you like.


Sessions:   
1. August 26—3:15-4:15 p.m. (although you may want to enter Zoom session with 161 students at 2:10 p.m. and you are most welcome to do so.) #1-Introduction and Syllabus; Supply Tutorial, Group Abstraction Project. Think about your direction for this semester.


2. September 2,—3:15-4:15 p.m

Focus on Color, Composition, Texture and Edge-Bring a 12 x 16”canvas and all your supplies.

Painting #1: Baseline Painting

You’ll Need:

Resources such as still life objects, plants, sketches, old paintings, images, photographs, etc.

•12 x 16canvas or larger

paint-full palette

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

 

HOMEWORK: all materials and have another canvas on hand in case you finish. We will begin plotting your direction. Email me documentation of previous work to jhealy@qcc,cuny edu by September 7.



 

3. September 9—3:15-4:15 p.m

Individual Meetings to Discuss Possibilities.

Continue Painting #1 Baseline Painting 

You’ll Need:

Resources such as still life objects, plants, sketches, old paintings, images, photographs, etc.

•12 x 16canvas or larger

paint-full palette

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

 

HOMEWORK: Personal Worksheet and Peer to Peer Formative Assessment. Email this to jhealy@qcc.cuny.edu by September 14.


4. September 16—3:15-4:15 p.m

Group Discussion/ Critique of first two paintings. Private meetings to discuss direction.   

Painting (#2): Personal Vision

 

5. September  23—3:15-4:15 p.m      

Continue working on Painting # 2: Personal Vision

 

6. September 30—3:15-4:15 p.m

Power Point and Class Discussion on working in a series 

Painting #3: Working in a Series

 

7. October 73:15-4:15 p.m

Continue Painting #3: Working in a Series

 

NO CLASS OCTOBER 14--QCC FOLLOWS A MONDAY SCHEDULE

 

8. October 21—3:15-4:15 p.m

What do you do that no one else does? How can that vision be made real in a painting?             

Painting # 4: Developing Your Voice

 

9. October 28—3:15-4:15 p.m  

Continue Working on Painting # 4: Developing Your Voice

 

10. November 4—3:15-4:15 p.m

Group Critique and Private Meetings. Exploring the idea of risk-taking. The importance of “Knowing your edges” and looking at and understanding art throughout the ages      

Painting # 5: Going Out on a Limb

 

11. November 11—3:15-4:15 p.m     

Continue Working on Painting #5: Going Out on a Limb

 

12. November 18—3:15-4:15 p.m

What have I learned? How can I apply many of the concepts in a final painting?    

Painting #6: Synthesis

 

NO CLASS NOVEMBER 25--QCC FOLLOWS A FRIDAY SCHEDULE

 

13.December 2—3:15-4:15 p.m

Painting #6: Synthesis

 

14. December 9—3:15-4:15 p.m        

Group Critiques

 

15. December 16—3:15-4:15 p.m      

Individual Critiques

 

Think about the following:

Big Ideas

Struggle, War, Peace, Idealism, Power, Fear, Mystery, Simplicity,etc.
Then,

 

CHOOSE YOUR SUBJECT MATTER: PORTRAIT, STILL LIFE, ANIMALS, LANDSCAPE, CITYSCAPE, SEASCAPE, HISTORICAL/DOCUMENTARY, ABSTRACTION, ETC.

CONCENTRATION(S): SCALE, POINT OF VIEW, COLOR EXPLORATION, NARRATIVE,

STYLE/MEDIUM: REALISM, SURREALISM, ABSTRACTION, EXPRESSIONISM, etc.

 

Academic Integrity Policy

Academic honesty is expected of all students. Any violation of academic integrity is taken extremely seriously. All assignments and projects must be the original work of the student or teammates, if applicable. Plagiarism will not be tolerated. Any questions regarding academic integrity should be brought to the attention of the instructor. The following is the Queensborough Community College Policy on Academic Integrity: “It is the official policy of the College that all acts or attempted acts that are violations of Academic Integrity be reported to the Office of Student Affairs. At the faculty member’s discretion and with the concurrence of the student or students involved, some cases through reported to the Office of Student Affairs, may be resolved within the confines of the course and the department. The instructor has the authority to adjust the offender’s grade as deemed appropriate, including assigning an F to the assignment or exercise, or, in more serious cases, an F to the student for the entire course. Please refer tot the college’s Academic Integrity Policy.

 

 

"ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES:

 As stated in the current college catalog, any student who needs specific accommodations based on the impact of a disability should register with the office of Services for Students with Disabilities (SSD) to be eligible for accommodations, which are determined on an individual basis. The SSD office is located in the Science Building, room S-132 (718-631-6257). Students should also contact their instructor privately to discuss their specific needs."

 


Supplies

I personally use Dick Blick.  Their Website is:Dickblick.com   Phone:800.828.4548

I HAVE MADE UP A POSSIBLE ORDER SHEET FOR DICK BLICK ON BLACKBOARD UNDER "DOCUMENTS". IT HAS THE ITEM NUMBERS, TO MAKE IT EASIER FOR BEGINNERS. Many things (such as Blick Wonder White Brushes) were out of stock, so I added a different brand when necessary. You can’t wait weeks for your supplies.

 

Apron or old shirt to use as smock. You will ruin your clothes otherwise!

 

Container for paints such as a large shoebox, tackle box or canvas tote.

 

A glass jar or two with a lid for turpenoid.

 

Soft pencil 4B and eraser (optional)

 

Scissors (optional)

 

RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.

 

Turpenoid in the BLUE AND WHITE container (not the green "natural" one-it smells)

 

Master’s Brush Cleaner—THIS IS VERY IMPORTANT

 

Brushes: DONT BUY CHEAP SETS…THEY ARE USUALLY A RIP-OFF. Sets are often a bad choice. Get soft, sable or sableline, Wonder Whites (from Blick), not the stiff hogs-hair kind. Those are harder to control and clean. If you take care of your brushes, they will last a long time.

 

Minimum Brushes Needed (8):

BRIGHT SOFT (not bristly) BRUSHES: Choose at least 7 of these brushes—more if possible— (smalls (0, 1, 2, 4), mediums (6, 8, 10, 12), bigger ones (14, 16, 20, 24)

              

At least 1 ROUND brush smallish (0, 1, 2)

                  

Optional Brushes:  filberts, flats, a fan brush

 

Palette knife

 

Palette—Palette paper tear-off pads are fine (12” x 16” gives you enough mixing room)

 

RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.

 

Paint

Oil is preferable for beginners. If you have to use acrylic, I am okay with that. I use Gamblin Oil Paints, but Windsor and Newton, Utrecht, and Grumbacher are also good. The best student grade oil paint is WINTON.

BEWARE: READ THE LABELS…SOME STORES SELL WATER-THINNED OILS THAT WILL NOT WORK WITH REGULAR OILS. DO NOT BUY THEM. READ THE LABELS CAREFULLY. SOMETIMES THEY ARE DISPLAYED NEXT TO THE REAL OIL PAINTS.

 

If you want to use acrylics, I like Liquitex or Golden brands.

Basic Beginning Colors—Do not buy cheesy sets with fake colors!!!!! Get the real colors.

37 ml tubes of:

Cadmium Red Medium

Cadmium Yellow Light

Alizarin Crimson

Ultramarine Blue

Permanent Green Light

Viridian Green

Burnt Umber

Raw Sienna or Yellow Ochre

Burnt Sienna

Ivory Black

Large 150 ml tube of Titanium White

 

Optional Colors:

Cadmium Orange

Cerulean

Terra Verte Green or Hooker’s Green

Dioxazine Violet

Magenta

Raw Umber

Payne’s Gray

 

Supports—stretched canvases or canvas boards or a combination thereof to a total of SIX (or more, just in case) canvases in all:

3-4    12” x 16

1-3    14” x 18

1-3     16” x 20”

161 Painting Syllabus_Fall 2020_Professor Healy_

 QCC/CUNY

Department of Art and Design

Painting—Arts 161—Fall 2020

Wednesdays: 2:10 p.m.-6 p.m. 4 hours, 3 credits; Online

Professor Julia Schmitt Healy

Office Hour: Wednesdays, 1-2 p.m.; other times by appointment

BLOG:

http://paintingatqcc.blogspot.com

Jhealy@qcc.cuny.edu
text/cell: 646.285.7976

    

Course Descriptions: Arts 161: Basic elements of oil or acrylic painting, designed for acquisition of skill and technique in the medium. Experiences in realism, abstraction and non-objectivity.

 

Academic programs for which this course is required:

A.S. Art (Concentration: Art and Design)

 

General Education Outcomes: Below is a listing of General Education Outcome(s) that this course supports.

1.    Communicate effectively in various forms

Course-specific student learning outcomes:

Students will achieve the following course objectives:

1.    Personal Aesthetic: Student will demonstrate the ability to construct a unified work by employing color, value, and composition that are indicative of the beginnings of a creative personal aesthetic.

2.    Revision: Student will participate in group critiques to analyze the formal elements of a painting and to formulate objective criticism. Student will evaluate objective criticism directed at his/her own work to revise and refine its formal qualities.

3.    Composition: Student will demonstrate competence in composition as evidenced by balance or expressive choices in the use of positive and negative space, patterns, rhythm and/or visual paths through the arrangement of all elements on the canvas.

Program-specific outcomes

1.    Demonstrate a progressive understanding of the various elements and basic interrelated processes of creation, interpretation, and execution within their discipline

2.    Integrate personal observation and objective criticism in the evolution of their artistic work.

3.    Apply increasingly sophisticated design principles to various media and visual forms.

Other program outcomes (if applicable).

A.  Integrate knowledge and skills in the program of study

 

Introduction: This course will explore painting at the beginning level.  Students will receive basic instruction on learning "to see" and develop skills in using form, tone, color and composition. Subjects will include still life works and the landscape. Occasional presentations on historic and contemporary artists will supplement the topics covered. We will have ongoing individual critiques, as well as group critiques and written self-reflections and writing assignments over the course of the semester.

 

Course Objectives/Outcomes:

At the end of the course, students will:

•Employ techniques of mixing and blending color.

•Create the effects of three-dimensional forms with shadow and light.

•Observe and arrange still life objects into a strong composition of forms and shapes.

•Analyze personal work through critique and feedback from classmates and

instructor.

•Examine works by other artists that relate to students’ processes.

•Identify elements and principles of design in the world around them and translate

these into paintings.

•Create six paintings.

•Develop our thinking and writing skills through personal reflections and aesthetic inquiry.

 

Attendance and LatenessAttendance is mandatory and essential to your performance.  There is no substitute for working and participating in class. Three absences are grounds for a failing grade.

    

Please be on time. Class begins promptly at 2:10 p.m. online. Two tardies can be counted as one absence.  If you will have an ongoing scheduling conflict, please discuss it with me at the beginning of the semester.

 

Make-Up Policy: As a student in this course, it is your responsibility to make certain you obtain information covered, should you miss a session. This syllabus, Blackboard, and our blog have the information you need to know as to what we are working on and when it is due. Previously-absent students must complete their work by following class. Don’t let yourself get behind.

    

Methods by which student learning will be assessed and evaluated; describe the types of methods to be employed; note whether certain methods are required for all sections):

The general education outcome is assessed by participation in lectures, class discussions and group critiques. An analytic rubric is used to assess knowledge and skills as evidenced by the integration of various elements of painting to achieve a unified whole, while expressing a particular vantage point or personal creative aesthetic.

GradingIndividual grades will be given for each of your first 5 paintings and count 12% each paintings to make up 60% of your grade. Your final work will count 20%. Class participation/preparation and attendance will count as 5%, and your written assignments/reflections will count for another 15%. Two unexcused absences will lower your grade by one letter grade. (From a B to a C, for, instance.)

 

Due at the end of the semester: 6 (or more) paintings, as listed; 5 Reflections.

 

Rubrics will be given for each assignment.


Supplies: See below. Materials and supplies for this class are not inexpensive but if you take care of them, they will last a long time. We will discuss how to approach buying the materials the first class.  You must be prepared to work every week, with all the materials you need.


Sessions:   

1. August 26—2:10- 3 p.m. (or so) Zoom Meeting; Link to be sent.

Introduction and Overview of class. Blackboard/Zoom/ etc. Supply Tutorial, Blending Demo: Acrylic versus Oil Paint.

 

2. September 2—2:10- 3 p.m.
Be prepared to work today! Introduction to the Still Life with Power Point and Demo. Also Nuts on Bolts on Clean-up. Formative Assessment and Peer Assessment (TAG).

 

Painting #1: A Simple Tonal Still Life

You’ll Need:

•White objects such as Styrofoam cups, gift boxes, white eggs, mugs, vases, shoes. OR use simple objects that are not shiny (no glass or metal) and you will transform the shades into gradations.

11 x 14or 12 x 16canvas

•paint-black and white

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

 

3. September 9—2:10-3 p.m.
Continue Painting #1:A Simple Tonal Still Life

You’ll Need:

previously-started canvas and all supplies.

 

HOMEWORK: Reflection Sheet #1 due next week. Send as attachment by 9/15 to my email: jhealy@qcc.cuny.edu

 

4. September 16—2:10-3 p.m.
Brief Reflection Discussion; Introduction to Color/Fruit Power Point and Demo.  

Painting #2: Fruit Still Life

You’ll Need:

•a Red Delicious Apple, a Green Apple and another apple or other red or green fruit

•a piece of fabric or two to set up behind and under your fruit

•a desk lamp or clamp lamp to create shadows on your fruit

•your camera, phone or iPad to photograph your still life

11 x 14or 12 x 16canvas

•paint-all colors

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags


5. September 23—2:10- 3 p.m.

Painting #2 Fruit Still Life, continued and completed. Bring previously started canvas and all supplies listed above.

 

HOMEWORK: Reflection #2. Send as attachment by 9/29 to my email: jhealy@qcc.cuny.edu

 

6. September 30—2:10-3 p.m.
Critique/Assessment on First Two Paintings (1 & 2)
followed by Texture Power Point & Demo.

Painting #3: Textured Abstraction

You’ll Need:

Textured objects to inspire you, such as bark, fur, spikey things, shaggy things, rusty things, crumpled-up things, piles of leaves, baskets, rugs, wigs, etc. This does not have to be a realistic painting! It's abstract.

12 x 16canvas

•paint-all colors

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

 

HOMEWORK: LANDSCAPE IMAGE FOR NEXT WEEK. You may send more than one jpeg if you can't decide. Send as attachment by 10/6 to my email: jhealy@qcc.cuny.edu

 

7. October 7—2:10-3 p.m.
Introduction to the Landscape. Power Point & Demo.

Painting #4: Personal Landscape

You’ll Need:

12 x 16” or larger canvas

•paint-all colors

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

 

NO CLASS OCTOBER 14--QCC FOLLOWS A MONDAY SCHEDULE

 

8. October 21—2:10-3 p.m.

Painting #4: Personal Landscape 

You'll Need:

previously-started canvas and all supplies.

 

HOMEWORK: Reflection #3. Send as attachment by 10/27 to my email: jhealy@qcc.cuny.edu

 

9. October 28—2:10-3 p.m.              

Painting #5: Portrait or Figure

You’ll Need:

12 x 16” or larger canvas

•paint-all colors

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

10. November 4—2:10-3 p.m.

Painting #5: Portrait or Figure, continued           

You’ll Need:

previously-started canvas and all supplies.

 

HOMEWORK: Reflection #4. Send as attachment by 11/10 to my email: jhealy@qcc.cuny.edu

 

11. November 11—2:10-3 p.m./20              

Painting #6: Free Choice Painting: Still Life/Figure/Landscape, etc.

You’ll Need:

14 x 16” or larger canvas

•paint-all colors

•jar for turpenoid (Oils) or water (Acrylics)

•brushes of different sizes

disposable palette

•Master’s Brush Cleaner

lots of rags

        

12. November 18—2:10-3 p.m.

Painting #6: Free Choice Painting

You’ll Need:

previously-started canvas and all supplies.

                 

NO CLASS NOVEMBER 25--QCC FOLLOWS A FRIDAY SCHEDULE


13. December 2—2:10-3 p.m.           

Painting #6: Free Choice Painting

You’ll Need:

previously-started canvas and all supplies.

 

14. December 9—2:10-3 p.m.  

Group Critiques

 

15. December 16—2:10-3 p.m.

Individual Critiques

 

The Professor reserves the right to make changes to this syllabus, if necessary.

 

Academic Integrity Policy

Academic honesty is expected of all students. Any violation of academic integrity is taken extremely seriously. All assignments and projects must be the original work of the student or teammates, if applicable. Plagiarism will not be tolerated. Any questions regarding academic integrity should be brought to the attention of the instructor. The following is the Queensborough Community College Policy on Academic Integrity: “It is the official policy of the College that all acts or attempted acts that are violations of Academic Integrity be reported to the Office of Student Affairs. At the faculty member’s discretion and with the concurrence of the student or students involved, some cases through reported to the Office of Student Affairs, may be resolved within the confines of the course and the department. The instructor has the authority to adjust the offender’s grade as deemed appropriate, including assigning an F to the assignment or exercise, or, in more serious cases, an F to the student for the entire course. Please refer tot the college’s Academic Integrity Policy.

"ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES:

 As stated in the current college catalog, any student who needs specific accommodations based on the impact of a disability should register with the office of Services for Students with Disabilities (SSD) to be eligible for accommodations, which are determined on an individual basis. The SSD office is located in the Science Building, room S-132 (718-631-6257). Students should also contact their instructor privately to discuss their specific needs."

 

Supplies

I personally use Dick Blick. Website:Dickblick.com   Phone:800.828.4548

I HAVE MADE UP A POSSIBLE ORDER SHEET FOR DICK BLICK ON BLACKBOARD UNDER "DOCUMENTS". IT HAS THE ITEM NUMBERS, TO MAKE IT EASIER FOR BEGINNERS.

 

Apron or old shirt to use as smock. You will ruin your clothes otherwise!

 

Container for paints such as a large shoebox, tackle box or canvas tote.

 

A glass jar or two with a lid for turpenoid.

 

Soft pencil 4B and eraser (optional)

 

Scissors (optional)

 

RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.

 

Turpenoid in the BLUE AND WHITE container (not the green "natural" one-it smells)

 

Master’s Brush Cleaner—THIS IS VERY IMPORTANT

 

Brushes: DONT BUY CHEAP SETS…THEY ARE USUALLY A RIP-OFF. Sets are often a bad choice. Get soft, sable or sableline, Wonder Whites (from Blick), not the stiff hogs-hair kind. Those are harder to control and clean. If you take care of your brushes, they will last a long time.

 

Minimum Brushes Needed (8):

BRIGHT SOFT (not bristly) BRUSHES: Choose at least 7 of these brushes—more if possible— (smalls (0, 1, 2, 4), mediums (6, 8, 10, 12), bigger ones (14, 16, 20, 24)

              

At least 1 ROUND brush smallish (0, 1, 2)

                  

Optional Brushes:  filberts, flats, a fan brush

 

Palette knife

 

Palette—Palette paper tear-off pads are fine (12” x 16” gives you enough mixing room)

 

RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.

 

Paint

Oil is preferable for beginners. If you have to use acrylic, I am okay with that. I use Gamblin Oil Paints, but Windsor and Newton, Utrecht, and Grumbacher are also good. The best student grade oil paint is WINTON.

BEWARE: READ THE LABELS…SOME STORES SELL WATER-THINNED OILS THAT WILL NOT WORK WITH REGULAR OILS. DO NOT BUY THEM. READ THE LABELS CAREFULLY. SOMETIMES THEY ARE DISPLAYED NEXT TO THE REAL OIL PAINTS.

 

If you want to use acrylics, I like Liquitex or Golden brands.

Basic Beginning Colors—Do not buy cheesy sets with fake colors!!!!! Get the real colors.

37 ml tubes of:

Cadmium Red Medium

Cadmium Yellow Light

Alizarin Crimson

Ultramarine Blue

Permanent Green Light

Viridian Green

Burnt Umber

Raw Sienna or Yellow Ochre

Burnt Sienna

Ivory Black

Large 150 ml tube of Titanium White

 

Optional Colors:

Cadmium Orange

Cerulean

Terra Verte Green or Hooker’s Green

Dioxazine Violet

Magenta

Raw Umber

Payne’s Gray

 

Supports—stretched canvases or canvas boards or a combination thereof to a total of SIX (or 7 if you want an extra, just in case) canvases in all:

3-4    12” x 16

1-3    14” x 18

1-3     16” x 20”