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ART OF THE CAROLINAS – Fast City Life, NY to London
November 12 @ 9:00 am - 4:00 pm$266
Sponsored by: Lukas, Charvin
Workshop Fee: $249 + paint fee ($17) = $266
Skill Level: All
Time: Sunday, November 12, 2017 9am – 4pm
Travel through city streets to aerial views as we explore new methods, tools and perspectives. Learn to evoke the experience of cities in paint. Learn how to layer movement, depict complex architecture, countless reflections, the neon pulse of electricity, and figurative action of city life. Learn to describe the hazy atmosphere over London, the multiple perspectives in New York, and the electric motion of cities. Learn to layer multiple patterns of a city with confidence. Your instructor will provide photographic materials to help you get started. You may incorporate these photo materials into your painting. From the Parisian avenues of Pissarro to the explorations of contemporary artists your instructor will demonstrate in oil, watercolor and mixed media. He will work individually with participating artists.
Suggested Supply List for Painters:
This year I will be painting in my workshops with Charvin Extra Fine Oils, Charvin Extra Fine Acrylics and Lukas 1862 Watercolors and will provide the same artist quality paint brands for my students. Workshop students are also welcome to use any quality paint brand of special colors that is desired.
For oil painters: I recommend Charvin’s Extra Fine oil paints.
A Few Suggested Colors: Titanium white, Ultramarine Blue, French Primary yellow, Red Oxide, Napthol Red Deep, Ivory Black, Carmine Lake. Think of Rembrandt with this color and the red oxide and black, Pthalo Cyan…Those are the basics…if you want more you could pick up any of a variety of violets( i.e. Intense Violet by Charvin) and, Intense Violet(Charvin) and a beautiful transparent color Sanguine Brown(Charvin) Diamond Pink(Charvin) or Intense Pink(Charvin)(pink), Imperial green(Charvin)great for ocean painting, a primary yellow deep(Charvin) and, if you want an Impressionist green try the bamboo green(Charvin) the Impressionists also relied on vermillion(Charvin) cerulean blue(Charvin) cobalt blue (Charvin) and cadmium yellow(Charvin). Finally, if you’re interested in capturing the essential color of Tuscany or Provence then Charvin’s yellow ochre is for you. Next you will need a medium and I suggest staying traditional and non toxic with just refined linseed oil, poppy oil or walnut oil.(although walnut and poppy seed oils yellow less ad give more working time).
IMPORTANT NOTE: as with Renaissance oil painters you do not need to use any turpentine or solvent in either your medium or for cleanup. Traditional Oil painting can be done completely without solvents. We will cleanup and paint with either the poppy oil, refined linseed oil or walnut oil.
You will need brushes: some rounds and flats in nylon (Pro Arte Prolenge Connoisseur, or Isabey or Rafael Kaerell synthetic sable brushes 2″, 1″ and 1/4 ” or for a less expensive alternative try Jerry’s Polar Flow brushes.)…any good synthetic nylon-type sables…from at least , some 1” flats to ¼” flats and rounds, perhaps a #12, #8, # 1 or #2. And 1” and, ½” and 1” inexpensive bristle brushes, a badger blender and a bristle fan brush and, a 1” Japanese Sumi brush could all be useful… I also rely on 2” soft synthetic flats as well as a kolinsky sable round (#12 or 14). Jerry’s has some blue handle primer brushes with hog bristles that are inexpensive and excellent for stippling, or fan effects.. A container for turpenoid and one for medium and (of course) surfaces to paint on. I paint on any of the following: smooth multi primed Belgian Linen (Artfix L84 C), Old Holland triple primed portrait canvas (linen) pads, galvanized steel or aluminum which I cut to size, acrylic varnished watercolor paper, and ….the smoother the surface the better.
For Watercolorists: I recommend 37ml. tube watercolors. If you want a reasonably priced watercolor try Lukas 1862watercolor tubes. The colors I suggest are: titanium highlighting white, ultramarine blue, Napthol or pryol or vermillion red, carmine red, cyan, Hansa or Gamboge yellow and transparent red oxide. Consider the same color palette as the oil painters. Be certain to include titanium highlighting white. For brushes I recommend the same as the oil painters with a couple of additions: a couple of synthetic sables(again I like the Raphael Kaerell line and be sure to get a 2″, a 1″ and a 1/4″ and a #12 or 14 round also a couple of inexpensive bristle brushes 1″ and 1/2 “. Don’t forget your water container, at least 140lb Hot press watercolor paper, paper towels, and some quick release painter’s tape. I suggest razor blades, some white conte crayon, and either a white plastic or paper palette (shiny surface). I like layering media therefore; I will use pastels, acrylic or oils in conjunction with the watercolors. If you’re interested in trying egg tempera then bring a small quantity of acrylic gesso and we will purchase eggs on location (or bring them if you are local). Frequently I prepare my watercolor paper with acrylic varnish, but not always. I use Matisse or Golden’s or Lascaux’s acrylic varnish (gloss). To supplement your watercolor experience I will be demonstrating the use of pastels as Turner and Sargent used them on their watercolors. I suggest a small set of soft pastels for this purpose. Try Gallery pastels for a good buy.
For Acrylic Painters: With the Matisse products I like their “Structure” line of acrylics. In colors I suggest Transparent Red Oxide (or Burnt Sienna), Ultramarine blue, Quinacridone violet, vermillion or cadmium red light, turquoise or cyan, cobalt blue, Titanium white, Gamboge or Hansa Yellow and cadmium yellow (Hansa and Gamboge are transparent and Cadmium is an opaque yellow), and a gloss medium varnish (essential) and, if you want more working time before your paints dry then, get a retarder. You will also need a shiny paper palette, a large container for water, quick release tape, 140 lb. hot press water color paper or a universal primed(acrylic primed) portrait linen or canvas (you can get them on a pad if you like). Your brushes should include a variety of bristle flats and rounds as well as some synthetic sables (see watercolor list of brushes). Include at least a 2” flat bristle, a 1” flat bristle, and a ½” flat bristle (see the blue handle primer bristle brushes that I referred to in the oil paint section above) brush along with a selection of nylon flats and rounds. A bristle fan can prove to be versatile. For all other brushes refer to oil painter’s brushes as described above.
Remember we can always paint with anything on anything. These are just some basic recommendations not requirements. If you wish to use other materials already in your possession, that will be ok.