Shaping Content: Material Into Meaning

9:30 A.M.-12:30 P.M.
All Level Welcome
Gage Capitol Hill
Supports for painting, to be assembled and fully prepared in day 1:

  • three heavy duty stretcher bar frames, 12”x16”(Utrecht)
  • one yard of 66J portrait linen (Utrecht/Blick)

Oil Paints:

  • Cadmium red light
  • Alizarin crimson
  • Venetian Red
  • Ultramarine blue
  • Phthalocyanine blue
  • Indigo(Winsor/Newton)
  • Phthalocyanine Green
  • Raw Umber
  • Burnt Umber
  • Yellow ochre pale(Winsor/Newton)
  • Cadmium yellow light
  • Flake white substitute (Gamblin)


  • ~1 “Egbert” filbert #4 (Robert Simmons)
  • ~1 Bristle filbert # 6
  • ~1 Sable round #6 (Isabey) (this is a small brush for lining and delicate work, pencil point size)
  • ~1 @1.5” or 2” flat bristle brush for general studio use


  • a brush cleaning pot with lid
  • small cup with lid for painting medium
  • palette or palette paper
  • rags
  • one pack soft vine charcoal, 1/4 inch round
  • mall empty bottle for workshop-made oil medium

Rabbit skin glue, White ground, Stand Oil Medium, Final Picture Varnish, glue brushes and scrapers, staple guns and scissors will be supplied by
the instructor.

The quest to understand the world around us through the process of drawing or painting is a primal one, from the earliest cave paintings in Chauvet and Altamira to the eloquent tagging of Banksy. This workshop is focused on developing meaningful content while exploring historical methods and materials in painting. Participants will learn basic skills in preparation of linen and other fabrics for oil painting, including both stretched and panel mounting fabric. Glue sizing, oil grounding, and strategies for building dynamic and subtle physical structures will be followed by lectures and demonstrations tracing the search for personal content.