9:30 A.M.-12:30 P.M.
Gage Capitol Hill
Paint: USE GOOD PAINT! Cheap paint works ok, but you’ll need so much more of it to get the saturation you see with good paint that there is no savings, and the amount of binder that ends up on the paper can be shiny.
Palette: In general, it’s a good idea to have two reds, yellows, blues, and greens (one cool and one warm), plus a brown and a violet. The intense, transparent colors (alizarin crimson, quinacridones, phthalo green, phthalo blue) are very useful for mixing, even though you don’t see them much in nature. Earthier tones depend more on the locale. Here is a palette that works well for me (these are Daniel Smith Artists’ Materials names):
- New gamboge
- Quinacridone gold*
- Hansa yellow light*
- Quinacridone red*
- Burnt Sienna
- Alizarin crimson permanent
- Pyrol Orange
- Sap green
- Rich green gold
- Ultramarine blue
- Cerulean blue
- Cobalt blue
- Phthalo blue*
- Transparent Pyrol orange
- Carbazole violet
You may want to start with fewer colors, in which case the starred colors are the essential ones.
Part of the emphasis of the class involves keeping your paintings simple, so you won’t need tiny brushes. Well, maybe one. I use:
- 3 flats, 1/2″, 1″ and 1 1/2″
- 2 rounds, #30 (or the largest round you can find) and #14
- Lightweight board (masonite or gatorboard, 16″ x 24″)
- Artist’s tape or acid-free black masking tape (blue painter’s tape is okay)
- Water container for dipping brushes (yoghurt containers work)
- Clean sponge (if you don’t have a brush big enough to wet a half sheet of paper)
- Large palette (11″ x 15″ or so with large mixing areas and plenty of wells for your colors, such as Richeson or Robert Wood)
Develop an understanding of transparent watercolor that allows you to make conscious choices regarding color, value, wetness, and composition before the brush ever touches the paper. The course is designed to develop your awareness skills as well as your technique.