Oil Painting Fundamentals
Through decades of independent research and scholarship he has built up a body of knowledge and experience accessible through investigation and research into the available resources in the vast field of conservation as well as historical documents and transcripts passed down from ancient periods to middle ages and renaissance and baroque period.
The focus of his research has been centered on materials and techniques of early renaissance through Baroque era through extensive study and reconstruction of details of master pieces based on documented research within the conservation institutions throughout Europe and the United States.
The scope of his research encompasses various materials including oil, watercolor, encaustic, egg tempera, acrylic and more recently fresco, within different historical contexts following the evolution of techniques throughout the last two thousand years.
Hamid is self taught and has drawn and painted since childhood by studying the old masters, from early Renaissance to Baroque and he has taught the old master’s techniques for more than a decade. He extends the knowledge of the old techniques and materials to contemporary application to create work that brings the old and the new together in a unique format.
Hamid has shown his work through various venues throughout the United States and abroad including residency, awards and reviews.
Gage Capitol Hill
- Titanium white
- Ivory black
- Raw umber
- Burnt umber
- Burnt sienna
- Venetian red
- Yellow ochre
- Phthalo blue
- Ultramarine blue
- Permanent green/Cadmium green medium
- Permanent red/Cadmium red medium/Naphthol red
- Hansa yellow/Arylide yellow /Cadmium yellow
- Alizarin Crimson
MEDIUMS: A small bottle of Winsor and Newton “Artists Painting Medium” (the quotation marks and underline are needed)
- Blick Masterstroke FLAT Interlocking Bristle Brush set or equivalent: http://www.dickblick.com/products/blick-masterstroke-interlocking-bristle-brushes/
- One round small brush for details (Robert Simmons Sapphire Round #1 or equivalent)
This is the minimum ‐ more brushes are better
- One utility brush 2” wide, could get this from hardware store(chip brush)
- Pre-primed and stretched canvas about 16”x 20”
- At least three canvas boards approximately 9”x 12” for exercises
- Palette made of hard, slick material such as glass, Masonite, or Plexiglas. Gray Paper palettes are fine, Watercolor palettes do not work for oils
- Palette knife, spade shape medium size at least one
- A view finder/catcher
- A tin cup for medium and a small empty jar for solvent (solvent has to be odorless) any jar with a lid will do
- Rags or paper towels
- Ruler/straight edge at least one foot long
- Pencil, charcoal, eraser, sharpener and paper for sketches
Develop a foundational knowledge of material and technique through hands-on exercises aimed at helping you understand the mechanics of oil painting. Combine your new knowledge with drawing skills to understand the concepts of contour, value, shape, volume, form, and perspective for a more comprehensive experience. Principles of paint handling and proper use of material will go hand-in-hand with building skills to render still-life objects progressively: from simple to more complex.