Realistic Flesh Tones in Oil

John Zadrozny is an alumni of the Aristides Atelier at Gage, in addition he has taken multiple workshops at Gage and at BACAA in San Francisco. He has exhibited work at the Fountainhead Gallery in Seattle and has been teaching at Gage since 2014.
Saturday, Sunday
9:30 A.M.-4:30 P.M.
Gage Capitol Hill
  • Several (At Least 4) Canvas Panels, 8×10 Or 9×12
  • Paint
    • White — Either Flake White Or Zinc White
    • Naples Yellow
    • Yellow Ocher
    • Brown Ocher (Winsor Newton)
    • Raw Umber
    • Burnt Umber
    • Burnt Sienna
    • English Red — Or Any Similar Earth Red (Venetian Red, Indian Red…)
    • Ultramarine Blue
    • Alizarin Crimson
    • Transparent Red Oxide (Old Holland)
    • Transparent Earth Orange (Gamblin)
    • Ivory Black
  • Medium Either One Of These:
    • Oleo Gel (Rublev)
    • Gamsol/Linseed Oil Mixture
  • Brush:
    • Filberts In A Range Of Small Sizes, Both Coarse (Hog Bristle)
    • And Soft (Natural Or Synthetic Fibers). I Prefer These:

      • Robert Simmons “Signet” Filberts — Sizes 2, 3, And 4.
      • Utrecht “Mixed Synthetic” Filberts — Sizes 2, 4, 6, And 8
  • Palette Knives
  • One Or Two Small Ones For Mixing Paint
  • Palette
  • Soft Paper Towels Or Lint-Free Rags
  • Supplies For Washing Brushes
  • Small Containers For Gamsol Or Medium
  • Carbon Transfer Paper
Create lively and realistic flesh tones in oil by copying masterworks from the classical tradition. Students may use limited (two and three color) palettes, as well as full-color flesh palettes.