Painting from Still Life w/Jane Walp

Monday-Friday | 4/1-4/5 | 9:30 A.M.-4:30 P.M.

9:30 A.M.-4:30 P.M.
All Levels Welcome
Gage Capitol Hill
  • bristle brushes (I recommend a range of sizes of flats, filberts, and rounds–important to have at least 6-8 flats and/or filberts in the 3/4” to 1” wide range and then some smaller ones as well)
  • palette
  • palette knife
  • palette cups
  • a fluid linseed oil or walnut oil for a painting medium * (if your oil is thick, it’s ok to thin with a small amount of Gamsol or other odorless mineral spirits)
  • baby oil (for cleaning brushes)*
  • jars with lids for recycling baby oil*
  • rags or paper towels
  • vine charcoal
  • a recommended palette (oils): lead white and/or titanium white, cadmium yellow (lemon or light), cadmium yellow deep, yellow ochre, cadmium red (light or scarlet), light red (or any other warm earth red), indian red (or any other cool earth red like a mars or caput mortem), cerulean or manganese blue, terre verte, ultramarine, ivory black.
  • 3 still life objects
  • As far as supports and grounds for painting are concerned, this is a somewhat personal matter. Generally, I encourage the use of working on paper for workshops because it is easy to transport and I find that people tend to work with less inhibitions on paper, but canvas or linen (primed but unstretched) are okay, too. Here are my suggestions:
    • plywood or masonite boards to use as a support for paper or canvas
    • tacks or tape
    • sheets of paper prepared for oil painting. The important thing is to use a paper that is not too smooth, that ideally has a directional surface that mimics the weave of canvas, and that won’t curl too much when you prime it with two coats of acrylic gesso or acrylic matte medium (I like Golden). My current favorite paper is “Frankfurt” by Zerkall. You may cut it in half or even quarters for easier transport. After the primer dries, it tends to curl a bit so place overnight under heavy books to flatten.
    • and/or primed unstretched linen or canvas

*No solvents please! There are adequate ways of working without them, which I will share with you, and for this purpose it’s essential that you bring everything on the list marked with a *.

How can we become more sensitive to the mystery and beauty of the relationships our eyes perceive and how can we find true and living equivalents for them in paint? And what are the elements that can lead us to a more personal imagery in our work? This intensive oil painting workshop will focus on still life as a vehicle for approaching composition from a more personal perspective and for learning to see more clearly and deeply the tonal and spatial relationships that are the building blocks of painting from direct observation.