On this page you'll find:
Dates for upcoming sessions
Optional notes and exercises, including for beginners
Images from class and example paintings
Margaret's Contact #: 401-440-0989 email: firstname.lastname@example.org
Still life painting in oil acrylics. For beginners and experienced artists who wish to hone their skills: composition, value, paint-handling technique, perspective and color. Subject matter includes a range of objects. In class we use some or all of the following steps: value study, sketch, sketch transfer, color painting and instructor demonstrations. Instruction is geared to each student’s level of experience. We will also work on one master, or personal favorite, painting study. Oil painters please note that we do not use solvents such as mineral spirits, turpentine or liquin, instead we thin our paint with linseed oil, when necessary, and clean our brushes with linseed oil, Murphy’s oil soap or dish soap.
If you cannot attend all dates please don’t be concerned, each student works at her own pace and will learn weather she can make it to 2 classes or 9.
Make-up date (in case of unexpected cancelation): November 20
If you are looking for more info here are links to my process notes.
My own Palette set up here
Demo for raspberry tart
Below is a materials list suggestion-please feel free to 1. bring what you have 2. are most comfortable with and 3. to learn as you go.
About supports and sizes:
Stretched canvas, canvas board, cradled panels- You may paint on any of these. I suggest canvas boards for value studies or color swatches. I lean toward stretched canvas for paintings in color. When I refer to stretched canvas, this can also be a cradled panel, I mean something a step up from canvas board.
I encourage you to work at the scale (small or large) that you gravitate toward. For some a 4”x4” may go quickly, others will find it easier to cover an 11”x14” than a smaller canvas.
4 stretched canvases or cradled panels between 6”x6” and 11”x14”-your choice (fast painters please bring multiples)
Suggested for multiple objects painting: One 11”x14” stretched canvas, 11”x14” canvas board for value study (go with your inclination on size)
BRUSHES (start with 4 if you wish, 2 of each size works well, add as you go)
I prefer the (short square) brights, synthetic, 1.5”, 1” wide, .5” wide and .25 wide. Size numbers vary from brand to brand. I use synthetics because they are soft (better on panels) and bristles because they are stiffer (better on canvas). Filberts blend. Brights leave distinct, square marks.
One new filbert brush between ¼ and ½”
disposable paper palette
palette box (I will explain the use of this box in class. Please note that the box is purposefully larger than the 9”x12” palette paper.)
our basic palette:
cad red or windsor red
cerulean blue hue
cad yellow deep
cad yellow light
others to add as you go:
palette knife (I use Blick brand, style #5)
paper towels and rags
a bit of fine sand-paper to smooth the gessoed canvas or panels
voluminous, long sleeved shirt or apron to cover your clothing
Acrylic paint #5 grey, use this to prepare your canvas panels for value studies (one for each class)
Handy to have a pencil
I’ll have a box of vine charcoal and a roll or tracing paper for class use.
Additional for OIL PAINTERS
Small glass jar with tight fitting lid for linseed oil
Murphy’s oil soap and bar soap for washing the brushes
Hand lotion for before and after to help clean hand
I am trained in oil and far less familiar with acrylic, please bear with me.
Less expensive acrylics are more translucent-students have universally reported this to be a source of frustration. Paint marked “student grade” is more transparent in any medium. Reliable brands have been Golden and Liquitex.
Also to consider is light vs heavy body. I have found “heavy body” acrylics difficult to work with. But my experience is limited and out of date. It could be worth experimenting with “heavy body” paints especially if you are drawn to thicker, impasto style painting.
With oil paint I use a variety of brands, for the most part artist grade but sometimes student grade. The less expensive and student grades of paint have more medium or binder than the costlier artists grade, sometimes this is quite helpful. The most expensive paints (Schmenke and Holbine, for example, have the highest density of pigment, but I find them to stiff to work with and so they are not on my palette. Experimentation is helpful with brands and grades of paint.
It is common practice for an artist to further their understanding of technique by making a painting “after” another painting or making a “copy”. The “Copies” we make in these classes are for the purpose of examining composition, value, color and brushwork rather than on mimicking materials and techniques. I find it a wonderful way to enjoy a painting. Every time I make a copy I am thrilled with what I learn.
Fall semester you have the option of taking a different approach to our copy class: focusing on a close up crop of a painting. In our class we have found that Julian Merrow-Smith’s work strikes a nice balance-not so chromatically dull as the old masters (ex: Chardin) but still expressing a classical sense of depth and form.
In the gallery below I will load a few examples of Potential paintings to study by painting using them as your inspiration. For the moment I’ve focused on crops.