Friday, September 25, 2009

NYC Stores

David Davis
website down but company still working
(800) 965-6554
(718) 222-1090
499 Van Brunt Street, #6A
Brooklyn, NY 11231
Public Transportation: from Manhattan take subway to Borough Hall or Jay Street stations, transfer to B61 bus on Jay Street or Atlantic Avenue, take B61 to end of Van Brunt, we are located in unit #6 halfway down on the pier.

Robert Doak & Assoc
718- 237- 0146
89 Bridge Street
Brooklyn, NY 11201
Take the “F” train to York Street. Walk east one block towards Bridge St. Turn left on Bridge St.
Monday- Friday 09:00 am- 4:00 pm

323 West 39th Street, Suite 606
New York, NY 10018
United States
(800) 932-9375
Mon-Fri 9:45am-6pm

j wellington class at ny acad

paint colors:
Rublev Lead White #1 (or David Davis, Vasari)
Vasari Ivory Black
Yellow Ochre Pale/Light
Raw Sienna or Vasari Capucine Red Light [dark yellow]
Cadmium Yellow Medium, Vasari Naples Orange, or Robert Doak Lead Tin Yellow
Cadmium Red Light or Vermillion--[orange-y]
Burnt Umber, Red Umber, or Transparent Brown Oxide [dark brown]
Burnt Sienna or Transparent Red Oxide [warm red brown]
Terra Rosa, Red Ochre, or Light Red
Ultramarine Blue or Robert Doak Wellington Blue
Alizarin Crimson

round badger size 4, 6, 8. Round Kolinsky sable watercolor brush size 3 for detail.

4 parts turpentine substitute
1 part real sun-thickened linseed oil
1/2 part real copal resin (Robert Doak)

Alkyd medium by Gamblin or WN + mineral spirits + stand oil.

Portrait linen, wood panel, copper, or prepared watercolor paper/museum board.

preparing paper:
Rough Arches 160/22o
+ acrylic gesso thinned with water to consistency of skim milk. Brush it on. Dry. Brush it on back.

1 part clear shellac + 3 parts denatured alcohol. Brush it on watercolor paper (Vincent Desiderio)

Sunday, September 20, 2009

cecily brown

In the Guardian, Perri Lewis and Cecily Brown talk about the painting process. "You've got the same old materials - just oils and a canvas - and you're trying to do something that's been done for centuries. And yet, within those limits, you have to make something new or exciting for yourself as well as other people. I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back....Often, I find it really hard to see what I'm doing when I'm in the thick of things. I can get too precious and have to force myself to put my paintings aside. There's a wall in my studio where I hang paintings that I think are done or nearly done. Over time, I'll realise which ones are working and which aren't.

"There's never a moment for me when I consciously add the last stroke. When a painting is 90-95% there, it's especially difficult because you know that it's really close and you also know that you could completely ruin it. Of course, I do often ruin things. I take things too far, and can't get them back....The problems don't get any easier just because you're exhibiting. I'm still faced with the same difficulties as when I first started to paint. But you'd never make a mark if you started worrying too much about how it will be received in the world, or if anyone is going to look at it. You can't have all that in your head while you're in the process of making a painting.

"I think once I stopped caring quite so much about where I fitted in, and whether it made any sense to be painting, I started getting more and more absorbed in it. I've discovered that the more I paint, the more I want to paint. The longer I go on doing it, the more I have to say and do. You pose a certain set of questions in one group of paintings and you want to answer them in the next. One body of work leads naturally to the next - you sort of feed off yourself. It's a question of accepting the limits of painting and trying to be as imaginative and expansive as possible within those boundaries."

Thursday, September 17, 2009

Dave Palumbo

my palette typically has the following colors laid out: Titanium White, Permanent Alizarin Crimson, Brilliant Pink, Cadmium Red, Cadmium Scarlet, Montserrat Orange, Cadmium Orange, Scheveningen Yellow Deep, Nickle Titanium Yellow, Naples Yellow, Yellow Ochre, Cinnabar Green Light Extra, Sap Green, Chromium Oxide, Windsor Green, Cobalt Turquoise, French Ultramarine Blue, Prussian Blue, Kings Blue Deep, Old Holland Violet Gray. Not to say that I use every color in every painting, typically maybe about half, just as I need them. I only put out a little at a time to avoid waste, using a glass palette in a tupperware box to help keep them fresh. I keep my turp in a jar with a lid so I don't have to toss it until it gets dirty. I leave it all set up so there's not much to it. I turn on my lights, open my turp and palette and maybe freshen up a color or two, pick out my brushes and go to work. Takes about 1 minute

Titanium White
Permanent Alizarin Crimson (WN)
Brilliant Pink (Old Holland)
Cadmium Red
Cadmium Scarlet (WN)
Montserrat Orange (Williamsburg)
Cadmium Orange
Scheveningen Yellow Deep (Old Holland)
Nickle Titanium Yellow (Old Holland)
Naples Yellow (Williamsburg? WN?)
Yellow Ochre (WN)
Cinnabar Green Light Extra (Old Holland)
Sap Green (Williamsburg? WN?)
Chromium Oxide (Williamsburg)
Winsor Green (WN)
Cobalt Turquoise (WN)
French Ultramarine Blue (WN)
Prussian Blue
Kings Blue Deep (Old Holland)
Old Holland Violet Gray (Old Holland)

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