David Davis
website down but company still working
(800) 965-6554
(718) 222-1090
499 Van Brunt Street, #6A
Brooklyn, NY 11231
ddavisart@aol.com
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
VASARI
323 West 39th Street, Suite 606
New York, NY 10018
United States
(800) 932-9375
Mon-Fri 9:45am-6pm
Showing posts with label Robert Doak. Show all posts
Showing posts with label Robert Doak. Show all posts
Friday, September 25, 2009
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]
Viridian
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
Brushes:
round badger size 4, 6, 8. Round Kolinsky sable watercolor brush size 3 for detail.
Medium:
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.
Supports:
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)
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]
Viridian
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
Brushes:
round badger size 4, 6, 8. Round Kolinsky sable watercolor brush size 3 for detail.
Medium:
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.
Supports:
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)
Saturday, August 22, 2009
Andrea J Smith, Atelier Canova:
"Many of the best classically trained artists admit they are not as skilled at working with color as they are with drawing and value painting. Smith made up for that deficiency as a student by spending a great deal of time learning to evaluate various oil colors and how they might be combined to make a full range of harmonious colors. “I developed my own way of working with a limited palette of colors, and now that is one of the distinctive aspects of my workshops and classes,” Smith says. “I spend a lot of time helping people understand how to use a few tube colors in order to prepare a full range of secondary and tertiary colors that are appropriate for whatever subject they select. I encourage them to premix small amounts of the colors as needed before they begin each painting session. This is the process I follow when I paint, and it is the same one I use for still lifes, figures, landscape, and portraits.”
Participants in Smith’s classes are introduced to color theory through a quick sketch to help them understand how to use a limited palette of colors. The instructor also works alongside them and stays one step ahead by giving a formal demonstration each morning. “Some of the most basic techniques are explained during these demonstrations, such as the differences between opaque and transparent colors,” Smith explains.
The specific limited palette Smith recommends includes lead white, yellow ochre, English red or Indian red, cobalt blue, alizarin crimson, and ivory black. “These colors can be intermixed to create warm and cool versions of the needed colors,” she explains. “For example, students can make a beautiful green by combining yellow ochre with either ivory black or cobalt blue. An extended palette of colors that might be used for a complicated still life or landscape painting would have the addition of cadmium yellow, Indian yellow, vermilion, cerulean, or viridian.” The brands of paint Smith uses include Michael Harding, Old Holland, and Robert Doak. The medium she recommends is produced by Robert Doak in Brooklyn and is a combination of turpentine, sun-thickened walnut oil, and balsam."
Limited palette:
"Many of the best classically trained artists admit they are not as skilled at working with color as they are with drawing and value painting. Smith made up for that deficiency as a student by spending a great deal of time learning to evaluate various oil colors and how they might be combined to make a full range of harmonious colors. “I developed my own way of working with a limited palette of colors, and now that is one of the distinctive aspects of my workshops and classes,” Smith says. “I spend a lot of time helping people understand how to use a few tube colors in order to prepare a full range of secondary and tertiary colors that are appropriate for whatever subject they select. I encourage them to premix small amounts of the colors as needed before they begin each painting session. This is the process I follow when I paint, and it is the same one I use for still lifes, figures, landscape, and portraits.”
 |
Melissa 2007, oil, 14 x 14. Private collection. |
The specific limited palette Smith recommends includes lead white, yellow ochre, English red or Indian red, cobalt blue, alizarin crimson, and ivory black. “These colors can be intermixed to create warm and cool versions of the needed colors,” she explains. “For example, students can make a beautiful green by combining yellow ochre with either ivory black or cobalt blue. An extended palette of colors that might be used for a complicated still life or landscape painting would have the addition of cadmium yellow, Indian yellow, vermilion, cerulean, or viridian.” The brands of paint Smith uses include Michael Harding, Old Holland, and Robert Doak. The medium she recommends is produced by Robert Doak in Brooklyn and is a combination of turpentine, sun-thickened walnut oil, and balsam."
Limited palette:
- lead white,
- yellow ochre,
- English red or Indian red,
- cobalt blue,
- alizarin crimson, and
- ivory black
- cadmium yellow,
- Indian yellow,
- vermilion,
- cerulean
- viridian
Wednesday, August 12, 2009
Flesh Tones
Flesh Tones
Alia El-Bermani:
In one of the previous posts I mentioned the colors I place on my palette, but I didn't say how I mix them. As a reminder, here are the usual colors on my palette in the order placed counter clockwise on my palette (note this time my white is different from the Flemish White previously mentioned, and unless otherwise noted, all colors are manufactured by Old Holland):
Lead White with Mica (purchased from Robert Doak),
Green Earth,
Lead Tin Yellow, (Robert Doak)
Yellow Ochre,
Raw Sienna,
Burnt Sienna,
Vermilion,
Manganese Violet,
Raw Umber,
Burnt Umber,
Cobalt Blue
(occasionally I will add Cad-Red Medium, Olive Green, or Vine Black)
So off to the mixing... I use a palette knife to pre-mix my flesh tone starting with a mid-color-value. That approximately consists of 1 part Raw Sienna, 1 part Yellow Ochre, 1/2 to 1/4 part Burnt Sienna (depending on the ruddiness of the model). Without cleaning my knife I then start making tints of this by adding white to separate pools of this mid mixture. I also then add Green Earth to this mid mixture to aid in neutralizing some areas (bottom left mixture). I then clean off my knife and start my shades. Again, using the mid mixture, I add about 1 part Manganese Violet (for warm shadow masses), then the next puddle is that plus about 1/2 part Raw Umber. The next puddle is that mixture plus a tiny bit of Cobalt Blue and then the last puddle is that mix plus white. This also gives me a cooler neutralizer which doesn't affect value in the mid to light areas (as much as if I were to use the darkest puddle). These pre-mixed puddles act as a starting point. Once I get into the painting, I often add colors to these mixes using my brush. I find having these puddles at the ready speeds up my process greatly. It also gives the painting good color unity. The Lead-Tin Yellow is a really strong beast but is a clean yellow which I can add a tiny amount to my light flesh tones if needed. I use Vermillion in the same way.
And voila... now go to it and see what you can do!
Alia El-Bermani:
In one of the previous posts I mentioned the colors I place on my palette, but I didn't say how I mix them. As a reminder, here are the usual colors on my palette in the order placed counter clockwise on my palette (note this time my white is different from the Flemish White previously mentioned, and unless otherwise noted, all colors are manufactured by Old Holland):
Lead White with Mica (purchased from Robert Doak),
Green Earth,
Lead Tin Yellow, (Robert Doak)
Yellow Ochre,
Raw Sienna,
Burnt Sienna,
Vermilion,
Manganese Violet,
Raw Umber,
Burnt Umber,
Cobalt Blue
(occasionally I will add Cad-Red Medium, Olive Green, or Vine Black)
So off to the mixing... I use a palette knife to pre-mix my flesh tone starting with a mid-color-value. That approximately consists of 1 part Raw Sienna, 1 part Yellow Ochre, 1/2 to 1/4 part Burnt Sienna (depending on the ruddiness of the model). Without cleaning my knife I then start making tints of this by adding white to separate pools of this mid mixture. I also then add Green Earth to this mid mixture to aid in neutralizing some areas (bottom left mixture). I then clean off my knife and start my shades. Again, using the mid mixture, I add about 1 part Manganese Violet (for warm shadow masses), then the next puddle is that plus about 1/2 part Raw Umber. The next puddle is that mixture plus a tiny bit of Cobalt Blue and then the last puddle is that mix plus white. This also gives me a cooler neutralizer which doesn't affect value in the mid to light areas (as much as if I were to use the darkest puddle). These pre-mixed puddles act as a starting point. Once I get into the painting, I often add colors to these mixes using my brush. I find having these puddles at the ready speeds up my process greatly. It also gives the painting good color unity. The Lead-Tin Yellow is a really strong beast but is a clean yellow which I can add a tiny amount to my light flesh tones if needed. I use Vermillion in the same way.
And voila... now go to it and see what you can do!
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