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)

prepping paper for oil paint

[...] I've been preparing Arches 300 lb. cold press watercolor paper with two or three coats of acrylic matte medium. Reviewing notes from a workshop, I discovered that the recommendation was for one coat of matte medium followed by two coats of acrylic gesso.

Negative Space

* Bob Bahr on Lisa Dinhofer: [...] putting the emphasis on the objects in your scene is risky if it leads to forgetting that the negative space is where your piece is either going to excel or be average. "The most important part of a painting is the space between the objects," she said. "It's also the hardest part to paint. But that's where the poetry is."

In some cases, the negative space is drawn, even if it is just some hatching to provide a tone. But often in people's drawings, the negative space is simply the paper. [...]

I am a fan of toned paper. It's expensive, but if I plan on spending even a coupla hours on a drawing, the cost is justified. I use colored pastel paper in a pad, usually from Canson. But I also like using Bogus Rough Sketch from Bee Paper. It's designed for fashion sketches, but its significant tooth and nice brown tone make it a great paper upon which to work up and down in value.[...]