Details
Sundays, Aug. 18 – Nov. 3, 12-3pm
No class Sept 22nd
(30 hours of class time)
$400USD
Asynchronous option available: $300USD
Overview
In this class we will utilize still life painting, specifically focusing on
metal and glass as reflective and transparent surfaces, to take a deep dive
into material handling and paint application techniques.
These particular types of surfaces provide a vehicle well suited to the exploration of paint density, and
of medium use, both of which will affect the distribution of transparency and
opacity.
We will work on panels to maximize opportunities to explore alternative mark making such as scratching,
which will be better facilitated on a more resistant surface (alternatively the
hollow in the back of a stretched canvas can be “packed” in order to provide
resistance for scratching).
Additionally we will look at other paint additives beyond standard mediums (traditional or synthetic), such
as marble or glass dust, egg yolk, or cobalt dryer.
And we will explore concepts of palette management as well as it is a vital addition to an artist’s
housekeeping and material management strategies, which can support or undermine
the painting process.
As we explore these and other aspects of oil painting we will weave their practice and application into the
creation of and demonstration of still life paintings, but the true value in
the lessons learned, will be applicable to the exploration of a much much
broader range of subjects.
Materials
Filbert bristle brushes #2 and #3.
Small soft synthetic/sable brushes (flats and/or rounds).
A knockdown brush (larger and softer than the rest, a “Blender”).
Canvasboards or panels 16×12 or 12×9 – specifically not stretched canvas or linen, as the rigidity of the support will be beneficial to our studies.
Odorless mineral spirits (Sunnyside or Gamsol are recommended).
Stand oil.
A prepared wooden palette.
Sealable turp jars or cups.
Viva paper towels.
Palette knives, knitting needles, and other scratching implements (optional).
Ziploc bags, glass marbles, and a small sealable (mason) jar that will fit inside the ziploc (optional but very helpful with medium).
Condensed palette (From 26 down to 11)
Burnt sienna
Cadmium red
Cadmium scarlet
Cadmium orange
Yellow ochre
Cadmium yellow
Raw umber
Permanent green light
Cobalt blue
Dioxazine purple
Titanium white
Instructor’s Personal Palette (not required, but meant to provide an example of a full, or
extended, color palette)
Burnt Sienna
Anthraquinone Red
Permanent rose
Perelyne Red
Cadmium Red Deep
Cadmium Red
Cadmium Scarlet
Cadmium Orange
Indian Yellow
Raw Sienna
Raw Umber
Yellow Ochre
Cadmium Yellow
Cadmium Yellow Pale
Cadmium Green Pale
Chromium Oxide Green
Permanent Green Light
Viridian Green
Pthalo Green
Pthalo Turquoise
Manganese Blue
Cobalt Blue
Pthalo Blue Deep
Dioxazine Purple
Quinacridone Magenta
Titanium White
For more information, or to enroll: email me at: jasonpatrickjenkins@gmail.com