- John David Anderson
- Course Code
- Skill Level
- October 20 - 22, 9AM - 4PM
- 3-201 High Street Southampton, Ontario N0H2L0
We will layout over the 3 days approaches, methods and techniques for successful, engaging and as John likes to look at it, joy filled painting time. Process, analysis, planning and successful execution of several painting exercises with a view to a finished larger piece on day 3.
A careful look at colour, successful composition building, paint application with knife and brush, illustrated with demos and discussion, critiques designed to map out routes for progress individually and as as a group will all be part of the 3 days.
John will focus on individual interests as well to coach and assist where I can to encourage personal growth as an artist. Visual material for the first 2 days will be supplied and the 3rd if needed but the option to work from the participants own reference for the 3rd day is available.
An outdoor session, 2-3 hours, may be considered if the weather is conducive for that to take place. A still life will be provided if need be for an alternative.
The plan is to work hard, have fun and build confidence in your painterly pursuits.
* Both Oils and Acrylics will be demoed.
Alizarin Crimson or Permanent Rose
Cadmium Yellow - notes on this selection…Cadmium Yellow comes in a variety of characters and names that can be a little confusing. I use Grahams Cadmium Yellow, Gamblin Cadmium Yellow Medium and Winsor & Newton Cadmium Yellow Pale and in acrylics, Golden Cadmium Yellow Medium. These are all essentially “ Primary Yellows” in that they are not too orange leaning and not too lemon leaning. That’s important when using a limited palette. A poor yellow severely limits your colour mixing potential so if you have one yellow, make sure it’s a good one…not too lemony and not to orange leaning.
Transparent Iron Oxide, Graham’s, Transparent Earth Red, Gamblin or a transparent Burnt Sienna – the key point is its transparency
Very good to have –
Cadmium Red Light, Cobalt Blue or Pthalo Blue Red Shade, Quinacridone Violet ( it’s a red violet and not a blue violet), Viridian or Pthalo Green, Blue Shade, Cadmium Orange, Mixing White or Zinc White.
Nice to have but in no way critical -
Cobalt Teal, Perylene Red, Pyrrole Red, Pthalo Turquoise
Mediums – Important
Oil Painters should have Winsor & Newton Liquin Light Gel or Gamblin Solvent Free Gel
Acrylic Painters should have Matte Medium. I use Liquitex Ultra Matte
My personal preference is Flats and not Brights, Rounds or Filberts.
#12 Flat about 1” wide
#10 Flat about ¾” wide
#8 Flat about ½ “ wide
#4 Flat about 3/8” wide
#2 Flat about ¼ “ wide
Palette knife – 2“ long, diamond shape blade, metal preferred…
For Oil Painters these should be Natural Bristle brushes, not synthetic.
For Acrylic Painters, please use long handled, synthetic bristle brushes, not folk art brushes, as they are too soft. I prefer the Curry’s Series 3800, green handle, brown bristle brushes. They are not cheap but when washed properly they last for many years.
I paint on boards a lot. Very thin plywood that has been sealed with Golden Acrylic GAC100 and then gessoed with Liquitex artist grade gesso is great. Home Depot has flooring underlay in 3 foot squares. I cut that up to a variety of sizes. The one side is smooth and has black markings on it. That is the good side.
If you are using Canvas or Canvas Panels, even though they are already gessoed, they benefit from being sealed again with Golden GAC100 and a recoating with an artist grade gesso. Liquitex Artist grade is preferred.
8” x 10” x 2
12” x 16” x 2
16” x 20” x 2
Oil Painters need Artist Grade Odourless Mineral spirits in a sealable jar, or wide mouth solvent container.
Acrylic Painters need a water container
Sketch Pad – smallish
Pencils or markers :
I use Copic markers in a light, medium and dark grey along with a fine black marker.
If you prefer pencils then an HB, 4B and 6B would be an asset