Materials List
Kamille Corry
Month Long Figure Intensive
September 2022
- Sketchbook (or loose paper for sketching)
- 2 pcs. Drawing paper the size of your final canvases (does not have to be expensive)
- Pencils
- Eraser
- Willow or vine charcoal sticks
- Field easel if you plan on doing the optional plein air painting in the evenings (weather permitting)
- CANVAS: 2 surfaces approximately 18” x 24” or larger. Stretched (linen, NOT cotton), linen over panel or gessoed panel. The surface texture does not matter. Please bring what you prefer to paint on.
- Small canvas pieces or panels, approx. 8-12 of these, size 8” x 10”. Thesewill be used for studies throughout the course and any optional plein air painting. A canvas “pad” (most likely cotton) is fine for these studies if you don’t have linen. You can tape these pieces onto a drawing board.
**Note on the size and material of the supports:
We are doing two main projects: a nude with ornamental background and a full, clothed figure in the interior. We will spend 2 weeks on each painting. I would like us to paint relatively large since we have more time in this workshop. However, some of us will be traveling and you’ll need to take this into consideration. I think the smallest dimension you’d want to paint is 18” x 24”. Suggestions if you are traveling roll your canvas and bring stretcher bars (+ tacks, stapler, pliers etc.) with you. We can stretch canvas the first day of class. Or you can tape loose canvas to a drawing board and stretch it when you get home.
TONE YOUR CANVAS – ALL YOUR CANVAS (or panels):
I suggest an earth tone (mid-tone, not too dark). Any umber, raw umber or sienna color will work great. Please have them DRY by the first day of class. Make sure you put some kind of medium in with your gamsol wash while toning it, so it won’t pull up once you start painting on it. I mix a bit of color with my medium (see below) to thin it out, and then add enough gamsol (or turp alternative) to make it runny – then wipe it on with a paper towel or rag. If I need it to dry quickly, I will use Liquin mixed in with the color to a runny consistency (no gamsol needed in this case).
BRUSHES:
A variety of flats and filberts – sizes 1-12 bristle or synthetic. (I don’t use sables or blending brushes, but bring whatever brushes you are familiar with). My favorite brushes are Rosemary’s Ivory in flats and filberts.
OIL PAINTS:
Brand does not matter, but I suggest good quality paints (not student grade – NO Winton, SOHO or Lukas please). Almost all of my colors from Robert Doak in NYC or Rublev Natural Pigments, with the occasional Old Holland, Gamblin, Winsor Newton. If you have colors that you love, other than those listed, bring them. I love experimenting with colors and you are welcome to introduce more, or substitute with a similar color. Below is my basic palette.
- Lead White (Rublev or Robert Doak). You can substitute with other whites but keep in mind Titanium dries a lot slower.
- Yellow ochre
- Raw Sienna Deep
- French Sienna (Rublev), a deep greenish raw sienna that is indespensable
- Cadmium Orange
- Vermillion or Cad Red Medium
- Burnt Sienna
- Venetian Red or English Red (or any cool earth red)
- Dioxazine Violet
- Cerulean Blue
- Ultramarine Blue
- Green Earth
- Raw Umber
- Burnt Umber
- Ivory Black
- Transparent Sepia (Robert Doak) this is an optional but amazing color – I use it instead of black, and it is much more versatile.
MEDIUM:
I use a simple medium of half gamsol/ half linseed oil (good quality). Have a small jar of this with you.
MISCELLANEOUS:
- Gamsol
- Non-Glass Container for Gamsolv
- Paper towels
- Palette
- Palette knife
- Palette cup(s)
- Lidded hat
- Mahl Stick if you use one
MATERIALS for ORNAMENTAL DESIGNS (background for nude):
REFERENCES: I would like everyone to come up with their own design for their painting. You can bring any references with ornamental design that inspires you such as:
-historical designs
-natural references
-fabrics
-books
I don’t expect you to add a ton of objects to your art materials, so any or all of these references can be digital or photo copies, espeicalliy if you are flying. We will discuss this more in depth during the workshop – but it would be great if you have an idea of what interests you before hand. Perhaps a tablet device would also make allow you to view these digital images a bit larger.
MATERIALS:
the background design can include different media than the figure – this will be up to each student, but if you like to experiment, you can consider bringing
- Gold, copper, silver or other metal leaf
- Dry, specialty pigments (unique colors)
- Brushes for decorative work
- Different mediums such as impasto medium of venetian medium both from Rublev
- Tracing paper
**The above are only suggestions and optional. You can use oil for your entire painting and do not need to experiment with other materials. Keep in mind that you cannot use waterbased materials over an oil primed surface (whether its an oil tone on the canvas or the oil primed canvas itself), so please don’t bring water based paints. If anyone uses real gold leaf, we will be using a sizing solution to adhere it to the canvas (no water guilding). I will provide the sizing – no need to bring that.
For those of you who are traveling – do not stress about getting a lot of extra materials if it adds too much to your luggage. I will also have materials that I will share and there is also a great Art Supply store called Jerry’s Artarama in Raleigh. I only want you to be thinking of these options. If you are inclined to experiment with your painting, then feel free to bring fun and different materials, if you wish
Provided by Alia Fine Art Studios (Especially for those travelling by plane):
- Drawing Boards
- Masking tape
- Tracing paper
- Gamsol
questions?
Contact: info@alia-fineart.com