Fall City Fine Art Studio

Drawing Materials (requested):

• Drawing board, 20x26 “wooden” or 23x26 “masonite”
• Strathmore 18x 24 pad of drawing paper. The standard is adequate (60 lb. weight), but the heavier duty paper is better (80 lb. weight). The 400 series is widely available, and very good
• Newsprint 18x24 for very short drawings
• Heavy duty clip from a hardware store, large enough to clip a drawing board to an easel
• Drawing pencils, graphite, 4H, 2H, HB or F, B, 2B, 4B
• Grumbacher charcoal, medium vine (NOT compressed or “willow”) sticks
• Eraser, kneaded rubber
• Blending stump
• Hat
• Masking tape
• Chamois
• 2 sheets, Strathmore 500 series, 2-ply Bristol, kid finish (not plate), cut down to approx 15x 22”. In this series, the paper is sold in individual sheets only, not pads. It’s a available from New York Central Art Supply, among other art dealers
• Easel

Recommended materials for those who wish to paint: (requested for class) - (optional)

Oil Paint Manufacturers: Gamblin, Old Holland, Winsor Newton, Rembrandt, Block X

• White - Flake white, Titanium white
• Violet/Purple - Dioxazine Purple, Mars Violet
• Blue - Ultramarine, Cerulean Blue (or Gamblin Hue)
• Green - Chromium Oxide, Pthalo Turquoise, Permanent Green, Cadmium Green Pale, Radiant Green (Gamblin)
• Yellow - Yellow Ochre Pale, Raw Umber, Raw Sienna, Cadmium Yellow (light and deep), Indian Yellow
• Orange - Burnt Sienna, Mars Orange, Cadmium Orange
• Red - Venetian Red, Napthol Red, Permanent Alizarin Crimson, Permanent Rose (Pigment Violet 19)
• Black - Ivory

• Thinners and Medium: Odorless Mineral Spirits is advised (Gamsol, SoHo), as well as Stand Oil. “Natural” smelling Turpentine or Mineral Spirits is not recommended, Pure Turpentine is not acceptable, unless it is also odorless

• Supports: Fiberboard or masonite, approx. 20x16”is one option. If one uses these, rather than canvas, apply three layers of white acrylic gesso, and a final tone of warm or cool neutral grey. Keep several extra boards prepared. The so-called “clay boards” are NOT recommended.

• Acrylic paint for toning boards or canvases:

                        White Gesso (don’t use titanium white)
                            Ultramarine Blue
                            Burnt Sienna or Burnt Umber
                            (mix to a neutral grey, then apply)

• Canvas: It is further recommended that one keep a supply of somewhat inexpensive, expendable supports of stretched canvas available for courses such as this one, understanding that acquiring a sense of the finest materials (i.e., lead primed Belgian linen) can be left for a later stage of one’s development. A suggestion is the pre-stretched, portrait grade canvas made by Fredrix, 20x16, 24x20, or 30x20, which should be toned with a medium grey (see above).

• Brushes and Palettes: It has been my experience that students tend to disregard the importance of having descent brushes. This is not an area to cut costs in…Please bring a variety of brushes, in fine shape, to class. I recommend long handled bristle filberts (example: Silverbrush “Silverstone” or “Grand Prix”), no. 2-10, and the synthetic brushes (i.e. Winsor & Newton “University Round”), no. 1-6. Sable hair brushes are also acceptable.

• A medium sized, wooden palette is highly recommended. A glass palette is also fine, so long as it is sitting on a medium gray paper to give it a neutral feel. Please be advised that disposable palettes (the “pad” palettes with white, wax coated freezer paper sheets) are NOT acceptable.

Recommended Books:

The Human Figure , Vanderpoel, John. H. The Inland Press, Chicago, 1907.
(also available on Dover Publications, New York, 1958-present)

The Practice and Science of Drawing, Speed, Harold. Seeley, Service and Co. Ltd.,
London, 1917. (also available on Dover Publications, New York)