Wednesday, June 11, 2014

Materials: Lucas Graciano

These are the material I use.  Erik and I each use some of the same things. I may just expand a little on what he's said and talk about some of the mandatory vs optional materials you'll need for the workshop.

Paints:  Like Erik I use mostly Windsor Newton. I highly recommend using the professional grade oil paints.  Windsor Newton has a student grade series called Winton - stay away from these.  They are less expensive, but the trade off is you end up having to use more of it when mixing colors for good results.  There is more pigment in professional grade paints, allowing you to use less of it for more.

From upper left going clockwise: Titanium White, Ivory Black, Cad Lemon, Cad Yellow, Yellow Ochre(Da Vinci), Cad Orange, Cad Red Light (Da Vinci), Burnt Sienna, Burnt Umber (Winton....I'll explain in a bit), Transparent Maroon, Viridian, Permanent Green, Sap Green, Ultramarine, Pthalo Turquoise, Coblat Blue, Manganese, Magenta, Alizarin.

As far as that Winton - Burnt Umber goes, I know I said "No Winton".  This is the one exception.  I don't mix my burnt umber with my other paints.  I use this color for my under-painting, sometimes.  I like this burnt umber because it's a nice warm burn umber.

Brushes:  I use a variety of pallet knifes, generic large flat bristle, Robert Simmons "Signet" a range of sizes from 2-8 of each flats and filberts.

The next set of brushes is a mongoose hair brush called Langnickle: large size brite Langnickle,  a mixture of brite and flat Langnickles sizes 2-10, small round Robert Simmons "white sable" sizes 0/3-0.  Langnickles are no longer available, but Erik mentioned some good alternatives below.

I use a few different mediums.  Gamsol for cleaning and thinning, Linseed Oil for thinning, and Liquin for faster drying and those tight deadlines.

Misc: 2 jars holding mediums, Master's brush soap(in place of this I use Dr. Bronner's soap), tube wringer, pallet scraper, airtight container, shop towels, mahl stick, and a reference holder called a Manfroto.

Other Misc:  Pallet and paint tray.  The tray will give your colors a few extra days from drying up.  You can also use disposable freezer paper from the local grocery store to tape to the top of our school table easels.  This might be the most convenient for those of you traveling.

This is a shot of my pallet.  Its a custom glass pallet.  I arrange my colors clockwise in a warm to cool arrangement.

Here is what you'll need:

-Assortment of Colors
-Assortment of Brushes
-Gamsol in airtight container
-Paper towels
-whatever surface you decide to work on
-pallet scraper
-brush cleaner

-mahl stick (we have plenty at the school)
-tube wringer
-pallet knife
-paint tray

*Feel free to ask any questions, and one of us will respond in the comment section below.


  1. I have linseed stand oil. What is the difference between that and the refined linseed oil you use?

    1. First, the obvious: Stand oil is thick and tacky, while linseed is thin and fluid.

      Second, yellowing: Linseed oil does yellow with time; the more refined, the less it yellows. Stand oil will yellow the least with time.

      Third, dry time: Stand oil dries slower than Linseed, so your painting will remain wet longer. If you are glazing, you want every layer to be dry or relatively dry before you apply another layer, which is why you should use Linseed oil instead.

      Fourth, volume: Due to the thickness, stand oil is more appropiate for impasto, if you want to leave texture or chunks of paint on your surface.

      Fifth, transparency: Linseed, because it is thinner, it mixes more evenly with the paint, and it becomes very transluscent, which is another reason why it is more appropiate for glazing.