1st Year Student Supplies
- Conte’ a Paris Pierre Noir Pencils: HB (2 of these), B (4 of these), 2B (4 of these). Click Here to see an image of this conte pencil.
- 1 pad Smooth Newsprint Paper, 18×24. Click Here to see an example.
- Drawing Board: this can simply be an 18×24 mdf wood panel, foam-core board or similar
- 1 roll of artists tape
- Kneaded erasers
- 2 bulldog clips or similar to clamp newsprint to your board
- Graphite pencils, 2H to 9B — start with three or four of each.
- 1 pad Strathmore 400 series drawing paper, 18×24.
- Sketch pad for taking notes, any size.
- Razor blades for sharpening pencils, the rectangular box cutter refills are best for this. Click Here to see an example.
- Mahl stick (this is simply closet dowel, cane, or similar about 2.5-3 ft long, used to steady and keep your hand from smudging. There are nice ones available at Daniel Smith but are on the expensive side. Click Here to see this.
- “Black mirror” (a square of black Plexiglas from Tap Plastics, about $4 — leave the paper backing on). I recommend waiting until after the 1st day of class before getting one if you haven’t seen one of these before. Click Here to visit TapPlastics.
- Sandpaper for sharpening pencils (150 or 200 grit, depending on preference)
- 2 sheets Lanaquarelle hotpressed paper 140lbs.
The following supplies you will need later in the year:
Faber-Castell Pitt Pastel Pencils (2 of each)
- #177 walnut brown
- #192 Indian Red
- #101 White
- #199 Black
2 sheets Stonehenge Fawn paper
2nd Year Student Supplies
Paints
The paints I prefer to use that are readily available are Williamsburgh. If you already have paints you would like to use, that is most likely alright, although some colors mentioned below are brand specific. The colors you’ll need for the 1st section of the year are:
-Ivory Black
-Raw Umber
-Flake White (or similar). I use Natural Pigments Rublev Colors’ Lead White #1.
-Titanium White
In the 2nd section you’ll need:
-Raw Sienna (Williamsburgh specific and NOT Raw Sienna Italian)
-Cadmium Red light or Vermillion. I recommend waiting until the first day of class to purchase this as brands will vary quite a bit with these colors.
In the 3rd section you’ll need:
-Turkey Umber (Williamsburgh specific)
-Alizarin Crimson (I use Alizarin Permanent from Windsor&Newton)
-Naples Yellow Italian (Williamsburgh specific)
-Nickel Yellow (Williamsburgh), or Lead Tin Yellow (Natural Pigments)
Brushes
The primary type of brushes you’ll be using are Bristle. A variety of companies make these and my collection is an assortment of manufacturers. A good and inexpensive option are the Daniel Smith Red Boar Bristle brushes. Click Here to view these. Blick Masterstroke Bristles are a good option, though the Dan Smith ones are a little better. You’ll want a range sizes in the Filbert shape. The most common sizes you’ll be using are 2-6, so I’d recommend getting 2 of each of those sizes. If you are on a tight budget, get 1 of each for now. You’ll also want an 8, 10, and 12, but won’t need those immediately. Later in the year if you are working on a larger painting you may want a 14 or 16 but is not necessary for the majority of this year’s curriculum.
You’ll also need a few very small brushes for tight details/accents, and these are usually only found in the Round shape. Having these as bristle is preferable but not as important as the others-synthetics or others are ok. These sizes are usually labeled as 2×0 or 2/0, 0, and 1.
Last, you’ll need some soft round brushes for softening edges/blending. Click Here to see an example of these sort of brushes. Some of the writing has worn so I don’t know some specifics, but I know the first two (from left to right) are made by Princeton Art& Brush (2nd one #2 round 2650r), and the 3rd by Windsor Newton (which looks to be a red sable or similar). The one on the right is a DaVinci black sable #16 (their 16 is smaller then a corresponding 16 filbert listed above). The Sables tend to be pricey unless there is a discount going. I remember the Princetons weren’t very expensive, and I always purchase these kind of brushes in the store so I can get a feel for the brush before buying.
Canvases and Panels
For the 1st section of the curriculum you’ll be doing several short-term studies. I’d recommend against using standard canvas boards, as they’re pretty crude even for studies. My recommendation is make your own canvas panels using a pad of Yes canvas and foam-core board. Click Here to see Yes canvas pads. The canvas in these is much nicer then whats on the usual canvas boards and still inexpensive. This way you can cut whatever size(s) you wish, and can do so by attaching the backside of a sheet of canvas to a piece of foam core using acrylic gesso. Make sure to cover thoroughly and flatten out the surface as it’s drying to make sure bubbles don’t form. You can then cut your panels out of this sheet. Foam-core is ideal because it’s very easy to cut with a razor. In terms of sizes 6 3/4 x 9 is a good size, though you want to also make some bigger ones, such as 8 1/4 x 11. Another advantage of working this way is your panel can be easily cut/cropped if necessary after finishing a study. If you would like to use pre-made canvas panels that are better quality then the standard Fredrix ones you are welcome to do so.
For longer projects I will be discussing substrate options, such as stretched linen, linen mounted on panel, type of weave, painting straight on panel, etc. It makes more sense to become familiar with these options before purchasing. If you are already familiar with these options my recommendation is to mount Claessens Unprimed Linen onto either a cradled birch panel or mdf panel (mdf for smaller sizes). The Medium Smooth (type 144), Smooth (type 74d) and Fine (type 66j) are all good. I tend to match the weave size to the panel/canvas size, but is not critical. The only time this can be a problem is with a large weave on a small canvas, but even the medium smooth is a tight enough weave to work on small pieces. If mounting, I usually glue the linen to the panel using Daniel Smith Acrylic Gesso diluted with a bit of water so as to fully saturate the panel surface and weave.
Primers
-Dan Smith Acrylic Gesso White, 1 Quart size
-Dan Smith Acrylic Gesso Stone Grey, Pint size
Solvents
-Either Gamsol or DS Sol only. No other solvents accepted.
-Solvent container with lid for rinsing and dipping brushes
Mediums
- Refined linseed oil
- Small jar of Windsor & Newton Thickened linseed oil or Holbein Sun-Thickened linseed oil.
- Tube of Daniel Smith Oil and Alkyd Painting Medium or similar. If you are not familiar with these alkyd mediums, get the Dan Smith one. This will be used earlier in the year and then we’ll be moving into making our own with the ingredients above.
Misc
-Palette Knife
-Palette ( I like to work from a wooden palette, but other kinds are acceptable). I’d recommend against using white palette paper because this can throw off you value relationships. Dan Smith makes a grey palette paper, but having a palette that you ‘grow into’ is much better. To prepare your wooden palette, work a few layers of linseed oil into it with cheesecloth or towels so it’s not so absorbent.
You probably already have these drawing materials, but if not you’ll want to get:
Faber-Castell Pitt Pastel Pencils (2 of each)
- #177 walnut brown
- #192 Indian Red
- #101 White
- #199 Black
1-2 sheets Stonehenge Fawn paper
