Color Spot Oil Painting

Color Spot Oil Painting

Workshop | This program is completed

200 Grant Street Denver, CO 80203 United States

A02

Intermediate,Advanced,Professional

2/22/2019-2/24/2019

10:00 AM-4:00 PM MDT on Sun Fri Sat

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$350.00

This workshop will provide an intensive introduction to color spot painting, emphasizing the role of the viewfinder, the plumb line, the relationship between the object and its environment, and how to set-up the initial key of the painting.

Color spot oil painting is a method of direct painting developed in the early decades of the twentieth century by Charles Hawthorne and later by his student and assistant, Edwin Dickinson. A color spot is a piece of color, large or small, that has been observed and abstracted from the appearance of nature and applied directly to the white canvas in discrete notes. Color spot painting is as direct a method as exists- you aim to hit the mark right at first, and not go back ( or go back as little as possible) so as not to destroy the integrity of the network of spots.

  • Artist Biography at: https://ephraimrubenstein.com/
  • You may have a painting set up with which you are familiar and which has worked for you over the years. Bring that, and we can discuss its strengths and limitations as we proceed. If you are unsure of what to use, or are ready for some modifications to your present set-up, please consider the below.
  • PALETTE: The smallest your palette should be is 16" x 11", which is the size that fits into the folding French easel. In my view, a permanent wood or Masonite palette is preferable to a disposable wax paper palette. If you are breaking in a new palette, you will need raw linseed oil to rub down the surface before you start painting on it.
  • PALETTE KNIVES: A drop-handle palette knife. Do not buy straight handle knives or painting knives.
  • COLORS: The first 12 colors are the most important. The ones with the * are additional if you want to add them.
  • -Flake White, Raw Umber, Ivory Black, Burnt Sienna, French Ultramarine, Alizarin Crimson, Cobalt Blue Deep, Cadmium Red Light, Viridian, Yellow Ochre, Hansa Yellow Deep, Cadmium Yellow Light.
  • *Cobalt Violet Deep, *Caput Mortuum Violet, *Raw Sienna, *Cerulean Blue, *Phthalocyanine Green, *Manganese Blue, *Cadmium Red Deep, *Ultramarine Violet Deep, *Terre Verte.
  • Brands of oil colors: Winsor & Newton, Williamsburg, Rembrandt, Sennelier, LeFranc & Bourgeois, Blockx, Old Holland are all high quality colors. Grumbacher, Liquatex, Utrecht make an acceptable student grade paint.
  • BRUSHES: To begin with, buy bristle brushes (hog’s hair), 2 of each size, (one "bright", one "filbert"); #2, #4, #6, #8 and #10. You will also need several smaller, soft haired (sable or synthetic sable) brushes; #0, #1, #2. Langnickel, Robert Simmons, Winsor & Newton and Silver “Bristlon” (synthetic) brushes are usually of high quality.
  • Material: Bristle (hog hair), horse hair, sable, squirrel, synthetic (acrylic), etc.
  • Handle Length: Long (for oils and acrylics); short (for watercolor)
  • Shape: filbert, bright, flat, round, fan
  • Size: #00,#1, #2, #3, etc.
  • SUPPORTS: I would stay away from cardboard "canvas boards", which warp and are composed of inferior materials. Buy or prepare several supports in various sizes/ shapes to have available. I would not go smaller than 14” x 18” and no larger than around 20” x 24”.
  • GROUNDS: Acrylic Gesso
  • MISCELLANEOUS
  • Turpenoid
  • medium cups
  • Bar soap
  • Thin, straight vine charcoal- 3 sticks
  • Chamois cloth
  • Plumb- line - make out of red carpet thread and a nail
  • View finder - make out of shirt cardboard or the back of a legal pad, etc. Make 2 "L" shapes, 7" on the leg and 1 ½ " wide. Use 2 paper clips.
  • Knitting needle-- a # 8 or so
  • #2 pencil
  • Paper towels or rags
  • A small piece of white or light gray mat board with a small hole punched in the middle
  • SUGGESTED READING
  • -How to See Color and Paint It, Arthur Stern, Watson Guptill
  • -Hawthorne on Painting, Charles Hawthorne, Dover Press