Luminous Colors with Underpainting and Glazing

Luminous Colors with Underpainting and Glazing

Adult Course | Registration opens 3/4/2025 7:00 AM MST

200 Grant Street Denver, CO 80203 United States
202 Atelier
Beginner to Advanced
4/15/2025-4/29/2025
6:00 PM-9:00 PM MST on Tue
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$166.50
$141.52

Luminous Colors with Underpainting and Glazing

Adult Course | Registration opens 3/4/2025 7:00 AM MST

This is an on-going class.  While registration is in one-month increments, it is not possible to learn underpainting and glazing in one month, so be prepared to make a commitment of a few months. 

 

When used in specific ways color is incredible! Part of it is composition, part is knowledgeable color mixing, and part technique!!!! Underpainting and glazing is a technique that I use in every painting to create color that glows with life and light, and looks like jewels. Oil paint is inherently transparent, even the opaque colors, so what color is under and what color is on top really does make a huge difference. As I entertain myself daily in my studio, I learn new things all the time, and I have made a lot of paintings and discoveries. Come and learn this technique and take your paintings to new heights! You will learn things that aren’t in any books, including the one that I wrote, Classic Still Life Painting. This is a still life class where you can create paintings that are filled with life and light. Using oils and still life you will learn a step-by-step thought process that will allow you to accurately paint anything and how to successfully paint from photographs so that you can create detailed paintings with confidence.

  • This is an on-going class.  While registration is in one-month increments, it is not possible to learn underpainting and glazing in one month, so be prepared to make a commitment of a few months. 

    Learning Objectives:
    Students will learn basic and advanced techniques for underpainting and glazing, as well as how to create a painting with smooth paint.

     


  • Drawing supplies:

    18 or 24” C-thru ruler  (transparent, with inch measurement on both sides) (optional)

    2H pencil

    kneaded eraser

    white Magic Rub eraser

    Drafting or masking tape

    19 x 24” pad of tracing paper or 2 sheets of tracing paper

     

    Painting supplies:

    12 x 16 inch WHITE paper palette (make sure it is for OILS, not acrylics)

    Palette seal to fit the paper palette – (optional, but recommended)

    Palette knife for mixing paint (I prefer one with a bent or offset handle)

    SOFT paper towels, like Viva brand

    Winsor & Newton Sansodor or Gamblin Gamsol

    These are the ONLY two solvents allowed in my class.

    Small jar for Sansodor such as an artichoke heart jar - optional

    Murphy’s Oil Soap in a small container  (optional)

    Winsor & Newton Liquin Original  (NOT Liquin Fine Detail or Light Gel)

    Wipe-Out-Tool, optional, but useful (I make these available for purchase.)

    black graphite (transfer) paper, make sure it is erasable!

    stylus or ball point pen with a fine point

     

    Oil Paints:  Except for the Titanium White, these are all transparent colors that are used for glazing.  This class is about glazing and the most beautiful glazes are made with transparent paint.  Glazes can be made with opaque colors, but they are not as lovely as those made from transparent color.  You won’t need these for the first class.  

    Titanium White  – I suggest using Titanium White over other whites because it is the most opaque.  With that in mind, bring a good professional or artist grade paint.  I prefer Rembrandt brand.  Student grade brands, such as Winton or Daler-Rowney’s Georgian brand will not have the opacity that is necessary for underpainting.  

    Transparent Yellow (Rembrandt is a good brand, and less expensive than Winsor & Newton)

    Cadmium Lemon (bring it if you have it)

    Indian Yellow (Gamblin is preferred, but Winsor & Newton will be fine)

    Perylene Red – Gamblin brand or Winsor and Newton’s Winsor Red Deep

    Permanent Alizarin Crimson or Permanent Carmine (Winsor & Newton)  

    Ultramarine Blue or French Ultramarine Blue

    Viridian - optional

    Sap Green (Winsor & Newton is good, just don’t get Gamblin brand)

    Payne’s Gray – (I prefer Grumbacher) (optional)

    Ivory Black                                                    

     

    Brushes:   synthetic or sable, they should not be stiff like a bristle brush, rather they should have a nice “spring” to them, and a soft texture.  

     

    Flat brushes –1 or 2 of each size: 2, 4, 6, 8, 10, 12, and 20 (this one is optional)

     I suggest any of the following:

    Da Vinci Nova synthetic series (brights)

    Da Vinci Nova Red Sable series 1810 and 1812 (brights)

    Winsor and Newton Scepter Gold II  (flat)

    I have appropriate brushes available for purchase during the workshop or on my website www.janejonesartist.com

     

    Mop brushes:  these are the only ones that are brand specific.

    2 Silver 1/8" Mini Oval Mop and 2  Dynasty 1/4 " (These are very small mop brushes and are hard to find, so I make them available for purchase.  I also make the following larger mop brush available for purchase.)

    Silver brand White Oval 1/2 mop

     

    2 or 3 disposable gloves – these will be used for applying a first layer of paint, so if you wear gloves while you paint, you will need more for that.

     

    Painting surfaces:  

    Choose the size to go with your image.  Canvas (portrait grade) or hardboard prepared with gesso such as Gessoboard from Ampersand  (this is the best product and can be seen at www.ampersandart.com ).  Other brands such as Houston Art are too rough and inferior in how they perform.  You will only use one painting surface, but bring two just in case you need an extra.  

     

    Recommended book:  Classic Still Life Painting by Jane Jones  

Jane Jones

Jones is a Denver native and continues to live near there at the foot of her beloved Rocky Mountains, where the light that she loves is bright and clear, and the seasons, which influence her work, are definite in their character and moods. Studying biology in college taught her the amazing power of living systems, and gardening has shown her what a struggle that can be, and both of those infuse her with awe at the beauty that comes from the earth. Her artistic aesthetic has been shaped by studies in Art History, where she has been influenced by Michelangelo's clarity of composition and communication, and the great illusions of light painted by Johannes Vermeer, although she believes that every artist should be of their own time. Her work has won numerous national awards and can be seen at galleries around the country and at Saks Galleries in Denver. She is the author of Classic Still Life Painting, published by Watson-Guptill. Teaching Philosophy: My job is to help students find their way toward making the paintings they want to be making—to find out where they want to go and help create a plan for that journey. I do short demonstrations and/or presentations each day, but I think that students learn best when they are doing the work. I spend my time working around the room helping each person and working one on one as much as possible. I am a very supportive and encouraging teacher and let the students know that 50% of learning anything is learning how to fix mistakes, and I am there to be their safety net. I encourage them to do things they wouldn't do on their own and to use my experience to their advantage. Her paintings can be seen on her website at www.janejonesartist.com.