& F, 1:50 – 4:30
Alumni Hall, 3rd fl. Main Studio
Credit hours: 3
Semester dates: August 23 – December 15
Chair of the Dept. of Art & Design
Hall, Room 31
MWF 10:50-12:00 and TR 3:40-5:00
Campus mail box:
Office phone &
voice mail: 816-584-6457
The mission of Park University, an entrepreneurial institution of learning, is
to provide access to academic excellence, which will prepare learners to think
critically, communicate effectively and engage in lifelong learning while
serving a global community.
A continuation of AR260: Painting I. Students may elect to study transparent
media such as watercolor. All levels of painting are taught concurrently.)
An intermediate painting
course which continues to emphasize direct observation of nature in opaque
and/or transparent media. Draftsmanship and strong form, value and
compositional relationships will continue to be stressed as well as the
craftsmanship of painting.
I believe that it is
through intensive studio practice that students learn
to develop the learnable skills of art making and to critically evaluate the
results. With effort and
instruction anyone can learn.
“Talent” is optional. The ideal environment for studio practice is an
energetic, competitive visual milieu that is intellectually as well as
physically demanding. Art and design are labor intensive and cumulative. I
engage each student in an ongoing
discussion about their
ideas and their work. Through each project, and through successive semesters, I
try to provide the stimulus and support that will help build each individual
student’s skill, confidence and portfolio.
The objective of this
course is to substantially increase ones knowledge, skill and confidence as a
painter as evidenced by the group of paintings produced during the course of the
semester. Students are expected to experiment with media, scale, technique and
style. At the conclusion of the course the student will be able to:
Demonstrate his/her increased
ability to paint as evidenced by the ten or more paintings produced during the
course of the semester.
Continue to develop
observational, compositional, color mixing and technical skills
as a painter.
Experiment with new media, styles
and techniques to expand ones repertoire as an artist.
Use painting materials and
equipment with greater craftsmanship and facility.
Critique his/her own work and
that of classmates in appropriate professional language.
There is no textbook for this course.
A variety of handouts will be
provided as well as reference materials that will be available in the studio.
Academic Honesty: “Academic Honesty is required of all members of a learning community.
Hence, Park will not tolerate cheating or plagiarism on tests, examinations,
papers or other course assignments. Students who engage in such dishonesty
may be given failing grades or expelled from Park.”
Plagiarism—the appropriation or imitation of the language or ideas of another
person and presenting them as one’s original work—sometimes occurs through
carelessness or ignorance. Students who are uncertain about proper
documentation of sources should consult their instructors.”
The above is Park’s official policy. Fortunately honesty
in the studio is seldom an issue. Of course, you must not turn in any work
which you did not do.
Attendance Policy: Instructors are required to keep attendance records and report
The instructor may excuse
absences for cogent reasons, but missed work must be made up within the term of
enrollment. Work missed through unexcused absences must also be made up within
the term of enrollment, but unexcused absences may carry further penalties.
In the event of two consecutive weeks of unexcused absences in a term of
enrollment, the student will be administratively withdrawn, resulting in a grade
of “F”. An Incomplete will not be issued to a student who has unexcused or
excessive absences recorded for a course. Students receiving Military Tuition
Assistance (TA) or Veterans Administration (VA) educational benefits must not
exceed three unexcused absences in the term of enrollment. Excessive absences
will be reported to the appropriate agency and may result in a monetary penalty
to the student. Reports of F grade (attendance or academic) resulting from
excessive absence for students receiving financial assistance from agencies not
mentioned above will be reported to the appropriate agency.
The above is Park’s official attendance policy.
My attendance policy is as follows:
Attendance is required. Roll will be taken at the beginning of each class
session. Twenty-seven 2 hour and 40 minute studio sessions are scheduled this
semester. Of these you may have up to three (3) cuts without penalty, that is
over 10% of the classes. A fourth cut will directly impact your grade. You
will be held responsible for material covered in your absence. The exchange
between students is an important part of any art class. When you, or your work,
are absent from critique, you are letting your classmates down.
By the end of the second week, (Sept. 3) please
turn in a list of specific class sessions you anticipate needing to cut, signed
by your coach. With that information it may be possible to make plans to
compensate you for the missed time. Providing this information is mandatory.
It is your responsibility to provide it.
Late Submission of
Assignments: You are required to
participate in all scheduled group critiques with paintings to show the class
and with your own insights to share. Paintings are “assessed” at Mid-term and
Please note that the different levels
of painting students (I, II, II,
IV) are subject to different grading standards. Student assessment is rooted in
of work produced (its originality, quantity and craftsmanship) as demonstrated
Attendance and participation.
The quality of the paintings
produced and their development through the semester.
Periodic group class critiques
in which each student’s work is viewed, discussed and ways sought to improve it.
Formal mid-term and final
critiques (one-on-one) in which all the student’s paintings from the preceding
eight weeks are discussed and evaluated and progress noted.
Contributions to group
Four Informal Group Critiques,
two prior to Mid-Term and two prior to Finals are tentatively scheduled for:
Friday Sept. 10, Friday Sept. 24,
Friday Nov. 5, and Monday Nov. 22. to begin at 1:50.
This means that your work should be completed,
clearly signed and displayed so that the critique can begin promptly. Don’t
make your classmates wait.
are group discussions about current projects.
They are a standard part of all professional art education. They are meant to
help you see, within the context of everyone’s work, where you succeeded and how
you can improve further. Your visual and verbal participation is expected. The
only way to become fluent in the professional language of art
is to begin expressing yourself verbally as well as visually.
The kind of images
we each make is unique and the range of
personal styles in painting is unlimited. The degree to which any painting can
be improved and refined is unlimited as well.
Critiques at Mid-term and Finals
will be cumulative (combining all your preceding paintings) and will be
individual and private. Each of you will sign up for a specific time slot.
At these two critiques you will be re-submitting the preceding paintings for a
cumulative grade. This means that
after the initial group critique, you may rework a painting to improve it.
(When you gain some insight into your work from a
critique, you should try to follow through on those new ideas.)
8th week of the semester: Oct. 11 and 15
Final Critiques (tentative):
Mon. December 13, 3:00-5:00, and
Wed. December 15, 1:00-3:00
Extra credit: Sketch Books.
Drawing is fundamental to painting. Drawing
is how artists think. The best thing you can do for yourself as an artist is to
carry a sketch book with you everywhere and use it daily to visually record
whatever you see, think or feel. A current sketch book will be given generous
extra credit commensurate with the amount of work in it.
Work outside of class:
Painting students are required to paint at least one additional three hour
session outside of regularly scheduled class time each week. By the beginning
of the second week of the semester please report when and where you will
regularly schedule this extra painting session. Painting is labor intensive.
The more you practice the better you get. You may find that privacy provides
you with a better personal painting environment.
Instruction will be one-to-one. I will spend time with each of you individually
during each studio session. Please note that much of the instruction you will
receive will be by means of my
demonstration on your painting. I
can often show you techniques more easily than I can tell you about them.
Please remember to check
with me prior to starting new paintings. I can often save you a great deal of
trouble at the onset of a project if we work together on it.
source material: Source material
will be direct observation from nature, imagination and art history. NO
PHOTOGRAPHIC REFERENCE MATERIAL OF ANY KIND MAY BE USED WITHOUT THE PERMISSION
OF THE INSTRUCTOR. Paintings which copy photographs will
not be accepted for
credit in this course.
This is as communal studio and this semester Alumni Hall has the highest number
of students enrolled in its history. Therefore the need to respect each other’s
space, work and equipment will be greater than ever. Do not leave palettes,
coffee cups or brushes soaking in the sink! Scrape paint into the trash—not
into the sink and our antique plumbing!
Our class will use three areas in the studio. The north end, the south end and
the old art history classroom. The drawing tables are reserved for the
exclusive use of the 2-D design class and the large work tables for the drawing
class. Artists are territorial, please do not trespass on those areas. Each of
you will be assigned your own easel, a high stool and some sort of taboret
which you will not have to share. Label all your sketch books, paintings, tool
Studio Storage: Most
of the file drawers will be taken by the drawing and design students.
The large lockers in
the back hall are reserved for you to share with another painting student.
Small lockers are
available in the sink room and cabinet/drawer lockers are also available.
Medium sized painting bins are available in the north end of the studio. Please
label your storage clearly with your name and “Fall 04”.
Studio Access: You
have 24 hour, 7 days per week access to this studio space. You are even welcome
to work during other class times (it is a big studio). After add/drop your name
will be placed on the security list for this building. When you leave, PLEASE,
turn off lights and fans (the breaker box is labeled and behind the door) and
shut the windows. To get in after the building is locked, call security
(6444). Please be prepared to show your Park University I.D. and to cooperate
with Park security staff at all times.
Course Fee: The $20
fee you paid at registration x 20 (?) students = $400. Thus far I have
purchased gesso, masonite, oil pastels and some papers for this class. I will
give you an accounting
and we can decide as a
group how best to use the balance. (The new easels were purchased with
departmental funds.) That money can only provide a partial subsidy for items
best bought in bulk.
You must plan to
provide most of your own paints, brushes, supports and miscellaneous equipment.
Spray Fixative and spray paints in general,
MUST NOT be used anywhere in Alumni
Hall! These products can only be used outside for adequate ventilation. I
recommend the west side of the building.
Solvents, such as the mineral spirits used
for thinning oil paint and its clean up,
must be kept in the bright yellow fire
proof cabinet. Never pour solvents down the drain.
Used solvents are to be disposed of in the
special red storage can inside the yellow cabinet.
Do not eat or drink while using paints.
Always wash your hands after handling paint and solvents.
Using any power tool requires training,
goggles AND a buddy!
Information about the safety of specific art
supplies (Material Safety Data Sheets) can be found in the large notebook just
outside my office and in the reference book with it.
The principle hazard in any studio
class is the danger of cutting yourself with an
X-acto knife. ALWAYS USE A STEEL RULER WHEN
WORKING WITH AN X-ACTO KNIFE!
event of an accident use the studio phone to call security (6444) for
Park University is committed to meeting the needs of all students that meet the
criteria for special assistance. These guidelines are designed to supply
directions to students concerning the information necessary to accomplish this
goal. It is Park University’s policy to comply fully with federal and state
law, including Section 504 of the Rehabilitation Act of 1973 and the American
with Disabilities Act of 1990, regarding students with disabilities and, to the
extent of any inconsistency between these guidelines and federal and/or state
law, the provisions of the law will apply. Additional information concerning
Park University’s policies and procedures related to disability can be found on
the Park University web page:
Week 1 M
8/23 Introduction, organize studio.
F 8/25 Painting session.
Week 2 M
8/30 Painting session
Painting session (view Campanella Gallery exhibit by Garry
Week 3 M
9/6 No Class. Labor Day.
9/10 CRITIQUE #1: one or more paintings due for group critique.
Balance of class time: continue painting:
Week 4 M
9/13 Painting session
9/17 Painting session
Week 5 M
9/20 Painting session
9/24 CRITIQUE #2: one or more new paintings due for group critique.
Balance of class time: continue painting:
Week 6 M
9/27 Painting session,
Prepare to install Lobby exhibit downstairs
for “Barefoot in the Park”
(Play performances are Oct. 1,2 & 8, 9 at 8
10/1 Painting session.
Week 7 M
10/4 Painting session
10/8 Painting session, Visiting substitute professor?
(Donna at Mid-America College Art Association conference in Minneapolis.)
Art@Park!!! Dept. of Art & Design will again have its own display booth
S 10/10 on the lawn in front of the
chapel. 30-40 other professional artists craftspeople will exhibit. Music,
food, fun and flamingos!
Week 8 M
10/11 MID-TERM CRITIQUES: Minimum of five (5) resolved painting
studies due for private individual
10/15 MID-TERM CRITIQUES continue.
10/18-22 FALL BREAK. No classes.
Week 9 M
10/25 Painting session. (View Campanella Gallery exhibit by Richard
10/29 Painting session.
Week 10 M
11/1 Painting session.
11/5 CRITIQUE #3: one or more paintings due for group critique.
Approx. 2:00-3:00. Balance of class time,
Week 11 M 11/8 Painting
11/12 Painting session.
Week 12 M
11/15 Painting session. Prepare to install Lobby exhibit downstairs for
“One-Act Plays” 11/18, 19 & 20, 8 PM
11/19 Painting session.
Week 13 M
11/22 CRITIQUE #4: one or more paintings due for group critique.
(NOTE: This critique falls on a Monday.)
11/26 No class. Thanksgiving Holiday.
Week 14 M
11/29 Painting session.
12/3 Painting session. (View senior exhibit in Campanella Gallery)
Week 15 M
12/6 Painting session.
12/10 Last painting session.
12/13 3:00-5:00 PM, and Minimum of five (5)
painting studies due for individual
12/15 1:00-3:00 PM private critiques in addition
5 submitted at mid-term (=10 total)
Mid-term portfolio 40
Final portfolio 50
100 – 90 =
89 – 80 =
79 – 70 =
69 – 60 =
Below 60 =
Questions???? Please ask them! In class or
out, in person, or via E-mail or voice mail, whatever… They are the best way
to learn. Remember---I cannot read your mind! You must let me know if you
are having special difficulties or if there is someway I can help you. It is
what they pay me for.
Painting I Projects:
Color Wheel or Chart based on
pigments. Use the paint “out of the tube” as your hues.
Set them in primary, secondary and tertiary
relationships. Include tints, shades and complementary relationships. Without
black, use complements to generate shades and tones.
I recommend the use of the painting knife for
both mixing and application. If you have previously produced an elaborate color
wheel (in 2-D design?) you may skip this exercise.
Forms in Space:
Tone a small canvas with an
overall medium color that varies slightly from light to dark. Let it dry.
In pencil lightly sketch a few
floating imaginary three-dimensional forms (cube, sphere, cylinder, pyramid,
etc.) against the toned background. Let some overlap. Imagine some of them in
the distance and others looming in the foreground.
Determine where the imaginary
light is coming from (upper left? lower right?).
Using a dark glaze (background
color, darkened and lots of gloss medium) paint in the shadows.
Using a pale scumble (back
ground color, little bit of white and lots of gloss medium), paint in the high
lights. Note that both the glaze and the scumble are translucent and will
allow some of the toned canvas to show through.
Finally, paint in the cast
shadows and the reflected lights.
Produce a quick, simple abstract
collage using 5 or 6 solid colors. Size should be modest.
Prepare a canvas or panel that is
exactly the same size as the collage.
Produce a painted “forgery” of
the collage on the new support by “decoding” each color in the collage. Record
each shape—both positive and negative—in paint. Duplicate the contours:
straight, ragged, etc.
Continue making adjustments until
the two works are indistinguishable from one another from across the studio.
Set up a simple still-life of 3
to 4 geometric forms against a simple background.
Use a view finder to study and refine the
composition. Consider the direction
of the light.
Lightly sketch the contour lines
on your support with graphite or paint.
Strive for accuracy.
Choose a pigment for your one
color (monochrome). Analyze each major shape,
both positive and negative in your set up, to
determine its VALUE (degree of lightness and darkness). Use your chosen
pigment (ultramarine blue? acra violet?) as the basis of the tint or shade
for each basic shape in the composition.
Continue refining the shapes and
the values, in relationship to one another,
throughout the painting. Use the
techniques of glazing and scumbling from
“Forms in Space” to further enhance the
illusion of form and the fall of light.
Plein air Landscape.
Gather together everything you
need to paint out of doors. This can include a sun
hat, sun screen and a, water bottle.
Use a view finder to help you
compose---360 degrees of nature is too much.
Choose a simple view, something you can
do in no more than two sessions.
Include sky, a horizon line and a
Paint a la prima (a
single layer of paint, like Van Gogh. Start with the deepest space
(the sky) and move down the canvas, one
major shape at a time, to the foreground.
Break up your picture plane into the main
(abstract) shapes you can see.
Discover and match the colors you
Do not bother with texture—the
fluffiness of the clouds, leafiness of the trees.
Focus on shape and color.
Limited Palette Still-Life:
Refer again to the first two
directions for the Monochromatic Still-life—set up,
composition and drawing. You could use
the very same still-life, interpreting it this
time in a limited palette.
A limited palette is a” false”
palette, one not necessarily based on the local colors---
the colors you see. You may use white,
yellow oxide or ochre, and a third dark
pigment. Experiment with the (surprising)
range of colors you can generate with
just these three colors.
challenge this time is three fold: to see how close you can come to the local
to match the values, AND to match
temperature (how “warm” and how “cool”
individual colors seem), in your interpretation using the limited palette.
Within the restriction of the limited palette, practice as many of the
techniques as possible. Include the fall
of light, the cast shadows and the highlights.
Do a series of sketch book studies of
your face based on mirror reflections---
photographs—in order to get acquainted.
Set up yourself and the mirror in
the studio. Get comfortable. Arrange the light and a solid backdrop behind
yourself. I suggest a simple head and shoulders frontal or three-quarters
view. Plan to paint your face about the same size as your face.
Mix a few of the basic colors you
see. Compare a mixture by holding a brush full at
arm’s length, squinting and matching it to:
the high light on your cheek, the shadow
under your throat, etc.
Again, do not be much concerned
with texture. Concentrate on shape and color.
Establish the biggest shapes first and then
break those down into smaller ones.
Open Palette Still-life:
Refer again to the directions for
the monochromatic and the limited palette still-lifes.
You could do this still-life using the same set
up a third time if you wish.
Just as in the self-portrait
study above, match each of the major colors by holding a
brush full at arm’s length, squinting
and comparing your version with the original.
You may use as many pigments as you wish.
Focusing, as always on shape and
color, build the image by establishing the biggest
color shapes and then breaking them into
smaller and smaller color pieces.
Small Master “Forgery”:
Find 3 or 4 good color
reproductions of a “master piece” painting that you really like.
Check the art history books as well as
museum postcards and posters. Find out how
big the original is since reproductions
are rarely printed full size.
Select a detail, a small portion
of the original painting, and lightly mask off that
Prepare a canvas or panel in
proprotion to the detail you have chosen and the exact
size of the original.
Do some sketches of your chosen
piece of the master painting in order to get
acquainted with it and to discover its
gesture and principle shapes.
Transfer your sketch to the
canvas/panel. Record the big color shapes first and then
break them down into the smaller color
shapes. Or, you may wish to try to decode
the master’s technique. (This could mean
doing an underpainting, letting it dry, and
then going back in with scumbles and
glazes, or working with thick impasto, or
Once again, you could use that
same still-life set up (but you don’t have to) .
Do a series of quick linear
sketches of the set up from different points of view, from the side, back, top
as well as the front. Produce drawings the same size as your canvas/panel.
Using the light box, superimpose
the various drawings on one another in various ways to produce a combination
image of the still-life that combines vantage points.
Refer to Analytical and Synthetic Cubism in
the work of Picasso, Braque and Gris
to see great examples of how this can work. Go
through several versions of your drawing until you produce a strong abstract
image of the still-life.
Transfer that linear image to
your canvas/panel, continuing to make compositional
Color can be “arbitrary” or
“felt”. It need not conform to what you see--- but you are
seeking color harmony.
Cubist works, although not at all
illusionistic, have a strong sense of volume and
movement. At a certain point in this process
you must relinquish the still-life and begin painting the painting in terms of
Expressionism is the distortion
of form and/or the distortion of color in order to express
emotion. It is not about what is seen,
but rather what is felt.
Review the work of some
expressionistic painters. I consider Van Gogh the father of
this “ism” but there are many others to
whom you can refer.
You can use the same still-life
or one that has more personal meanings for you.
Consider what emotion you are
trying to communicate. Is this a joyful painting or a sad painting or an angry
painting…? Color choices should be intuitive and spontaneous. This is risky
and it takes practice to get into this “zone”.
Form too will be derived from the
emotional content of the work. A romantic work (think Chagal) would have more
lyrical and curvey forms. An anguished work might have more jagged contours.
I suggest a larger canvas/panel
for this work.
A non-objective work has no
object---no subject matter. It makes no reference to outward, visible
reality. This is much more challenging than you might initially suppose.
Using any technique, place lines,
shapes, color fields, patterns, etc. on the picture plane. Paint can be
applied with any technique: washes, impastos, even collage.
Edges can be hard or soft. Color can be flat
or blended or any combination.
As with the cubist study, one
must paint this painting in terms of itself, not in terms
of what it is supposed to look like, since
you have no outside reference to guide you.
You must enter into a “conversation with
the painting”: does this color look good next
to that one? Is this shape beautiful or
strong in relationship to this other one? Etc!
An open study is just that, you define what the
challenge is and what the limitations will be. Please consult with
Advanced Painting Projects for Painting II, III & IV
Painting II, II & IV
students will, in consultation with me, determine their own projects.
Refer to the previous
list of Painting I projects. You may wish to do versions of some of those
exercises, to improve upon earlier attempts or to try ones you’ve not done
The following Advanced
Painting project list describes more complex visual challenges.
You can always benefit
from doing more than one version of any of these potential projects.
A “White” Painting. This is a
traditional still-life composed of white (or very light colored)
drapery and objects (eggs in a white bowl, etc.) carefully lit.
It produces a very subtle
range of tones and warm and cool whites
to study and attempt to record.
Nude study based on drawings.
This project uses one of your more ambitious life drawings from a previous
semester as the source material for the painting. Develop the composition from
the drawing, trying to extend and interpret the anatomy, gesture and form of
the figure. Color should be none realistic---freely interpreted.
A collage/assemblage “a la Bachmann”.
A Painted Chair, in the style of a
master artist. That is, a three-dimensional painting you can sit on. (What
kind of chair would Salvador Dali sit on? Caravaggio? Lucien Freud?)
A “MACRO-mini” still-life. Produce
a BIG painting of an extremely small still
life---that is a still-life composed of very small objects. So a spool of
thread, for example, could be
eight inches tall. In this way you will have
room to visually record everything you can see in the still-life.
portrait or figure study of a friend from life.
Get a friend to pose for you in the studio
sessions. Pick a simple pose and carefully arrange the background and light.
7. Floral Study.
Flowers are a special category of still-life with their very planer petals,
stems and leaves and open form. Get fresh flowers to work with!
Sketch to discover their
gesture. Keep the set up, background,
light, etc. simple. Try to paint the full size of your
subjects. Look at Manet’s flowers. I
recommend a direct a la prima technique. Paint the
negative shapes as well as the positive
Musical Abstraction. Pick a strong,
distinctive work of music you love. Arrange to listen
it through ear phones while you paint. Prepare a largish canvas. Work
intuitively. Try to respond directly to
the rhythm, tone, pattern, color of the music WITHOUT
thinking about it. Let the sounds come in
your ears and out your brush. What does the music
look like? It is better to choose
something without lyrics if you can because you are not
trying to illustrate the music, but rather
to express its essense.
VOCABULARY – Art terms
that artists use to talk to one another.
(It turns out that a picture really is worth a thousand words.)
A la prima
Assemblage Atmospheric perspective
Abstraction Cross-hatch Color wheel
Collage Cast shadow Chroma (or
saturation or intensity)
Complement Dry brush Elements of art
Expressionistic Form (3-D) Glaze
Highlight Hard Edge
Impasto Local color Limited
perspective Medium Non-objective
Opaque Optical mix Pointillism
Primer (gesso) Proportion
Palette (range of
colors) Principles of Design Pigment
Primaries Reflected light Scumble
Shade Shape (2-D) Support
(panel or canvas)
ACRYLIC PAINT SUPPLY
Filberts have rounded tops. Rounds are
constructed like watercolor brushes. See the examples in class for sizes.
Palette or painting knife. Palette knives have straight
blades and painting knives are shaped like long trowels. These are used to mix
paiant on the palette and to paint directly on the canvas or panel. Mixing
paint with brushes is hard on the brushes.
Spray bottle. Misting your paint on the palette will help
keep it moist and will greatly extend the its drying time.
Large tube titanium white.
Regular sized tubes of 2 yellows, 2 reds and 2 blues. By
getting warm and cool versions of the three primaries you can, with a fairly
limited range of pigments, have a vast range of colors. I suggest these
pigments: yellow oxide, cadmium yellow light, cadmium red light, (please note
that cadmiums are the most expensive and also the most poisonous pigments) acra
violet, ultramarine blue an pthalo blue. If you like you can add a green or
two. Brown is unnecessary. Black is not allowed in the studio; it is not a
Gloss polymer emulsion/varnish. This is the medium of
acrylic paint. You MUST have it to improve the handling properties of your
paint (otherwise it’s like painting with tooth paste!)
It is also used to make glazes and scumbles. You
will need at least a pint.
Water jar. An old jelly or pickle jar is ideal.
Palette cup. A small saucer or little dish to hold a a
fresh supply of medium to mix with your paint as you work.
Palette. The Art Dept. has only a few good glass palettes
surviving. The ideal palette for acrylic is a piece of ¼” plate glass approx.
12x14” or so. Get the edges beveled and tape white paper to the back. Clean
it with a razor blade scraper. DON’T leave palettes soaking in the sink!
Scrape paint into the trash---not the sink! PLEASE!
Painting supports. Gessoed masonite panels and stretched
and gessoed canvases.
You can use acrylic paint on almost any surface
that has been prepared with two or more sanded coats of gesso. The gesso (the
modern product is a highly pigmented acrylic primer)
primes the surface and isolates it from the paint
You can gesso matte
board or heavy watercolor paper once it has been secured to a rigid surface like
a piece of plywood. Or you can stretch and prime your canvases. The department
has a staple gun, ammo and stretching pliers for your use.
Gesso brush. Small, cheap, 3 inch house painting brush.
Much nicer to have your own and not have to go around the studio trying to
ETC. Paint rags, apron or work shirt, paint box or bag so
your gear is portable.
PLEASE EQUIP YOURSELF
WITH ALL OF THE ABOVE TOOLS AND MATERIALS!
You can’t play basketball
if you don’t have a basketball.