Class Supply List

SSER - Painting in Series (Studio School) Weeklong Intensive - Jeremy Durling

Paints

One cool yellow: Cadmium yellow pale, or a lemon yellow, One warm yellow: cadmium yellow medium or deep, Cadmium yellow extra deep (Williamsburg) or Cadmium orange light, Cadmium red, One cool red: Alyz crimson, permanent crimson or Perylene, Crimson (Williamsburg) Perylene is my favorite, Emerald Green, Viridian Green, Ultramarine Violet, Cobalt Blue, Ultramarine blue, White: I use Titanium or Cremnitz

These colors are all suggestions based on my own palette. I always by the colors that feel right and often buy colors on a whim that I later cannot explain. A few strange colors that have become indispensable to me are Williamsburg Nickel Yellow, Williamsburg Courbet Green, Old Holland Brilliant Yellow and Violet Grey, and I’m particularly partial to Vermillion red. Mixing color is a sensitive and intuitive activity, and I encourage you to choose your colors with the same intuition.

  • Palette Knife: You’ll need a good palette knife for mixing and applying color. They come in many shapes and sizes. You need at least one that is large enough to mix color with efficiency. Choose one that feels good in your hand.
  • Brushes: I’d like you to have at least two #8s. I like filberts. You should bring whatever you are most comfortable with.
  • Brush washer: Anything that gets the job done. Essentially a sealable container that will not leak and can be safely filled with Gamsol. I have one of the nice steel ones they sell at the art store.
  • Palette: I’ve never found anything that came close to the feeling of mixing color on a wooden palette. The palettes I use now are from New Wave. I’ve made many of my own over the years. You are free to use whatever you ‘d like, although I would prefer you weren’t mixing color on a white surface.
  • Viewfinder: This tool is essential. I carry one of the grey plastic ones they sell at art stores called View Catcher. You can also make one out of the two pieces of cardboard cut into an L shape and fastened together with a gator clip.
  • Palette cup: A small cup to attach to your palette to be filled with painting medium.
  • Painting medium: This mixture will allow you to manipulate the paint. The classic recipe is 1 part Stand oil, 1 part Dammar Varnish, 5 parts Turpentine. I often will leave out the Dammar varnish. I like to make this mixture before- hand into an old shampoo bottle, so that I can carry with me and easily squirt it into my palette cup while in the studio or in the field.
  • Supports: Canvas, linen, sized paper, and panel are all perfectly acceptable. Choosing your canvas and brushes is really entirely up to personal preference. I would suggest nothing smaller than 8 by 10 or larger than 16 by 20. I’ve always enjoyed Canson Canvaspaper for studies or Carton board which can be ordered from Judsonartoutfitters.com. You can paint on any watercolor paper that is 300lbs or greater, If you just apply three coats of dammar varnish. I’ve found that birchwood panel with two coats of shellac can make a great cheap support. If you’d like to paint on paper, you’ll need a board to fasten it to and artists tape.

Jeremydurling@gmail.com Please email me with any questions about materials. I’m trying to keep this list short and sweet, and but I’ll happily elaborate if anything else is unclear.