MATERIALS LIST for M. POOLE Courses
We all have our own working styles and that’s as it should be. This set of guidelines is designed to help avoid most of the problems painters tend to encounter.
EASEL: Make sure you have access to a stable, working easel. And even though this seems obvious, it is not - make sure you can see what you are doing. (easels are available at The Red House when painting there)
REFERENCES: If you are working from references other than nature, make sure that they are adequate to your needs.
o Good photographs can be very helpful.
o Bad photographs can help sometimes, but they can drive you crazy too.
o Printed stuff ( magazines, calendars, internet ) is usually terrible.
SURFACES: I’ve painted on just about everything, and each different goal has its own needs. Make sure that your surface is prepped - gessoed or oiled or sanded down or whatever - as long as it is ready to receive paint. You don’t want surprises.
BRUSHES: Everyone has their favorites. Just make sure that they are in good shape. Painting with a crummy old brush is like trying to cook on a hot rock - it’s possible, but ugh.
Odorless thinner, and whatever medium you prefer. Paper towels.
Palette cups, rags, painting knife, pliers, and all that stuff.
COLORS: Okay, this gets interesting. I use a casual mix of alkyds and oils, mostly to control drying time (Titanium white oil takes a week to dry - the alkyd dries overnight). I usually have something like 14 colors out (it changes all the time) and they can be divided into two categories:
o Opaque Colors: Titanium white, the cadmiums ( yellow, orange, red, green ) yellow ochre, cerulean blue, and ivory black.
o Transparent Colors: Indian yellow, transparent orange, alizarin crimson, sap green, Phthalo blue, and ultramarine blue deep.
You don’t need them all of course, but choices are nice.