THE 2017 VISIONS
IN THE MISCHTECHNIK
There are both REQUIRED and RECOMMENDED MATERIALS for the students to bring, depending on which two teachers they are studying with.
We will provide ACADEMY MATERIALS, such as the Prepared Panels, the ingredients for making the Painting Mediums, the Easels & Mahlsticks, the Bowls to mix glazes, and the Brush Washing solvents.
We also have a set of Academy Oils & Acrylics on hand, but students are strongly recommended to bring their own Oil / Acrylic paints.
Materials Lists of the Instructors:
Here is a list of materials that Autumn Skye Morrison’s students:
For Acrylic Painting:
- A spritzer bottle
- A variety of brushes ranging from small round detail brushes to wide square or filbert brushes (for acrylics preferably white nylon)
- Acrylic paints (regular body in tubes – not ‘fluid’ or ‘high flow’; preferably Golden or Liquitex brands):
- Raw Sienna
- Burnt Sienna
- Raw Umber
- Burnt Umber
- Acrylic paints (regular body in tubes – not ‘fluid’ or ‘high flow’; some brands are recommended):
- Paynes Grey
- Ultramarine Blue
- Phthalo Blue, Turquoise Deep (Liquitex)
- Green Gold (Golden)
- Sap Green/Hookers Green
- Cerulean Blue
- Dioxazine Purple
- Quinacridone Violet (Golden)
- Naples Yellow
- Cadmium Red Deep/Pyrrole Crimson
- Cadmium Orange Medium and/or Deep (Golden)
- Cadmium Yellow Medium and/or Deep (Golden)
- Hansa Yellow Light
- Sketchbook (your new best friend!)
- Graphite sticks
- White conte sticks
- Pack of brown loose-leaf paper, or roll of brown craft paper
- Bulldog clips
- Sharpie marker, fine tipped pens, and any other drawing mediums you want to play with
The Academy will supply the following materials for Autumn Skye’s Students (you may bring your own, if you wish…):
- Liquitex Glazing Medium
- Golden “Fluid” – Titanium White and Black
- Stawett Handy palettes
- 16 x 20 inches canvas board
- Cotton sheets for rags
For Mischtechnik Painting:
- A pad of ‘palette paper’ or a varnished wooden palette
- A clear glass ‘clip frame’ (8″x11″ or smaller) with black paper under the glass to be used as a palette for your whites. (A black plate also works fine).
- At least 5 extra-small jam jars with their screw-on tops (c. 3/4″ in diameter). These will hold your egg tempera and painting mediums.
- A basic set of Oil Colours (see below for my recommended Old Holland colours)
- A set of brushes (see below for my recommended brushes)
- A palette knife.
- A sketchbook and your preferred pencils.
I strongly recommended Old Holland colours, but occasionally use other brands such as Williamsburg and Michael Harding. Major brands like Rembrandt or Winsor & Newton are fine – just avoid ‘Student Colours’.
Every artist should begin with their preferred palette of standard oil colours. Typically these include warm and cold versions of the three primaries (yellow, red & blue), then the secondaries (orange, green & violet) and some semi-neutrals (browns) for flesh tone, as well as black and white. My palette of standard colours is:
- Cadmium Yellow Medium (warm – Cobalt Yellow / Aureolin also fine)
- Old Holland Scheviningen Yellow Lemon (cool)
- Cadmium Red Medium (warm – or Vermillion)
- Alizarin Crimson (cool)
- Phthalo Blue (warm – called Caribbean Blue in Old Holland)
- Ultramarine Blue (cool)
- Cadmium Orange (or Cadmium Yellow Deep)
- Phthalo Green
- Naples Yellow
- Yellow Ochre
- Burnt Umber
- Van Dyke Brown
Black & White
- I prefer Lead White (also called Flake White or Cremser) but it can be toxic. You can substitute this with Titanium White instead (avoid Zinc, which is less permanent).
- I prefer Ivory Black, but Mars, Vine or others are fine
Aside from the palette of standard colours, there many ‘Visionary’ colours in Old Holland, which I use to broaden my palette into Spectral Colours. Some of my favorite Old Holland oil colours are:
- Old Holland Indian Yellow-Orange Lake Extra
- Old Holland Brilliant Pink
- Old Holland Magenta
- Old Holland Bright Violet
- Old Holland Manganese Blue
- Old Holland Cinnabar Green Light Extra
- Old Holland Golden Green Deep
- Old Holland Yellow Brown
- Old Holland Neutral Tint
Laurence Caruana’s Notes on the Oil Colours
- White: Old Holland Cremser Wit / Cremnitz White is, in fact, Lead White – which makes it very difficult to find, because its toxic if used improperly. But, over time I’ve found this to be the best white for fine gradations and dispersal when painting in oil. It’s warm and pearly. Titanium White is a fine substitute, but stronger and cooler in tone.
- Yellow: I love warm golden yellow hues, for which reason Old Holland’s Scheviningen Yellow Lemon (cool) and their unique Indian Yellow-Orange Lake (warm) are useful for glowing halo effects
- Orange: Despite the name, Old Holland Cadmium Yellow Extra Deep is a brilliant glowing orange, such as one sees in the sky at sunset.
- Pink: Strange as it may seem, Old Holland Brilliant Pink is the most essential colour on my palette, and the most used. Since multiple glazings lead to a greenish tinge, this corrects it and warms things up.
- Red: Old Holland Alizarin Crimson Lake Extra has quinacridone (excellent for glazing) plus dihydroxyanthraquinone. Used sparingly, it evokes the glowing red vignettes of stained-glass windows.
- Purple / Violet: This colour touches the very limits of the visual spectrum, for which reason I love to play between Old Holland Magenta (quinacridone), which moves toward infra-red, and Old Holland Bright Violet, which moves toward ultra-violet. (Unfortunately, both are quite expensive…)
- Blue: Old Holland’s Ultramarine Blue contains synthetic ultramarine B29, which is as close as you can get to the lapis lazuli pigment of the Netherlandish masters. Meanwhile, Old Holland’s Caribbean Blue (phthalocyanine) is an important spectral colour, evoking the glowing cyan hue of prisms or rainbows.
- Green: Most greens are ‘earthen’ rather than visionary. One exception is Old Holland’s Cinnabar Green Light Extra (Cadmium zinc sulphide – do not inhale!), which evokes the unique lime hue of the colour spectrum. Otherwise, Old Holland’s Golden Green Deep is good for Dalinian sunsets and their Viridian Green Deep for Fuchsian gemstones.
- Brown: Da Vinci loved it; Dali hated it. For me, Burnt Umber creates a warm underpainting that gives shadows greater depth.
- Black: Because it’s so strong, black is often banished from the palette. But I find that black (I use Old Holland Ivory Black Extra) can give important accents when used sparingly.
- Flesh tones: A great foundation for flesh tones is Old Holland’s Naples Yellow Reddish Extra. Add to this touches of their Flesh Ochre and Caput Mortuum Violet Mars (Such a great name! It provides the ‘dead colour’). Then, the flesh tone can be built up with touches of many pigments like Brilliant Pink, Alizarin Crimson, Burnt Umber and even Ultramarine Blue.
Laurence Caruana’s preferred Brushes
- Keep in mind that, for the Mischtechnik, you will need watercolour brushes as well as oil brushes. Egg tempera is mixed with water, and you’ll need a long fine soft sable or synthetic brush that flows well with water.
- Don’t buy a brush that’s too short! The longer the hair, the more medium the brush will hold – one centimeter or half an inch is a good length. The key to fine lines is in the fine tapering hairs at the tip of a long brush.
- I used to use natural sable but more recently I use synthetic brushes. With Ernst Fuchs, I used Isabey Kolinsky brushes (more available in Europe than USA) for water-based media like egg tempera or casein. These are watercolour brushes with a very fine tip. Mostly I use the Isabey Kolinsky No. 3 for fine lines and No. 6 for regular hatching.
- Now I tend to use Synthetic brushes. I prefer the Raphael synthetic (orange or blue series) brushes, no. 1 – 4. (The numbers don’t mean much – make sure it’s fine!). These are good for water-based media or oils, and last longer than the natural sable brushes. They’re cheaper too!
It is also very important that you bring blending brushes, since these will help you disperse whites in the underpainting, and colour in the glazes. I prefer oval camel-hair brushes to fan brushes. These allow me to disperse paint by gently tapping rather than dragging. Cheap cosmetics brushes leave a lot of hairs – you should invest in one good (but expensive) blending brush.
- An essential brush for glazing is a wide, fine-hair brush (such as this Isabey petit gris spalter). This allows you to pass a fine glaze over the whole painting. It’s also necessary later, for varnishing. Soft hair or synthetic nylon is preferable to hard bristle. Watch out – they’re expensive! We will supply the glazing brushes, but you may want to have your own.
For Acrylic Painting, finished with Oils:
- Palette Paper (grey tinted is preferable)
- Golden Fluid Titanium White (for underpainting)
- Small spray bottle for water
- 3 Small jam jars (with lids)
- Bring a variety of acrylic and oil colours (but you can also use the Academy acrylics and oils)
- Kevin uses Old Holland acrylics but recommends Golden tube acrylics (not fluid, except Golden Fluid Titanium White)
- 3 Fine liner brushes (c. 1 cm long – synthetic is fine, such as Raphael and Da Vinci brands)
- Soft ‘mop’ blending brush
- Soft goat-hair brush (flat or round)
- Filbert (Cat tongue) brushes – an assortment of sizes
- A couple of flat brushes (small and medium)
- A selection of favourite drawing materials – pencils, charcaol etc
- A notebook to write in
The Academy will supply the following materials for Kevin Campeau’s Students (you may bring your own, if you wish…):
- 30 cm x 40cm gessobords from Ampersand
- Schminke Special Painting Gel (3 big tubs)
- Liquitex Glazing Medium (mat) – for imprimatura
- Neubers Enkel Turpentine Geist
- Schminke cold-pressed linseed oil
- Transfer paper (white) (same size as panel)
- Transparent paper (same size as panel)
- A Pad of paper same size as panels (30cm x 40cm)
- 2 large Old Holland Raw Umber acrylic tubes