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Still Life Master Copy- Online

Instructor: Elizabeth Floyd

An integral part of the artistic process is to create “copies” of the master artists. In this 6-week ONLINE class, you will learn all about the chosen artist we are focusing on and his processes as we “copy” his works for the first half of the term. Then in the last half, you will incorporate the techniques learned and create art in your own voice.

We will move forward in art history and dive deeply into the still-life paintings of Vincent Van Gogh. We will explore how he used heavy impasto painting effects, bright color and abstraction to create interesting work.
This class has a bit of art history and a whole lot of art.

For this class we will utilize technology and paint from photo references. The master copy will be from a high-quality photo reference we get from a museum, and the subsequent painting project will be original still-life setups inspired by the master copy, I will provide those photo references to the class.⁠

 

For more information, contact The Art League School at 703-683-2323.

All Dates & Times
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Class Supplies

Still Life Master Copy Supplies, Spring 2022

The underlined items are available for sale at the school store. The store hours are 11am – 5pm, Wednesday through Sunday. Call here: 703-548-8127. 

Still Life Master Copy, Elizabeth Floyd

What to Have on Hand:  

  • Artist grade oil colors (Use what you have. I have listed out all of the colors I use with notes and my recommended manufacturer. See list below.)
  • Paint brushes, I like using filbert hog bristles the best. You will use them for the first layer for sure and maybe the second layer, but for the final layer you will need to switch to a softer brush. (see my notes about brushes)
  • Sketchbook/notebook for notes
  • Gamsol, Odorless mineral spirits and a glass turp jar (brush cleaning jar like Silicoil)
  • Palette
  • Palette Knife 
  • Blue Shop-towels or other paper towel
  • Gloves & Apron
  • 0.3 mechanical pencil, HB lead
  • Oil cup, a dedicated one or a cleaned out tuna can or cat food works well
  • Mediums, Plan on using linseed oil or refined linseed oil.
  • Painting Surface for the Spring term

o You will likely need (2-4) painting surfaces to work with, 16” x 20” or 18” x 24” or 12” x 16” or similar. You choose how big you want to go, the original painting we will be copying is approx. 28” x 36” in size.

o Tone the painting surface before class and make sure it is dry by class (about five days) and use a mixture of Burnt Sienna (PR101) and Utramarine Blue thinned with odorless mineral spirits (Gamsol) to a color that resembles “café au late” in value and color.

 

Watercolor supplies:

  • Watercolor paper or a watercolor sketchbook
  • Burnt Sienna, also called Transparent Red Oxide (PR101)
  • Ultramarine Blue

 

Drawing supplies:

  • Faber-Castell Pitt Artist Pens: 0.5mm black, 0.3 black, or India ink and a metal nib
  • Loose drawing paper or a sketchbook

 

For any other questions, please email me, liz@elizabethfloyd.com

Oil Colors List:

Use only artist-grade oil colors, student grade oil colors are full of color fillers, dryers and often the manufacturer substitutes incorrect pigments for the stated color to reduce the cost. I use a variety of brands (in alphabetical order), Gamblin (G), Michael Harding (MH), Old Holland (OH), RGH Paints (RGH), Rublev Natural Pigments (R), Vasari (V), Williamsburg (W), and Winsor & Newton (WN)

This list is my favorite oil colors, I ALWAYS have these squeezed out and ready to use when painting (this is the minimum recommended list I suggest to my students if they want to explore a full color palette): 

o Permanent Alizarin Crimson, This is a substitute for the fugitive pigment Alizarin Crimson PR83, different manufacturers use different pigments to accomplish a substitution, I prefer PR177 substitutes. (pick one)

o Permanent Alizarin Crimson by Winsor and Newton, 37ml tube 

o Permanent Crimson by Williamsburg, 37 ml tube 

o Quinacridone Rose, PV19 (pick one)

o Permanent Magenta by Winsor and Newton, 37ml tube 

o Quinacridone Rose by Michael Harding, 40ml tube

o Cadmium Red Med, PR108, All manufacturers produce a Cadmium Red medium value, however I have come to only like working with Williamsburg’s version because of the brightness and  saturation it keeps even when mixed with other pigments.

o Cadmium Red Medium by Williamsburg 

o Burnt Sienna PR101, this is also called Transparent Red Oxide by some manufacturers

o Burnt Sienna by Winsor & Newton 

o Transparent Oxide Red by Michael Harding

o Raw Sienna PY42 & PY43

o Raw Sienna by Winsor & Newton 

o Cadmium Yellow Pale PY35, this is your middle value yellow

o Cadmium Yellow Pale by Winsor & Newton 

o Cadmium Yellow Medium by Williamsburg 

o Chromium Oxide Green 

o Chromium Oxide Green by Williamsburg 

o Viridian PG18 (pick one)

o Viridian by Winsor & Newton  

o Viridian by Williamsburg 

o Cobalt Turquoise Light  

o Cobalt Turquoise Light by Winsor & Newton 

o Cobalt Teal by Williamsburg 

o Cobalt Blue PB28

o Cobalt Blue by Williamsburg 

o Ultramarine Blue PB29

o Ultramarine Blue by Williamsburg 

o Ultramarine Blue Red Shade by Rublev Natural Pigments

o Burnt Umber, PBr7 Every manufacturer has a burnt umber, however I prefer the  Williamsburg or the Vasari version because both of these have a nice medium warm color temperature brown that is great for laying in your drawing of your painting right at the start.

o Burnt Umber by Williamsburg  

o Burnt Umber by Vasari

Extra Oil Colors I consider indispensable on a full-color palette, but are extras and someone new to a full-color palette can plan to purchase later: 

o Cadmium Vermilion, PR108

o Cadmium Red Vermilion by Williamsburg  

o Cadmium Yellow Deep PY37

o Cadmium Yellow Deep by Williamsburg 

o Cadmium Lemon Py35 or PY37

o Cadmium Lemon by Williamsburg 

o Cadmium Green Light PY37 & PG18

o Cadmium Green Light by Williamsburg 

o Cerulean Blue PB35

o Cerulean Blue by Williamsburg

o Cerulean Blue by Vasari (this has got to be the most beautiful version on the market, but is expensive)

Whites (pick a titanium white and a Lead white to always have available)

o Titanium White, PW6 I like using Gamblin’s version. I am not a great fan of titanium white because I do not like how it stays open for more than 5 days, which makes painting indirectly with layers and glazes just about impossible if you want to paint on consecutive days. Titanium white is also a very cool white and so opaque it will make color mixtures chalky.

o IF USING TITANIUM WHITE: Please get either Liquin or Gamblin’s FASTMATTE Titanium White to speed up the drying time

o Lead White, PW1: different manufacturers have different names for lead white, choose one:

Flake White by Williamsburg is the most economical, but is not as densely pigmented as other manufacturer’s Lead White options.

My favorite whites are by Rublev Natural Pigments, and I use all three of these, with No. 1 and 2 being out on my palette most often, Venetian White, I use in later layers of complex paintings. Purchase the smaller sized 50ml tubes, but purchase a min of two tubes at a time

Lead White No. 1 by Rublev Natural Pigment, this is a linseed oil based paint, making all mixtures set up within 6-8 hours, and dry to touch within 48 hours.

Lead White No. 2 by Rublev Natural Pigments, this is a walnut oil based paint, making all mixtures set up within 24-48 hours, and dry to touch within 3-4 days depending on relative humidity.

RGH Paints In March 2020 I began to use this brand of lead whites, I am in  love with them. I have purchased three different types: Cremnitz White – Extra Fine, Cremnitz White – Linseed Oil, and Cremnitz White – Paste, each has its own handling properties.

  • Cremnitz White – Paste has the least amount of linseed oil in it. It is very stiff, reminds me of Old Holland Cremnitz White. I like its

pigmentation and I use this white for my first 2 layers in a 3+ day

painting.

  • Cremnitz White – Linseed Oil has a middle amount of linseed oil, it is very creamy and a great go to lead white for everyday use. I think it is most like Michael Harding, it stays open for a few days.
  • Cremnitz White – Extra Fine has the most amount of linseed oil, it is super creamy and soft as warm butter. This paint is most like the Vasari Lead White. I use it for my last layers of a painting because it’s the least opaque of the RGH Paints.

Cremnitz White by Michael Harding or Old Holland are more expensive than Flake White (W) or Lead White No. 2 (R), it is also more transparent and stays open for several days, drying to touch typically in 4-5 days.

Lead White by Vasari. I like the way it handles and mixes and the high pigmentation has made it one of my favorites to use. However, it stays open 3+ days, so if I need to move fast through my layers, painting day after day and having the previous layers set up, I will use my Lead White No. 1 or RGH Cremnitz White – Paste

Additional colors I like to have available at all times, however are not as essential as the first list and I do not always have squeezed out on my palette: 

o Perylene Red

o Only by Gamblin,

o Scheveningen Purple-Brown  

o Only by Old Holland

o Cadmium Red Deep 

o I recommend only using Williamsburg version of Cad Red Deep

o Cadmium Orange

o Williamsburg

o Transparent Orange

o Only by Gamblin,

o Brilliant Yellow Light  

o Old Holland

o Indian Yellow, many manufacturers produce this color, my favorite is by Winsor & Newton for its clear transparency, however Williamsburg also works

o Indian Yellow by Winsor & Newton

o Naples Yellow, many manufacturers offer this color, however most are not the true Naples Yellow pigment, but a convenience mixture. I prefer to use the pure pigment, PY41

o Naples Yellow Genuine by Michael Harding

o Phthalo Green, Blue Shade, PG7

o Winsor Green by Winsor & Newton,

o Phthalo Green by Gamblin,

o Terre Verte  

o Terre Verte by Winsor & Newton

o Cobalt Green, in the spring and summer this color becomes indispensable for mixing soft purples, essential for flowers.

o Cobalt Green by Winsor and Newton

o Cobalt Green by Williamsburg

o Cobalt Turquoise  

o Cobalt Turquoise by Winsor & Newton

o Ivory Black  

o Ivory Black by Winsor & Newton

 

 

Brushes

Oil Bristle Brushes, bring what you are comfortable using

I favor filberts and currently use Trekell Hog Bristle brushes the most.

I also use Rosemary Classic Filberts in Hog Bristle and Da Vinci Maestro2 Bristle Extra-long Filberts

Soft Bristle Brushes for Dutch Still-Life Painting

Sable Brushes, you will need a few rounds and cat’s tongue filberts. At the minimum get one round size two, and two filberts size 4 & 6

I currently use Escoda Optimo Kolinsky Sable Long Handle Brushes, I like to have a few pointed rounds (size 1 & 2) and a few cat’s tonque filberts (size 4, 6, & 8)

Synthetic brushes wear out fast, but if you want to try these instead of sable brushes, I suggest you use Winsor & Newton Monarch brushes.

I currently use these brushes in rounds (size 00, 0, 2). Also try the filberts (sizes 0, 2, 4)

Brush Soap, I first wash my brushes with Dawn dishwashing soap, and then set and shape the brushes with Pink Soap. I made a video a year ago and its posted on Youtube, to see how I clean my brushes.

 

The underlined supplies are available for purchase at The Art League Store, and can be shipped for a fee, or picked up in store or curbside.

Please contact us at store@theartleague.org if you would like to purchase a selection of items.

 

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