Session four of the workshop will be here at:
6PM UK time (2PM Eastern, 11AM Pacific – check your timezone here)
Monday 11th April
What we’ll be doing
Now that we’ve established the main colour areas for subject – and hopefully realised that it’s not the detail that makes alla prima painting “work”, but the “big look” – we can proceed to attempt a more finished version.
In this session, we’ll be making sure that we use the foundation colours we mixed for last session as a starting point, and, without deviating from them too far, add a little more form modelling in order to create a more complete piece.
What you’ll need
Please have the main colours we mixed for the last session mixed and ready to go. The are:
For the daffodils, light and shadow:
- 5Y 8/12
For the vase, laight and shadow:
- 5PB 7/2
- 5PB 2/1
For the cloth, light and shadow:
- 5YR 6/4
- 5YR 2/4
And finally for the orange trumpet of the daffodil on the left:
- 5YR 7/10
If you have trouble with mixing any of these colours, please refer to the video for session three, where they’re all mixed slowly and carefuly.
Palette and palette knife
I’ll be using an 8 x 10 inch ampersand panel (which will also be the size of the final painting), but you can use oil painting paper.
Medium: Linseed oil and a solvent
- lead (or titanium) white
- a green yellow – cadmium yellow lemon. If you don’t have this, lemon yellow or perhaps hansa yellow
- cadmium yellow (cad yellow light if you’re using Winsor and Newton paint)
- quinacridone rose
- green gold
- transparent red oxide
- ultramarine blue
- raw umber
- ivory black
- phthalo green – I’ll be using Winsor and Newton Winsor green (yellow shade) but any phthalo green should be fine
Brushes: flat synthetics and hog bristles will both be fine. We’ll be working in simplified blocks in this session.