Suggested Brushes:
Various soft Filberts – sizes 2, 6, 14
offers better durability than mongoose. This unique synthetic fiber is so much like mongoose, it even has the tapered point and surface texture of the natural hair. It is stiffer than sable, but softer than hog bristle, perfect for acrylic and oil painting. Each brush is elegantly crafted with a gold-tone ferrule and a dark brown stained and lacquered handle. Use a filbert for painting fine lines and broad strokes with softer edges.Sable Flats (for harder edged statements) – sizes 4, 8, 16

Sable rounds (for softer edged statements) – sizes 4, 8, 16
(Skumble) Brushes (used mostly in under painting, these can be old, nasty holdouts!) – (be careful not to over use this)
16″ x 20″ (Ultrasmooth Portrait Duck) and 2-3 – 11 x 14’s . For professional portraits I suggest using a primed linen, such as which can be cut and stretched to size.  For stretched canvas try    or . There are many other surfaces that can be used, i.e.  masonite (not tempered) or plywood (easy to prime with gesso); the lumber yard will cut these to your specifications. In class, I suggest canvas paper pads (if you like it, you can stretch it) or canvas boards as an alternative to stretched canvases. Suggest: FREDRIX Kent Primed Linen Canvas #125SP

Note about the quality of paints:
Different brands may have slightly different names. I recommend the best brands you can afford because: 1. fillers really do effect the quality of paint mixes, 2. using the colors below to make the “power palette” require particular, quality pigments, and 3. in terms of quantity and quality, you really do get what you pay for!

Recommended paint brands, in order of preference:
Winsor & Newton
Pre-tested (Grumbucher)

(used to mix neutrals)

(very potent, so be careful. You may substitute Ultramarine or Winsor Blue)*
Raw Sienna or Indian Yellow
Burnt Sienna
Thalo Green
Venetian , Indian or Mars Red
* (or Vermillion)
Cadmium Yellow Deep

* absolutely necessary, these are basic colors we use in classes and workshops

1/2 Linseed oil, 1/2 Turpenoid, mixed in a jar. (Please do not buy pre-mixed mediums)
(optional: mix Damar Retouch Varnish with above – in three equal parts,)

Miscellaneous Materials:

  • Sketchbook (newsprint,16×20), also, I recommend a bound sketchbook to keep as a visual/narrative journal.
  • Charcoal: pencil/compressed stick/vine
  • Easel – table or floor. Gallery can provide easels for use in class. However, workshop venues often do not provide easels.
  • Value Scale
  • Palette (paper palette pad), a piece of clear glass to be used to mix paint (Large enough to lay over your Power Palette: about 11″ x 17″), small table for palette
  • Retardant: Oil of Cloves – drop or two in each mixture in your Power Palette will keep it usable for weeks.
  • (can get at most health food stores)
  • Palette Box made by “Masterson” to seal your Power Palette and freeze for future use.
  • Rags (cotton or SOFT paper towels),
  • Palette knife for mixing paint,
  • Oil of cloves for retarding the drying time of the Power Palette
  • Brush Cleaner: Turpenoid for cleaning brushes (please do not use Turpentine),
  • Moll Stick (used to steady hand for better control, when necessary),
  • Drop Cloth to protect floor.

Optional materials
Plastic coated Value Scale from 0 to 10 (available for purchase at workshop only from RM).
Power Palette Guide (available for purchase at workshop, only from RM).
TableEase Table Easel (available for purchase at workshop, only from RM).
extra mattboard corner samples for visualizing compositions

Color wheel, available at most art stores
Gesso to prime boards before class/workshop.