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Class Materials List
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Very Important: This is a suggested materials list only, and nothing is a requirement. I am simply
conveying the materials that I use. Every painter is dierent, and there is no wrong or right
way. Use this only as a guide. Feel free to contact me with any questions.

Painting Surfaces

I prefer to work on gessoed masonite or stretched canvas/linen - my current favorite is
Centurion Deluxe Oil Primed Linen Panels. These are easy to transport, and the oil primer takes
paint very well without the need for addtional preparation. Sizes can vary widely, and you are
welcome to choose whatever size you feel comfortable with. Keep in mind that painting smaller
does not always make it easier!

Oil primed vs. acrylic primed: Most art stores sell acrylic primed surfaces. These work very well,
and you should feel free to use any of these available. I personally use oil primed surfaces,
but if you are new to painting, you won’t notice much of a dierence. If you are painting in acrylics,
you will NOT want to use oil primed surfaces.


I don't use expensive brushes. The solvents associated with oil painting are extremly harsh, and so are my painting method. Synthetic or bristle brushes from Richeson or Winsor & Newton are extremly effective and inexpensive. Of the different styles available, I prefer flats. Brights just don't hold a large enough charge of paint for my tastes, and Idon't need fiberts, because flats tend to become fiberts after some use. I only use three sizes a #12 (1"wide), a #5 or #6 (1/2" wide), and a #1 (1/4" wide). Keep in mind that numbers vary between manufacturers and sizes are not consistent. For cleaning oil from my brushes, I use Turpenoid Natural (NOTE: Turpenoid Natural is not for use during the painting process. It is only to clean brushes after a session.  If you use it on a painting, your painting will fall apart.) It removes even dried oil paint from brushes and is non-toxic.


All brands are denitely not equal. For the student, everything is acceptable so that there are no
worries about using too much expensive paint. As you progress, you will want to experiment
with dierent brands.

My Color Choices

My palette changes constantly as I try new colors, but I always keep a consistent set of warms
and cools. Below is my current palette. Please do not feel obligated to purchase all of these colors.
Titanium White - the most opaque of whites, but without the dangers of Flake White
Cadmium Yellow Medium - A warm yellow, easily cooled by adding white
Cadmium Orange - I was given a number of tubes of this and found that it greatly reduced my
use of Cadmium Yellow, as I normally mixed it with Cad Red for orange anyway.
Cadmium Red Light or Cadmium Red Pale (Richeson) - my warm red choice
Alizarin Crimson - my cool red choice
Yellow Ochre - the lightest of the earthtones on my palette
Burnt Sienna - a color of convenience. I can get a similar color by mixing Cad Red and Cerulean
Blue, but this is a much cheaper alternative
Burnt Umber - mixes with other colors to make rich darks (Burnt Umber, Alizarin and Prussian Blue
make a rich black)
Prussian Blue - my warm dark blue
Cobalt Blue - my cool blue
Cerulean Blue - my warm light blue

Palette Knives

I tend to use palette knives only for surface prep or to remove paint from the surface.


I use Odorless Mineral Spirits. If you prefer a cleaner version, I recommend Gamisol. If you are traveling to the class by air, please
know that I will have plenty of mineral spirits available for you to use. It is very important that you have a proper container for your
medium. I recommend a stainless steel brush washer. These come in a variety of sizes (the smallest is sucient), and will last you
forever. There are glass versions available, but these tend to easily break.


In the past, I used a Masterson Sta-Wet Palette. This is basically a tupperware container that you can seal your paints inside of so that they stay fresh longer. I’ve had a piece of glass cut to tinside, which I can easily scrape clean with a razor as it becomes necessary. Another trick with a glass palette is that you can place a piece of colored paper behind it to match the color of your
canvas. If you have a lot of oil paint left over, and know that you will not be able to paint for a number of days, the entire palette can be submerged in a tub of water where the paints will remain fresh until you return. Now that I paint almost everyday, my palette is built into my easel. Disposable palette pads are aso an inexpensive and easy option. I do not recommend using plastic
palettes with recessed chambers. These work great for watercolor, but are too constricting for oils or acrylics.


Make sure to bring paint rags. I prefer to use old cut up blue jeans, because they don’t produce
a lot of lint, which can get caught up on your canvas. You can use paper towels if you like.


I recommend a portable easel, not only for the class, but for home and on location work as well.
There are numerous styles and prices to choose from. Many will also hold supplies for easy transport.
My current choice is the Daytripper by Joshua Been.

Special Oer For Oil Painters From Jack Richeson

Jack Richeson & Co. contacted me and oered to put together sets of paints and brushes exclusively
tailored for my workshops. I've been using Jack Richeson oils for 20 years now and I highly recommend
them. These kits can be ordered directly from or Judsons Art Outtters at a signicant
discount. If you are interested in purchasing a kit, search for “Patrick Saunders Art” on or
use the links to the products available on my website at

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