Please Read About Supplies

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Please Read About Supplies 〰️

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Basic Supplies

Underpainting

Metallic Accents

  1. Mona Lisa Gold SIMPLE Leaf on transfer papers,  plus Metal Leaf Adhesive  this is the basic metal leaf option

  2. Optional soft bristle Gilding Brush for brushing away excess leaf without scratching the metal leaf, which is very easy to do. Otherwise bring a VERY soft, clean brush.

  3. Other optional FANCY metallic products: DecoFoil, Gina K Fancy Foils, these are plastic metallic leaf product that comes in all kinds of colors, textures and patterns, they are EASY to use and fun! DecoFoil squeeze top adhesive, you can make swirly lines with this! Tacky-When-Dry-Gel Medium this is a gel based metallic leaf adhesive that you can spread through a stencil to apply metal leaf or Deco Foil in a stencil pattern. Note, Mona Lisa adhesive does not work with the plastic foil sheets, you need the DecoFoil proprietary adhesive.

  4. Optional Deco Color Metallic Markers for simple metallic accents if you do not want to deal with metallic leaf sheets.

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few floral colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Optional Final Varnish Application

Basic Supplies

  • Graphite Transfer Paper for transferring your Frida reference image to the substrate

  • Frida reference image printed out to the size of your substrate

  • Ball point pen, or optional tracing stylus for transfer paper

  • Eraser: Pink Pearl

  • Dusting brush for removing eraser crumbs without smearing drawing, optional

  • Black pastel sticks (NOT CHARCOAL) for drawing the portrait and Tortillions for blending Blending sticks are suggested for accuracy in the eyes and mouth, you can also use your fingers instead

  • General’s Charcoal Pencil Extra Soft 6B this is for fine detail lines in the eyes only, be sure you have a good sharpener for it too.

  • Chalk or white conté crayon, for sketching floral crown over black gesso

  • Photo of Frida Kahlo (Head and shoulders) sized up to your substrate in black and white or color, non shiny paper. Choose one that will size up to what you need, one that is clear and easy to see the details. Consider a head and shoulders shot so that the features are bigger and easier to draw.

  • White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  • RIGID SURFACE, no stretched canvas
    16x20 RIGID SURFACE, no stretched canvas Wood Painting Panel Raw wood panel needs to be primed properly to prevent support induced discoloration: one coat of liquid gloss medium and then two coats of gesso. I’m working on a 16x20 cradled wood painting panel that is already primed and I can wire and hang it without framing. You may like to work on a Canvas Panel or GessoBord for a more economical surface as you get the hang of the process, this comes pre-primed so there is no need for gesso. 

  • Painting Brushes: please use what you have on-hand in your studio and are comfortable with or I like Princeton Velvetouch

  • Water container, Paper Towels

Underpainting

Ephemera Base Layer

  • Spanish Ephemera for the background, sheet music, old letters, Spanish printed material, notes, post cards, postage stamps, etc. I suggest The Diary of Frida Kahlo, featuring, her own handwriting! There are LOTS of pages in this book and you might be able to share with someone in the class as you only need a little bit of it. You can also laser copy from it.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Variety of Found Papers sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Metallic Accents

  1. Mona Lisa Gold SIMPLE Leaf on transfer papers,  plus Metal Leaf Adhesive  this is the basic metal leaf option

  2. Optional soft bristle Gilding Brush for brushing away excess leaf without scratching the metal leaf, which is very easy to do. Otherwise bring a VERY soft, clean brush.

  3. Other optional FANCY metallic products: DecoFoil, Gina K Fancy Foils, these are plastic metallic leaf product that comes in all kinds of colors, textures and patterns, they are EASY to use and fun! DecoFoil squeeze top adhesive, you can make swirly lines with this! Tacky-When-Dry-Gel Medium this is a gel based metallic leaf adhesive that you can spread through a stencil to apply metal leaf or Deco Foil in a stencil pattern. Note, Mona Lisa adhesive does not work with the plastic foil sheets, you need the DecoFoil proprietary adhesive.

  4. Optional Deco Color Metallic Markers for simple metallic accents if you do not want to deal with metallic leaf sheets.

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few floral colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Ireland: Whatever Floats Your Goat

Basic Supplies

  • Graphite Transfer Paper for transferring your reference photo to the substrate

  • Ball point pen, or optional tracing stylus for transfer paper

  • Reference photo sized up to fit your chosen painting panel size (see below) You can google “Old Irish Goat” and choose your perfect picture. You may also bring other types of goats, it’s up to you! I am going to suggest head and shoulder portrait type shots. Check your email for some reference images from me.

  • Eraser: Pink Pearl Pencil and Eraser for sketching your image

  • White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  • RIGID SURFACE, no stretched canvas
    12x14 or similar size (choose your cropped reference image first) RIGID SURFACE, no stretched canvas Wood Painting Panel Raw wood panel needs to be primed properly to prevent support induced discoloration: one coat of liquid gloss medium and then two coats of gesso. I’m working on a cradled wood painting panel that is already primed and I can wire and hang it without framing. You may like to work on a Canvas Panel or GessoBord for a more economical surface as you get the hang of the process, this comes pre-primed so there is no need for gesso. 

Underpainting

  • Golden Fluid Acrylics for underpainting and hand-painting your papers. I have created this set of colors specifically for florals, you may want to substitute or add other colors in 1oz containers The Old Irish Goats are gray/black/brown/white and the background can be greenery or the beach in Mulranny. Colors I like are Van Dyke Brown, Azo Gold, Titan Buff, Raw Sienna, Titanium White, Jenkins Green, Green Gold, Sap Green, Manganese Blue. Feel free to add other colors!

  • Painting Brushes: please use what you have on-hand in your studio and are comfortable with or I like Princeton Velvetouch

  • Water container, Paper Towels, Apron

  • Paper Plates for mixing paint, or Pad of Palette Paper

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few fish colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Basic Supplies

Underpainting

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few fish colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Basic Supplies

  • Purchase a BEHR tester paint sample from Home Depot called Dusty Olive (or VERY similar) Please bring the remainder of this paint with you!

  • Chalk or white conté crayon, for sketching

  • White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  • RIGID SURFACE, no stretched canvas
    16x20 RIGID SURFACE, no stretched canvas Wood Painting Panel Raw wood panel needs to be primed properly to prevent support induced discoloration: one coat of liquid gloss medium and then two coats of gesso. I’m working on a 16x20 cradled wood painting panel that is already primed and I can wire and hang it without framing. You may like to work on a Canvas Panel or GessoBord for a more economical surface as you get the hang of the process, this comes pre-primed so there is no need for gesso. 

Underpainting

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few floral colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Fashion Plate Portrait copy.jpg

Basic Supplies

  • Graphite Transfer Paper for transferring your Frida reference image to the substrate

  • Reference image sized up to your substrate in black and white or color, non shiny paper. Choose one that will size up to what you need, one that is clear and easy to see the details. Consider a head and shoulders shot so that the features are bigger and easier to draw.

  • Ball point pen, or optional tracing stylus for transfer paper

  • Eraser: Pink Pearl

  • Dusting brush for removing eraser crumbs without smearing drawing, optional

  • Black pastel sticks (NOT CHARCOAL) for drawing the portrait and Tortillions for blending Blending sticks are suggested for accuracy in the eyes and mouth, you can also use your fingers instead

  • General’s Charcoal Pencil Extra Soft 6B this is for fine detail lines in the eyes only, be sure you have a good sharpener for it too.

  • White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  • RIGID SURFACE, no stretched canvas
    16x20 RIGID SURFACE, no stretched canvas Wood Painting Panel Raw wood panel needs to be primed properly to prevent support induced discoloration: one coat of liquid gloss medium and then two coats of gesso. I’m working on a 16x20 cradled wood painting panel that is already primed and I can wire and hang it without framing. You may like to work on a Canvas Panel or GessoBord for a more economical surface as you get the hang of the process, this comes pre-primed so there is no need for gesso. 

  • Painting Brushes: please use what you have on-hand in your studio and are comfortable with or I like Princeton Velvetouch

  • Water container, Paper Towels

Optional Metallic Accents

  1. Mona Lisa Gold SIMPLE Leaf on transfer papers,  plus Metal Leaf Adhesive  this is the basic metal leaf option

  2. Optional soft bristle Gilding Brush for brushing away excess leaf without scratching the metal leaf, which is very easy to do. Otherwise bring a VERY soft, clean brush.

  3. Other optional FANCY metallic products: DecoFoil, Gina K Fancy Foils, these are plastic metallic leaf product that comes in all kinds of colors, textures and patterns, they are EASY to use and fun! DecoFoil squeeze top adhesive, you can make swirly lines with this! Tacky-When-Dry-Gel Medium this is a gel based metallic leaf adhesive that you can spread through a stencil to apply metal leaf or Deco Foil in a stencil pattern.

  4. Optional Deco Color Metallic Markers for simple metallic accents if you do not want to deal with metallic leaf sheets.

Underpainting

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Pre 3-Day Workshop Prep: Encaustic Effect Base Layer 

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few fashion colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Basic Supplies

  1. Container of White Gesso for priming your wood panels and adding white halo effect. IF you are using pre-primed panels you can use white paint for the halo effect.

  2. Graphite Transfer Paper for transferring your photo reference to the substrate

  3. Ball point pen, or optional tracing stylus for transfer paper

  4. Reference images of four tropical fish sized up to 10x10 on standard copy paper.

  5. White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  6. RIGID SURFACE, no stretched canvas
    Four     10x10 RIGID SURFACE, no stretched canvas Wood Painting Panel Raw wood panel needs to be primed properly to prevent support induced discoloration: one coat of liquid gloss medium and then two coats of gesso. I’m working on 10x10 cradled wood painting panels that are already primed and I can wire and hang it without framing. You may like to work on a Canvas Panel or GessoBord for a more economical surface as you get the hang of the process, this comes pre-primed so there is no need for gesso. 

  7. Optional: All-Surface Pencil for mark making/drawing fish and bubbles on background

Underpainting

  1. Golden Fluid Acrylic Paint Florals set for underpainting and hand-painting your papers. I have created this set of colors specifically for florals, you may want to substitute or add other colors in 1oz containers

  2. Painting Brushes: please use what you have on-hand in your studio and are comfortable with or I like Princeton Velvetouch

  3. Water container, Paper Towels

  4. Paper Plates for mixing paint, or Pad of Palette Paper

  5. Optional Masterson Sta-Wet Palette system, 12x16 size. This will save your paints for up to a week or more! AND I use the palette sheets in my collage work when I’m done mixing on them. (they are not shiny) please read the directions and prepare your palette sheet before the workshop and bring it in a ziplock bag.. I HIGHLY RECOMMEND this system and you can see why here.

Four Backgrounds

  • Golden Extra Heavy Gel Matte for the encaustic effect, this can be optional. You may choose to do only two backgrounds, twice… or one background four times…

  • Ranger Mini Ink Blending Tool for creating the vignette edge or a makeup sponge

  • Golden Fluid Acrylics for adding a watery effect to the encaustic: I use manganese blue. For creating the white halo: I use titanium white or white gesso. For creating the painted pattern background: a variety of teal, blue, blue greens.

  • Mona Lisa Gold SIMPLE Leaf on transfer papers,  plus Metal Leaf Adhesive and This can be optional – it’s fun for creating shiny bubbles my Dorothy Series stencils from Joggles featuring a lot of dots that work well as bubbles

  • Optional soft bristle Gilding Brush for brushing away excess leaf without scratching the metal leaf, which is very easy to do. Otherwise bring a VERY soft, clean brush.

  • Other optional FANCY metallic products: DecoFoil, Gina K Fancy Foils, these are plastic metallic leaf product that comes in all kinds of colors, textures and patterns, they are EASY to use and fun! DecoFoil squeeze top adhesive, you can make swirly lines with this! Tacky-When-Dry-Gel Medium this is a gel based metallic leaf adhesive that you can spread through a stencil to apply metal leaf or Deco Foil in a stencil pattern.

  • Optional Deco Color Metallic Markers for simple metallic accents if you do not want to deal with metallic leaf sheets.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Variety of Found Papers sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few fish colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

Basic Supplies

Underpainting

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Ephemera variety of found papers such as sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

Optional for Mark Making

  • Stabilo Woodys pencils for adding some pops of color, lines, scribbles, marks, these are water soluble and blendable

  • Posca Markers for making lines and patterns, these are opaque and permanent. I like the PC-5M size in a few landscape colors

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

Building Your Book

  • One FULL SHEET of watercolor paper which you will receive directions on how to make into a book.

  • Plastic gift card or credit card for scoring paper to tear

  • Scor-Pal tool for creating the spine folds, you will do this at home and do not need to bring the tool with you.

    Watercolor Supplies

  • Watercolors: I prefer Golden professional TUBE watercolors, they are vibrant and the best quality. My choice is Golden QoR as they give very VIBRANT and quality color. Purchase a set or individual tubes.

  • Tube watercolor will need a plastic palette, portable box, or empty watercolor tin A set from Golden will come in a larger format open tin that you can use for mixing

  • How many colors you need depends on your ability to mix color and we will go over color mixing in the workshop. Think about the colors of Egypt and nature. Be sure to have Cadmium Red, Alizarin Crimson, Cadmium Yellow, Phthalo Blue, Quinacridone Magenta, you can mix most colors from these basics. Bring the tubes with you.

  • A set of travel brushes I find these are much nicer quality than water brushes but you can use either or what you have on hand. The travel brush set protects your tips and is very portable.

  • Small 2.5 oz water spray bottle

  • Sakura Micron Pen I prefer the 0.5 tip

  • Pentel Mechanical Pencil I like this because you do not have to sharpen it

  • Kneaded Rubber Eraser

  • Double sided tape for the book spine NOTE, make your score 1/8 inch WIDER than your TAPE

  • Small cup/container for water

  • A handful of Vanity Fair dinner napkins or Viva paper towels or a cotton cloth

  • Mesh Zip Pouch, Gallon Ziplock Bag, or similar for keeping your book and supplies together

  • Water Brushes for ease of travel and requires no water cup

  • Travel Brush set requires water cup but are better quality

  • Swedish Dish Sponge for cleaning your brushes

Custom Designed Supplies for this Course:

Birds included in my video lessons: Cardinal, Bluebird, Oriole, Robin, Chickadee, Hummingbird, BlueJay, Finch
Available Art Foamies Bird and Branch Stamp sets include: Cardinal, Oriole, Robin, Bluebird and Flora Elements Pack

  • Art Foamies Bird Stamps 10”LARGE for your underpainting sketch–You can sketch your birds and skip these if you like but they sure are FUN! There are FOUR bird stamps with branches which line up with four bird lessons in the course but you are not required to purchase the stamps, you can always sketch your birds, or use a combo of both. there are FOUR BONUS BIRD LESSONS included for you to work on at your own pace after the workshop, total of EIGHT BIRD PIECES in this series

  • Art Foamies Flora Elements Pack for embellishing your birds

  • Vulcanized red rubber post mark stamp set for adding vintage post marks to your ephemera backgrounds

  • Art Foamies ink pads (or what you have on hand) for post mark stamps OR

  • Archival Ink pads waterproof/fadeproof

  • Art Foamies Scrap Buddies for inking up your 10” Bird stamps, load with your own paint

  • Joggles Stencils Designed by Yours Truly for use on the Gel Plate making collage paper

Basic Supplies

  • White Gesso plus Golden Liquid Gloss Medium for priming your raw wood panels if you have purchased a pre-primed surface (white) you are good to go.

  • 10x10 Wood Painting Panel or Cradled Canvas Panel cradled so that you can add an envelope to the depth of the back (natural wood needs to be primed first with GAC-100 and two coats of gesso). Cradled canvas panels are primed and ready to go. We will be creating FOUR projects and you will have FOUR bonus lessons for a total of EIGHT 10x10’s. I am working on Fredrix Cradled Canvas Board, primed and ready to go

Underpainting

  • Graphite Transfer Paper for tracing your sketch from a reference photo in lieu of using Art Foamies Bird Stamps in the eight projects, feel free to use a combination!

  • Pencil, Pink Pearl Eraser, Drafting Brush for use with transfer paper

Ephemera Background

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Variety of Found Papers sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Envelopes for the Back Side

Antiquing Paper

  • Instant Coffee for making papers look vintage

  • Vinyl Lace Placemats for adding pattern to vintage paper effect

Collage Application

At Home After the Workshop: Signing Your Work

  • Posca PC-1MR Point fine opaque pant pen

  • Or use whatever lightfast, permanent, fine point tool you might have in your studio!

At Home After the Workshop: Final Varnish Application

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Basic Supplies

Underpainting

  • Graphite Transfer Paper for tracing your sketch from a reference photo in lieu of using Art Foamies Bird Stamps in the eight projects, feel free to use a combination!

  • Pencil, Pink Pearl Eraser, Drafting Brush for use with transfer paper

Gel Printing

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly, I will have some for purchase at the venue

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate.

  • Variety of Found Papers sheet music, maps, wallpaper, hand written notes, old book pages, hand made papers, dry waxed deli paper, a variety of thickness and textures. 

  • Gallon Bags for bringing your papers home, divided by color

  • Roll of clear, heavy duty packing tape to clean your Gel Plate.

  • Princeton Catalyst Wedges for scraping patterns into paint on the Gel Plate, optional

Collage Application

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Monoprinting for Collage Paper

  • Speedball Deluxe Brayer 6-inch for applying paint to Gel Plate– if you can get two, it’s better. One for warm, one for cool colors

  • Gel Press Printing Plate the 9x12 is optimal but use what you have on hand, preferred next size down is 8x10 I would not work with anything smaller.

  • Joggles Stencils Designed by Yours Truly

  • Joggles Foam Stamps Designed by Yours Truly or what you have in your stash

  • Rice Paper 9x12 Pad  there are many different kinds of rice paper, the Sumi-E sketch pad is what I like the best, especially for working on the Gel Plate. AND/OR Rice Paper Roll same paper as the 9x12 pad but on a roll!

  • Golden Fluid Acrylic Mixing Set These are not the perfect colors but they are a good variety for the cost. You may also purchase individual colors instead. Keep in mind the colors of paper you want to create and your ability to mix color, purchase additional colors of paints accordingly,  I suggest starting with 1 oz bottles

  • Variety of Found Papers sheet music, maps, hand written notes, old book pages, dry waxed deli paper, a variety of thickness and textures.

  • Texture Rubbing Plates

  • Catalyst Wedges: Shape 3, Shape 2

  • Punchinella or Sequin Waste