Date & Time
23rd-24th November 2019 | Monday to Friday | 10:00-17:00
371 Clapham Road
London SW9 9BT
Bring me there
This workshop taught over two days by Ben Laughton Smith will teach you to paint convincing representations of a range of different materials in oil. Capturing surface textures is a vital competent of still life painting and the clothed portrait. Students will consider techniques for painting a wide range of surfaces such as shell, lace, porcelain, crystal, copper, satin, fur, chrome and so on. During the course you will have the opportunity to paint several studies of different materials, considering strategies and methods to convey their varying appearances.
This course requires a minimum number of enrolments to run.
- How to understand the visual characteristics of different materialsBreaking down painting procedure for complex subjects into logical stepsBrushwork and handlingAssembling an appropriate palette of colour and mixing accurate colour valuesThe importance of edge control and variety in capturing textures
Each class is limited to 8 students working from two models. The workshop room is located within the main school of LARA London. Each set up is lit with individual professional photographic lighting which provides a steady, unchanging environment from which to observe all elements of still life painting.
Please bring the following materials with you. Items marked with an asterisk are stocked in the LARA shop. Please call ahead if you would like to reserve items to ensure availability.
Oil Paint: The LARA Palette
- Lead White – PW1 (recommended) or Titanium White* – PW6
- Nickel Yellow* – PY 53
- Yellow Ochre* – PY 43
- Cadmium Red* – PR 108 (or cheaper alternative English Red PR 1C1)
- Alizarin Crimson* – PR 83 (more permanent alternatives: Quindacridone Magenta – PR 122, Quindacridone Maroon – PR 206)
- Cobalt Blue* – PB 28 (or cheaper alternative Ultramarine Blue PB 29)
- Raw Umber* – PBr 7
- Ivory Black* – PBk 9
- We highly recommend Old Holland, C Roberson, Blockx, Vasari and Winsor and Newton (cheapest option)
- Balanced wooden arm palette* (if you are right handed, please buy a left handed palette, and vice versa)
- Four stretched linen canvas* or canvas panels approximately A3 sized
- Hog bristle brushes* (overall a good selection of hog brushes should be used. The more brushes, the easier it is to keep colour mixes clean. A variety of sizes is essential for handling large areas of the painting as well as small details. However, a set of at least 10 ‘filberts’ and ‘flats’ should be enough to get started).
- Flexible steel palette knife*
- Refined Linseed Oil*
- Winsor and Newton Sansodor* or Jackson’s low odour solvent (odourless turpentine substitute for painting). You cannot use turpentine within the studio
- Airtight metal brush cleaner or jam jar (jam jars must be clearly labelled with your name, course and solvents it contains)
- Metal dipper* for medium
- A good supply of kitchen roll for cleaning brushes
- Tupperware tub for keeping paints overnight
- Something to carry your wet paintings home with on the last day, for example, a canvas carrier*. If you are unable to find one, another canvas of the same size can be strapped to the front to keep the painting safe while being transported.