High-quality, signed and numbered, limited-edition Giclées of Algonquin and Kingswood golf courses.
Convenient 4.25" x 5.5" note cards with envelopes in 10 Packs. They are blank inside with painting info on the back.
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The finest quality materials are used in creating these works. All boards and canvas are archival and paint and brushes are the best available.
These are the main materials I use when I paint. I do not endorse any of these companies and do not have any sort of financial arrangement and only think they are the best I have found to date. I came to use these from recommendations of other painters and from experimentation. They work for me although others will undoubtedly have their own, completely different preferences.
Cadmium Yellow Light
Permanent Alizarin Crimson
Yellow Ochre Pale
Cadmium Yellow Deep
Cadmium Red Light
Transparent Oxide Red
Ultramarine Blue Deep
My favorite knives are Richeson #501808 and #501814 trowel shapped, stainless steel painting knives. I have experienced rusting knives in the past and you simply cannot paint with them. These will not rust!
I find that most paper towels are not durable enough and will tear. I have used Scott Rags (available at The Home Depot) for years and they are durable and perform a lot like real rags.
I apply a finish varnish to a painting when it is sufficiently dry, usually after three months of drying for most works, and six months to a year if more heavily painted. I use Soluvar gloss final picture varnish in spray form. Soluvar is made by Liquitex and available at most art material supply stores. It is recommended by most conservators because it does not yellow with age and it can be easily removed if necessary.
SOLVENTS & MEDIUM
I normally don't use medium and prefer using pure oil paint. My favorite odorless mineral spirits (OMS) is Eco-House 125 Neutral Thin, made right here in Fredericton. As much as I like working with turpentine, the smell is just too powerful for me. If I do use a medium, it is Ralph Mayer's formula of 1 part stand oil, 1 part damar and 5 parts turpentine.
I prefer mixing my paint on glass because I can identify color more easily on a consistent, light surface and, also, because I can modify the color of the surface to suit my needs. My studio taboret has a 21" x 31" glass surface and my Open Box M pochade box is fitted with a 12" x 17" piece of glass. Clean up is easily done with a razor blade type paint scraper and rubbing alcohol.
I use Robert Simmons #42 signet filberts and Rosemary #279 mongoose flats. I also use Winsor & Newton Series 7 watercolour brushes for intricate oil painting.
Winsor & Newton:
Titanium White (Extra Fine)
Here is a list of colors on my basic palette, each of the finest quality:
Lefranc & Bourgeois: