SUPPLY LIST, LINKS, SOURCES, and FRAMING INFORMATION
PAPER - Arches 140 lb.CP is essential for some of my techniques. 300 lb is also acceptable. Bright White is NOT as receptive.You may work any size you prefer. I demonstrate on ½ sheets. Bring enough paper for 2 paintings per day. I prefer loose paper to blocks.
BRUSHES - I use a 2" Robert Simmons Skyflow, 1 1/2" Simmons or Winsor & Newton 680 One Stroke, 1" and 1/2" aquarelle, and a #2 rigger or liner. I also like the Richeson 1 ½”& 2” flat brushes. All of my brushes are synthetic and of quality brands that hold an edge.
PALETTE - John Pike (my choice), or any white surface such as a butcher’s tray, ceramic plate, or tile, is suitable. I use Cheap Joe’s X-tra color palettes to test colors.
SUPPORT BOARD - Masonite, tile board, plexi, foam core or gator board may be cut to paper size, slightly smaller or 1/4" to 1/2" larger on all sides. With smaller boards the clips encroach more on the paper but water is less likely to puddle at the edge. Usually I work flat on a table and don't bother to clip the paper to a board .
PAINT - USE THE COLORS AND BRANDS YOU PREFER I include transparents and opaques in warm and cool versions of the primary colors. I FILL EACH COMPARTMENT of my palette a few days before using and leave it uncovered to let the paint skin over. Very fresh paint doesn’t work for some of my techniques. If you come with your palette set you will not need to bring tubes. I use Winsor Newton, Daniel Smith, Steve Quiller (Richeson) and Graham paints: Naples Yellow(WN), New Gamboge, Quinacridone Gold and Burnt Orange (DS), Cadmium Orange, Cad Red, Winsor Red, Perm Aliz Crimson (WN), Permanent Magenta, Winsor Violet (The generic name is Dioxazine and Carbazole is DS version), Cerulean Blue, Cobalt Blue, Ultramarine Blue, Winsor Blue, Prussian Blue, Cobalt Turquoise, Perm Sap Green (DS), Olive Green, Green Gold. Bring a small tube of White Gouache (WN Titanium or Permanent White) if the workshop is 5 or more days. Do NOT put it out in advance. Graham paints are made with honey and do not dry out. I keep these in a separate Cheap Joe X-tra palette
OTHER - water jars, absorbant cloth or paper towels, stainless clips (bulldog clips are fine) to secure paper to board (I do not stretch paper). I sign my work with Sakura micron pigma archival ink pens or other permanent ink pens.
If you read my books or view my DVDs in advance it will save you time in understanding my approach.
WATERCOLOR FROM THE HEART, WATSON-GUPTILL 1993 (Out of
Print but I have purchased all remaining copies from the publisher) $35
(includes S&H Priority Mail) (CA residents add 7.75% sales tax). For
shipments to
WATERCOLOR THE CREATIVE EXPERIENCE, North Light Books, 1979 Out of print but I have some secondhand hardcover copies in good condition with new dust jackets if the original is shabby (check with me for availability before sending payment) $42 (includes S&H Priority Mail) and $49US for orders to Canada. Used Paperbacks are available for $32 priority mail. (CA residents add 7.75% sales tax).
DVD, WATERCOLOR FROM WITHIN, 2009 from Creative Catalyst
Productions, Layering Watercolor with Barbara Nechis 2hrs. 22min. $44
includes 1st class S/H. (add $2 for
BARBARA NECHIS DVD (43 min. converted from 1986 video by AVP) Enjoy painting with my voiceover and the great music written for it. If you combine this DVD with any of the other products above, add $25 to your order (ordered separately this DVD is $32 including priority S/H). (CA residents add 7.75% sales tax)
If you prefer to order by credit card through Paypal, send me an email and I'll have a Paypal invoice sent to you.
SUPPLY SOURCES - Most mail order catalogs and websites have great prices.
Cheap Joe’s Art Stuff, NC 800-227-2788 X-tra palettes, Simmons skyflow brushes, Richeson brushes series #9010, Winsor and Newton #680 one stroke 1 1/2" and series #995 aquarelle 1" and 1/2" and comparable Cheap Joe brushes www.cheapjoes.com
Daniel Smith,
Jack Richeson & Co 1-800-233-2404
American Frame Corp, OH 800-537-0944 Source for Standard Plus 1 (Neilsen profile #95) frames which I use for large work www.americanframe.com
Stephen Quiller watercolor paints and Richeson brushes www.quillergallery.com
Impact Images www.clearbags.com 1-800-233-2630 clear storage bags for matted work in numerous standard sizes. I use 15 7/16" x 22 1/4" for unmatted half sheets.
OTHER SOURCES OF INTEREST
A great book on design is Composition for the Painter by Frank Webb www.artshow.com/Webb/books.html
A great art history reference book is The Art Book, Phaidon Press $10 paperback (small size) but the large one is easier to use.
My digital photo program and slide show are Jasc Paint Shop Pro 8 (comparible to Photoshop Elements) and Paint Shop Photo Album. I also use Photoshop.
I use white plastic mats in the studio. Paint wipes right off. I took a
sample paper mat to a plastic supply store and they made one up for me in
plastic. I also had L's made.These frame shops may
also be willing to make some up according to your specifications: Rex Williams,
Sycamore Framing & Art Gallery www.sycamoreframing.com
,
iprint.com Great source for inexpensive, quality business cards in a week (order 250 on glossy stock for $18).
http://www.ccpvideos.com/affiliate/9/product/watercolor-within-transparent-layering-barbara-nechis Quality DVD's with online previews and great newsletter tips
www.watercolor-online.com listings of other artists websites and a link to American Watercolor Society
http://aldaily.com/ Arts and Letters Daily
http://www.shortcourses.com Photo info site by Dennis Curtin includes detailed use of digital cameras
FRAMING INFORMATION
This may be helpful in making decisions with your
framer or ordering framing supplies.
Artwork Size 14 ½" x 21 ½" (half sheet).
For full sheets I usually frame to 30"x38"
Extended Size 23"x 30" (this includes mat border of 4 ¼"
on each side) Be sure to measure the exact viewing
size of the image before determining the size of mat. .
Frame When I use metal frames, Nielsen #117 (called Standard plus 3 at American Frame) in German Silver, which complements both warm and cool paintings is well priced and contemporary. #50 in both silver and contrast gray has a shiny contemporary look and is similar in size to #117. Nielsen #97 Neo Florentine in german silver, gold, amber or silver is a more expensive choice. #95(also called Standard plus one at American Frame) is good for full sheet and larger paintings and #11 (called Standard for 1/4 sheet and smaller work) .
Mat I use archival white and off-white mats (the cut edge of
non-archival mats may discolor). Neutral mats better set off the color in
artwork. I never use colored mats or liners as that would
change the proportion of color used in the painting. Some of the mats I use are:
Bainbridge Alphamats 8519 Snowflake, 8465 Igloo (a
soft white)8464 Matte White, 8463 Spanish White (a bright white) or Crescent
1607 Brite Wt.
Glass or Plexi I prefer glass, as it is
easier to clean however I use plexi for large
paintings, exhibitions and when shipping, as it is lighter and safer to handle.
I do NOT use non-glare as it deadens a watercolor and makes it look like a reproduction.
.
Mail Order Mat & Frame Sources call for catalogs and mat & frame
samples.
American Frame 1- 800-537-0944, www.americanframe.com (link is above under
supply sources) allows you to view your image, mat, frame and wall color. (No
minimum order on mat if frame is ordered)
Documounts 1-800-769-5639, www.documounts.com (link is above under supply sources) To order from documounts, go to matboards, choose Archival; pick alphamat 4 ply with wt. core or Crescent ragmat. (I do not like Artique); pick color; enter outside dimension of entire package. For a half sheet I use 23"x30"; enter window opening (14 1/2" x 21 1/2") will expose most of the painting; add to cart; then add frame, backing, plexi.
I use archival Lineco gummed linen tape (water
activated) for attaching artwork to acid free foam backing. Pressure sensitive
tape may not hold over time.
Position art between mounting board and mat. Place
weight on art and remove mat. Place tabs of tape, adhesive side up, on back of
art along top edge of artwork only. Put tabs of tape adhesive side down over
first tabs. Art is now hinged to backing. Another option would be Lineco see-thru mounting strips which have a clear plastic
lip that holds the artwork. I trim some of the plastic when needed so it does
not show beyond the mat opening.
I hang framed work according to Museum guidelines with the center of the painting about 54-56 inches from floor. If it is placed above furniture a 6" clearance between the two is about right.. Higher placements may look dated.