The following is general information about the paint colors, painting surface, brushes and Other Supplies Tina recommends for workshops as well as the lighting kit, vertical palette Tina prefers and Tina's Varnish Process. For info on traveling with paint supplies CLICK HERE to go to Tina's blog.
Recommended Paint Colors For Workshops
Transparent Oxide Red - Rembrandt
Transparent Oxide Yellow - Rembrandt
Ultramarine Blue Deep - Rembrandt
Kings Blue - Rembrandt
Phthalo Turquoise Blue- Rembrandt
Vermillion — Rembrandt
Cadmium Red Medium - Rembrandt
Quinacridone Rose - Rembrandt
Green Gold - Gamblin
Permanent Blue Violet - Rembrandt
Gold Ochre - Rembrandt
Cadmium Yellow Lemon - Rembrandt
Indian Yellow Deep - Winsor & Newton
Warm Grey - Rembrandt
Cold Grey - Rembrandt
Ivory Black - Rembrandt
Titanium White - Rembrandt
Other Supplies To Bring to a Workshop
Odor free solvent (I use Gamsol by Gamblin)
Solvent jar
Paper Towels (Scott Blue Shop Towels is what I use as well as Viva)
A grocery sack for your trash
Palette knife/small/diamond shaped head. (No large or plastic palette knives — Small metal diamond shaped with wood handle please.)
Palette, for in studio workshops, I recommend students use a New Wave palette or any large, 1/4 inch thick, beveled glass surface. Please, no tiny plastic palette or wax paper palettes. If your painting surface is too small or impossible to clean you will struggle.
Flat razor blade for palette clean up if like me, you have a glass palette
A smart Phone or iPad
A $20 per day tip for the model (when working from life only)
When the class is from photos, I provide the photos, and you may bring images you would like to paint
Brushes I Recommend and Why
Tina offers her brush set through Rosemary & Co. Brushes, click here to order. Order Early as they can often take up to 1 month for delivery. Otherwise a variety of long handled brushes that you usually paint with will suffice.
Rosemary & Co. Brushes were on the supply list for the very first oil painting workshop I ever took in 2012.
Not really understanding anything about painting or how the quality and design of a brush truly matters, I later bought tons of craft/art store brand brushes to try. What a waste of money. There isn’t a single other brand of brush I’ve tried that perform like, holds up like or compares to a Rosemary & Co. Brush. For cost effective painting for students, my brush set includes Rosemary & Co. RED DOT Synthetic Sable and Eclipse brushes. Though costly, for advanced students, I highly recommend the Series 331 Combers in all sizes is specially designed to combat static edges that can kill the movement and music in an otherwise lovely painting.
Painting Surface I Recommend for Beginners
Two to 5 small canvases (16x12) OR so. As a portrait artist, I recommend using the least textured canvas or linen you can find primed with either lead or oil. RayMar Art Panels are superior specifically C13DP. For those on a budget, Centurion Deluxe oil primed linen panels are very affordable and searchable on Jerry's Artarama. I usually have a few sheets available for purchase for those in need.
The Model Lighting Kit I Use
Genaray SpectroLED Studio 500 Bi-Color LED Light from B & H Photo
- Variable Color: 3,200K-5,600K
- 13.58 x 7.48 x 2.75" Panel
- 3,400 lux @ 3.3', LCD Touch Screen
- Flicker-free 100 - 10% Dimming
My Varnishing Process
I use a two part process when I varnish my paintings. I consulted with a curator and he said it was okay to do this process, but you are responsible for your own painting practices, so do this process at your own risk. I wait until my artwork is completely dry. If you varnish too early you will be very sorry. Once my work is completely dry I apply a thin layer of a three part mixture I learned from Casey Baugh. He uses it as a painting media (meaning he mixes it with his paint as he is painting) but I use it as 'part one' of my varnish process. It helps the varnish go on without beading. This first layer is made up three parts: 2.5 oz of Damar Varnish and 1.25 0z of Turpentine and less than a tablespoon of Linseed Stand Oil. I combine these all in a jar and keep the lid tight at all times. You don't want anyone to smell this stuff, so work in a well ventilated area. Using a soft sable varnish brush from Blick, I apply a very thin layer of this mixture to my dry paintings and wait 48 hours. I then apply Gamvar made by Gamblin. Both of these applications are very thin. I recommend you practice with a painting that is not precious.
Click here to see Tina's husband, Adam, varnishing "Cicerone" 30x24 Oil on Canvas.
My Favorite Easel (In Workshops, Easels and Side Tables are typically provided)
I use the Edge Pro Gear Paintbook: https://www.edgeprogear.com
The PaintBook is handcrafted in the U.S.A. Each Stained PaintBook finish is unique per order. I use it in a vertical format for the largest vertical mixing surface available.
Edge Pro Gear PaintBook pairs with any strong, light weight camera easel. My students can buy from Edge Pro Gear with a discount, here are the codes:
TGARRETTPB $25.00 off the PaintBook large easel
TGARRETTPP $20.00 off the PassPort mid-size easel
TGARRETTSB $15.00 off the SketchBook small easel
