MATERIALS

Photon Torpedo, Anthony Ryder, 10x14 (25x36 cm), Oil on linen, 2001

Materials

Here you will find materials lists for the following Ryder Studio programs:
    I. Pencil drawing on white drawing paper
    II. Drawing on tinted paper with graphite and white chalk pencils
    III. Portrait painting in oil 
    IV. Academic year ‘Atelier’ program

Printer friendly files:

A friendly note about art supplies:

Your materials don’t need to be fancy, but they should be well-made.  Given the cost of the course (a major investment in your artistic future), it will be worth your while to invest a very little more, comparatively speaking, in decent supplies.  It can make a big difference.

Maribou

Maribou LaTour, Anthony Ryder, Pencil on paper, 6x8, 2007

I. Pencil Drawing on White Drawing Paper

Paper:
Strathmore 400 Drawing pad, regular surface, 18″x24″

Pencils:
Three each: 2B, 3B,
Two each: HB, B, 4B, 5B, 6B
One each: H, 8B

Erasers:
1 Tombo MONO Zero pen-style, round tip, silver barrel
1 medium Design brand kneaded eraser

1 white plastic Maped “Epure” eraser:

erasers.2.04

Erasers for use in pencil drawing (Maped erasers recommended)

Drawing Board: 
19 1/2″ by 25 1/2″ piece of one-half-inch-thick Foam Core
(Recommendation: buy 30×40 sheet and cut down to size.  Use a sharp x-acto or matte knife, and a straight, aluminum yardstick.  Please watch your fingers!  Save scraps for other uses.)

Drawing Clips: 
2 each: Lion Extra Large Grip Clip, 100mm (3.9 inches), no. 50

Other:
Pencil box (Recommendation: ArtBin Sketch Pac Storage Box  6880AB)
A soft brush for dusting eraser crumbs
#1 X-acto knife
#11 blades
Several sheets of glassene for protecting drawings (optional)
20” x 26” black cardboard portfolio with ribbon ties

II. Drawing on Tinted Paper with Graphite and White Chalk Pencils

75. Figure Demo.jpg

Figure Study, Anthony Ryder, Graphite and chalk pencils on tinted paper, 10x12, 2003

Note:
The papers listed below cost between $0.95 and $1.15 a sheet.  It’s not a bad idea to have two or three sheets of each on hand.  If you do decide to get paper in single sheets, then I definitely recommend that you also get the 20” x 26” black cardboard portfolio with ribbon ties to store it in.

Paper:
Strathmore 500 Charcoal…19″ x 25″ in single sheets… Colors:

Pottery green
Golden brown
Velvet gray
Storm gray

Strathmore Artagain…19” x 25” in single sheets…
Colors:
#4006725        Moonstone
#4006726        Gotham gray
#4006727        Steel gray

WHITE PASTEL Pencils:
Three each: General’s White Charcoal pencils

GRAPHITE Pencils:
Three each: 3B, 4B, 5B, 6B, 8B

Erasers:
1 medium Design brand kneaded eraser
1 white plastic Maped “Epure” eraser (see picture above)

Drawing Board: 
19 1/2″ by 25 1/2″ piece of one-half-inch-thick Foam Core
(Recommendation: buy 30×40 sheet and cut down to size.  Use a sharp x-acto or matte knife, and a straight, aluminum yardstick.  Please watch your fingers!  Save scraps for other uses.)

Drawing Clips: 
2 each: Lion Extra Large Grip Clip, 100mm (3.9 inches), no. 50

Other:
Pencil box (Recommendation: ArtBin Sketch Pac Storage Box  6880AB)
A soft brush for dusting eraser crumbs
#1 X-acto knife
#11 blades
Several sheets of glassene for protecting drawings (optional)
20” x 26” black cardboard portfolio with ribbon ties

III. Portrait Painting in Oil

materials41

Portrait of Keri Greeeves, Anthony Ryder, detail 9x12, (25x36 cm), Oil on linen, 1994

OIL COLORS:
Many colors are available both in their original formulations and in modern alternatives. This is true of professional as well as student grade paints. Alternatives are sometimes, but not always, marked with the additional designation “hue,” as in “Cerulean blue, hue.” Traditional cerulean blue is a compound of cobalt and tin. Cerulean blue, hue, on the other hand, is often a mixture of zinc white and phthalocyanine blue. Though it may appear to be the same when it comes from the tube, its behavior in paint mixtures is significantly different from that of the cobalt/tin compound. I recommend the original formulation when it is not prohibitively expensive or hard to get.

This is not to say that more recently developed colors are inferior. They are in many cases quite useful. The palette below presents a balanced selection of traditional and modern colors.

Any professional grade will do. Except for the colors listed below to which a manufacturer’s name is appended, my favorite brand is whatever’s on sale at the moment.

Having every color in the world will not make you a painter. These are some of the colors I use when painting in my studio. However, please note that the following list is recommended, not required. You may bring to class whatever colors you like.

Standard (35ml, 37ml or 40ml) tubes:

*Lead white (Flake or Cremnitz)
*Titanium white
*Genuine Naples yellow light, Vasari
   
http://vasaricolors.com/collections/mars-antiquity/products/genuine-naples-yellow-light 
*Jaune Brilliant/L, Robert Doak
   http://www.robertdoakart.com/page/page/5236344.htm
*Cadmium lemon yellow
*Cadmium yellow, med.
*Cadmium orange
*Cadmium red, med.
*Brilliant pink, Old Holland 
*Radiant Magenta, Gamblin 
*Alizarin crimson
*Cobalt violet, Gamblin 
*Ultramarine violet
*Cobalt blue
*Old Holland violet-grey, Old Holland 
*Cerulean blue
*Phthalocyanine green (aka phthalo green)
*Chrome oxide green
*Sap green, Winsor-Newton 
*Old Holland ochre, Old Holland 
*Raw Sienna
*Deep ochre, Old Holland brand
*Raw umber
*Burnt Sienna, Winsor-Newton
*Burnt umber
*Transparent sepia, Robert Doak 
   http://www.robertdoakart.com/page/page/5236344.htm
*Ivory black

Palette:
Recommended: New Wave Posh Table Top Palette, 11.75” x 15.75”, natural or grey

I recommend the above 11.75” x 15.75” rectangular palette as it fits conveniently into a Masterson’s Palette Seal, a flat plastic box used for transportation and storage. See also the image below, showing the rectangular palette set up vertically on a Testrite studio easel.

The color list above corresponds to this palette pictured below, beginning in the lower right and proceeding clockwise to the upper right. Thus, the first tube color on the list, lead white, is the paint patch in the lower right hand corner of the palette. The next is titanium white, then Naples yellow light, etc.

pallete

12x16, 1/4 inch thick, DuPont Corian Palette

Rectangular palette set up vertically on studio easel

For Poster Studies:
9x12 pad of Arches Oil Paper

ericposter3.jpg

Poster Study, Anthony Ryder, 7x5, (25x36 cm), Oil on Arches Oil Paper, 2013

Linen canvas applied to aluminum composite panel:
The Ryder Studio provides students with 
10”x12” canvas panels, at a cost of $30.00 per panel. These are made of linen canvas dry-mounted to an aluminum composite panel (ACP). ACP is a type of flat panel that consists of two thin aluminum sheets bonded to a solid polyethylene (plastic) core. ACP is an excellent substrate for canvas. It combines high structural rigidity with low weight, is very resistant to dimensional change caused by heat and humidity, and protects the canvas from denting and puncture.

The linen canvas is adhered to the ACP using BEVA film, an archival adhesive film. The film is sandwiched between the canvas and the ACP, and heated in a dry mount press at 150 degrees F for several minutes.

Brushes:
3 each: Raphael Series 869 #4 & 6
2 each: Winsor-Newton “University” Series 235, #1 & 2
1 each: Winsor-Newton “Monarch” Series 5503, #8, 10 & 12
These are all synthetic rounds. Raphael brushes are made in France. Sometimes they are out of stock and can take up to 6 weeks for delivery. Winsor-Newton University rounds are easier to find, but can still take a few weeks for delivery.

Solvent:
The Ryder Studio will provide each student with Livos brand, “Svalos 222” natural solvent, at a cost of $15.00 per 500 ml container.

Painting medium:
Please note: medium will be provided.  The recipe below is for your information only. To make 525 ml (a little more than a pint) of medium:

5 ml Larch turpentine
20 ml Dammar varnish
100 ml Stand oil
400 ml Svalos 222

We prepare painting medium by the quart and distribute it to the students.  

Paint storage:
I recommend a lightweight, portable storage box or cabinet of some kind, with drawers and slots.

Other supplies:

12 pack, Winsor-Newton Medium vine charcoal
Kneaded eraser
Sand paper, 150 grit
Chamois
Masterson’s Palette Seal (12×16)
Palette knife (I recommend the style pictured below):

paletteKnife.jpg

Palette knife


Paper towels (Viva, recommended)
Pliers (for opening stubborn paint tubes)
Holbein air tight brush washer, #1052-15M, or Da Vinci Air Tight Brush Washer, or Newton Air Tight Deluxe Brush Washer, or a similar, air tight, stainless steel, canister type brush washer.

Optional:
Binoculars for taking a closer look at the model. I haven’t used them myself, but these are popular with some of the students.

PENTAX PAPILIO
Extremely Close-Focusing
0.5 m/1.6 ft.
8.5 x 21  6.0′

Recommended reading:
Drawing with an Open Mind
Ted Seth Jacobs
Watson-Guptill
ISBN: 0-8230-1465-7

Light for the Artist (out of print)
Ted Seth Jacobs
Watson-Guptill, 1988
ISBN: 0-8230-2768-6
or:
Light for the Artist 
Ted Seth Jacobs
Dover Publications, 2014
ISBN: 
0-4864-9304-0

The Dictionary of Human Form
Ted Seth Jacobs
Mariposa Press
ISBN: 978-0-9666899-8-3
Out of print

The Artist’s Complete Guide to Figure Drawing
Anthony Ryder
Watson-Guptill, 1999
ISBN: 0-8230-0303-5

IV. Academic Year ‘Atelier’ Program

Students enrolled in the Atelier are advised to bring the drawing materials listed in Section I (Pencil Drawing on White Drawing Paper) and Section III (Portrait Painting in Oil).

© Anthony Ryder 2014