Required Materials

Required Materials for For Vision Quest
Please note, this is Daniel’s list from last year to give you a good idea of what you’ll need. He is going to update this in a couple of days & then the revised list will be emailed to all enrolled students with xact requirements.

You will need to bring your own oil paint & brushes. Please buy quality!

Please bring a sketch book & drawing materials.

kneaded/kneadable eraser

hard eraser

pencil sharpener


Pencils and/or Pens for sketching and writing

Suggested Tools:

laptop/tablet for references, a colour printer will be on hand

any books, photos, drawings, images you wish to bring for inspiration

music & headphones

For your interest here is a list of what we are supplying:

A panel to paint on will be supplied.

For a good part of the workshop we’ll be using egg tempera or tempera grassa whites, or stack process lead white. This is also something we’ll provide.

To make the tempera we will be using, genuine gum turps & stand oil (supplied)

We will be using vine charcoal on paper, & tracing paper (supplied)
We have drawing boards & easels.

We’ll probably be painting on a burnt umber imprimatura, or sinopia (supplied)

We will have some essentials on offer for students to buy.
This is an interesting article about materials written by Daniel.


Suggested Paints & Brushes

This list is for Oil Paints in tubes.

Earth Pigments
raw umber, burnt umber,
raw sienna, burnt sienna,
van dyke brown,
terra verde (green earth)

Iron oxide Pigments:
transparent red iron oxide,
transparent yellow iron oxide,
sinopia (violet haematite ore) or caput mortum,
mars black
old holland baroque red

Mineral Pigment substitutes:
Ultramarine blue (substitutes Lapiz Lazuli)
Cobalt blue (substitutes azurite)

‘Alchemical’ pigments:
Cadmium Red (substitutes vermillion)
Naples Yellow Genuine
Lead white (lead white is only now available to the restoration community. After introduction in safety of handling this beautiful but toxic pigment, and demonstrating mindful handling of paint, I will make some lead white available for purchase)

Pigments for shading
Van dyke brown
Neutral Tint
Payne’s Grey
Bohemian green earth


The difference between sable, hog, and synthetic brushes are easy to spot in the art shop. Sable are very expensive, natural brushes that come from a weasel-like creature in Russia. Hogs are bristly, course haired brushes. Synthetics vary in quality and price.

If you go for synthetic, do yourself a favour and pick up good quality ones. The difference between a natural hair brush and a synthetic is that natural hairs will hold more paint due to the hair being rough and irregular on a microscopic level, whereas synthetics are smooth plastic.

In terms of sizes, getting some tiny brushes, fairly small brushes, medium brushes and large brushes of each sort is the best way to give yourself maximum versatility of expression when painting.

Liner brush is a long haired brush-acquiring a few very fine liner brushes will be useful for your tempera work, because the long hairs allow for long smooth lines or hatching with paint without needing to dip your brush every other stroke.

Filbert brushes – I find these the most versatile, because they can be used on their broadside or edge. The rounded edges of the brush shape avoid the ëchopsí that ëflatí or ëbrightí brushes give.

Sable rounds – a few of these can be handy for detailed work.

Hog brushes – usually the cheapest of the brushes but also useful if you like expressive brushwork because they dig into the paint. Rounds or filberts in a variety of sizes can be very handy.

Mop brush – a mop brush resembles a makeup blusher brush. It is very handy for dappling at areas to produce soft glows, evenness and transitions.

Glazing brush – smooth, broad synthetic brush will be handy for laying down brushstroke-free layers of paint.

we will have some available, but again its an essential you need in your kit.



HB pencil, eraser, sharpener, vine charcoal, and tracing paper.