How To Make a Master Copy in Oils

### How To Make a Master Copy in Oils

If you've ever wandered around a museum and wanted to know "How on earth do these artists do this??", this class is for you. Copying master painters of the past is a tried and true way to learn the basics of painting, as well as the specific approach and rationale of your favorite artists. This class focuses on learning the techniques and painting process of legendary portrait artist John Singer Sargent. We'll be doing a copy of his portrait of Lady Agnew, starting with prepping the canvas, how to use the Sight Size technique, sketching out the head in charcoal, broadly modeling the form using Direct Painting, and lastly finishing with details in the features as well as some painterly flourishes. In this class you'll gain a whole new appreciation for Sargent's work and by the end have your own handmade forgery to hang on your wall.

• Learn John Singer Sargent's portrait painting methods and approach
• Copy the famous portrait of Lady Agnew using classical techniques
• Master the Sight Size technique and Direct Painting methods
• Every class starts with lecture and demonstration
• 2.5 hours of open painting time with individual feedback
• Open to all skill levels - no prior experience required
• 4-session live oil painting course focusing on master copy techniques
• Session 1: Drawing the Portrait We’ll start with a discussion of how to prepare your canvas, how to work with the Sight Size technique, and how to sketch out the proper proportions in charcoal.
• Session 2: Color Theory Learn how to mix colors using Sargent’s palette, then paint the underlying form of the face without any details using a Direct Painting wet into wet approach. We’ll talk about color theory, the color zones of the face, how to choose what brush to use, and how to clean your brushes.
• Session 3: Adding The Features Learn how to work back into the dry paint layer, adjust mistakes, and refine the overall statement by adding the facial features over the generalized start from session 2. We’ll discuss value compression, simultaneous contrast, and how to add details without sacrificing the large value statement.
• Session 4: Making Corrections Add the final details to the face as well as some stylized brush strokes to achieve that signature Sargent bravura.

Materials List
Our primary concern is with Sargent’s approach rather than trying to use the exact historical materials from the 19th century. That said, this palette does try and mimic the colors he used. Gamblin and Winsor/Newton paints are high quality and affordable brands, though I’ll often use Old Holland which is significantly more expensive and by no means necessary. I’ve listed some lower cost alternatives next to the expensive colors on the palette. The colors that are strictly necessary are:
White (I use lead white, specifically Cremnitz white, which is more accurate to what would have been used in the 1800s, although lead white is fairly expensive so Titanium white is also acceptable. Holbein Silver White is the most affordable and widely available lead white, but my personal favorite is Old Holland’s Cremnitz White, which is unfortunately quite pricey. Also if I use lead white, I put on disposable gloves to clean my brushes at the end of the session)
Cadmium Yellow (Hansa Yellow is a less expensive synthetic alternative)
Yellow Ochre
Cadmium Red (Naphthol Red is a less expensive synthetic alternative)
Burnt Sienna
Raw Umber
Ultramarine Blue
Ivory Black
Raw Umber acrylic paint (for toning the canvas)
Sargent would have also used the following colors, but they are by no means necessary to purchase. The cobalts and cadmiums are very pricey and I don’t want anybody breaking the bank so I would only bring these colors if you already happen to own them.
Venetian Red
Alizarin Crimson
Cadmium Orange
Viridian
Cobalt Blue
Cobalt Violet
Glass palette or disposable palette paper
Palette knife
Linseed oil
Palette cup
Paper towels
Silicoil jar
Gamsol (paint thinner is unhealthy to breathe and should only be used in well ventilated spaces. I never paint with this and when I clean my brushes with it I go outside)
Bar of ivory soap
A variety of small to large stiff brushes, filbert or bright shaped. I use hog bristle or still synthetic hair.
A variety of small to medium soft brushes, filbert or round shaped. These could be sable (quite expensive so I usually don’t buy sable) or soft synthetic hair.
I typically have 3 stiff brushes and 3-4 soft brushes in circulation, so no need to buy a ton but be sure you have at least one tiny soft brush for getting details.
Stretched canvas or linen, no smaller than 12x16 and no larger than 18x24. I typically use smooth-medium texture acrylic primed linen (Centurion brand, but any will do), but if you choose to use acrylic primed cotton canvas, apply a layer of gesso as smoothly are you can with the palette knife and once dry sand it with 220 grit sandpaper so the surface isn’t so rough.
Willow charcoal or soft vine charcoal
220 grit sandpaper
Kneadable eraser
An 18 inch piece of string for measuring (I typically just bring a piece of dental floss)
Hand mirror