SPAC Painting

A companion blog to ART3302 Painting: Oil & Acrylic

Antonio Lopez Garcia

A modern Master talks about his working process: Words of Wisdom From Antonio López García by Allison Malafronte, May 2 May 2012



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George Tooker

Follow the links to watch a wonderful documentary produced by Columbus Museum of Art in conjunction with the 2009 exhibition, George Tooker: A Retrospective.

The Waiting Room, by George Tooker 1959

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The Color of Art Pigment Database is a valuable reference for all artists working with color, and it is the the most complete pigment resource with color index names available for free. This collection of pigment information is an indispensable resource for all artists and art conservators interested in art restoration or making permanent works of art. Whether an artist uses oil paints, watercolor or acyclic, knowing the pigments and their properties is essential for all the visual arts from oil painting, watercolors or acrylics, to printing, and indeed, any craft or art that uses color. Artists interested in making paint in the studio should find this information useful too.


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F. SCOTT HESS – Mixed Technique

About F. Scott Hess

The Paternal Suit: Heirlooms from the F. Scott Hess Family Foundation

F. Scott Hess – Mixed Technique

The Lotus Flower, by F. Scott Hess was painted in the classical Mixed Technique that the artist learned while studying with Rudolf Hausner at the Academy of Fine Art in Vienna. Click on the link above, to find a step-by-step handout the artist made for his students outlining the procedure. Thank you Scott for sharing this information with our students here in Seattle! You’ll also find there, documentation of his preparatory sketches & drawings for this painting.


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Notes From Underpainting

When painting with oils – always paint fat on lean.

Grisaille (gray underpainting)

Brunaille (brown underpainting) 

Verdaille (green underpainting) 

  • Watch Mark Ryden Verdaille demo start to finish. I’ve heard he sometimes does the underpainting in acrylic with the top layers in oil paint. But it looks like in this demo – he is using thinned down oil in the underpainting. One trick to leaning out the first layer of underpainting, is to add more turpentine to the local color and/or add raw umber. Even though raw umber has a high oil content – it is has a quick drying rate (oxidation). The Painters Handbook by, Mark Gottsengen has an excellent table for discerning which colors are best for underpainting. Look for ones with low oil content and/or quick drying rate.
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