Bangor Adult & Community Education

Join Michael E. Vermette for a studio oil painting experience that presents 5 different technical and compositional approaches that are devoted to 5 hours of painting instruction per painting lesson. Students will be encouraged to paint larger 18 x 24 inch oils with a course structure that allows for one lesson to be taught In-class that will be carried over to two class sessions 2 1/2 hours long.

The first part of the lesson will be devoted to 2 1/2 hours of instructional presentation and demonstration by the instructor, and the following class will be all devoted to studio time. Students will also be taught how to set up an Out-of-class studio in their own home to be used over the two-week lesson given.

Michael will demonstrate his sheer enjoyment of painting in an impasto palette knife and brush application technique to create exciting landscapes, each week, painting with his students. He describes reaching a place in oil painting , where “the work takes on a life of its own.” The classes will feature 5 new focuses every other week over the course of ten weeks and will including color theory, making beautiful lines, Describing weight and solidity through form, adding texture, the illusion of depth, creating lost and found edges, and how to use oil supplies such as Black Oil Wax and other mediums to improve the viscosity of the paint.

The course will feature weekly assignments and supportive group critiques each week to help the studio artists develop the power to represent and talk about their work. This class is perfectly suited for the beginner or the more advanced painter alike, who are interested in representing visually the landscapes they are drawn to. Studio artists my choose their own landscape subjects. No previous experience is needed and yet experienced artists will benefit as well from Michael’s friendly and open style of teaching. You will love just how much this inspiring course will teach you about creating an amazing landscapes portfolio.

Art Supply List

1. A minimum of 5 substrates including stretched canvases, boards, Masonite or woodpanels, and canvas panels. Recommended minimum size no smaller the 16 x 20 inches andno larger than 18 x 24 inches.

2. Paint Box and or combination box and easel or separate easel large enough to containyour palette as well as paints, brushes, palette knives, etc.

3. A can or original GO JO or sim ulan hand cleaner found in automotive stores (for cleaningbrushes,) do not buy turpentine. I would recommend a bottle of sun thickened linseed oil. Iwill make available an old Venetian medium to be mixed with oil paint called: Black OilWax medium, that I make myself. This medium makes the oil painting process virtuallysolvent free. You may also use Liquin if you'd rather go with a resin based medium.

4. Oil Paint; including a warm and cool of each primary color and black and white.Depending on how much paint you use, paint with the best you can afford, a paint tubepacked with pigment with only linseed oil as a binder. The brands I use are Willamsburg,Blockx, Old Holland, and Sennelier oils in 35 ml tubes. Less expensive brands includeGrumbacher, Winsor & Newton, Graham, and Daler-Rowney. The colors I recommend arefollowing colors:Cadmium Yellow Light or Aureolin, Cadmium Yellow Deep, Yellow Ochre, Cadmium Orange,Cadmium Red, permanent Alizarine Crimson or Quinacridone Magenta, BurntSienna, Cobalt Violet Deep or manganese Violet, Manganese Blue, UltramarineBlue, Prussian or Phthalo/or thalo Blue, Viridian Green , Indigo, Lamp or Ivory Black, and aLarge tube of Titanium / or Flake White is preferred.

5. Brushes; round, flat or filbert oil painting brushes from sizes no.6 to a no.12. Choose atleast three (one small, one medium, and one large). You might also be able to use asmallbrush for detail or your signature.

6. Palette Knives. I use different sizes as with my brushes, from a small 1- inch to a large 4”one. I also use assorted widths from a narrow size to a wide flat to smooth my shapes.

7. A large Oil Painting Palette made of glass or wood.

8. Rags(one per painting); preferably cotton rags because they soak up paint and clean thepalette better than polyester. You can also use paper towels for a cheeper option.

9. Charcoal, graphite or Nero pencils or sticks, or vine charcoal.

10.Wet canvas carrier system, clips or foamboard strips. (They can be made of foamboardstrips and made into a frame taped around the panel or canvas and then duck taped on tothe back of the painting and stacked upon each other with a foamboard divider, stored in asmall cardboard mailer or pizza box for multiple small studies. Refer to my website underinstruction at www.michaelevermette.com.

11. Miscellaneous Supplies, including: a roll of 2" duck tape, foam board strips 1 inch by 16½ inches long, (natural are the best), Sketch book . 2 cups for holding solvents or Black Oil,ex-acto knife and GO-JO hand cleaner.

12. A table top easel large enough to hold your painting.