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Course Description

Join artist Jon Redmond for a focussed investigation into representational painting’s driving force: Light. Through morning demonstration and discussion, Jon shows students how the brain’s perception of light can be translated into a seductive illusion of three dimensional space by creating a compelling visual interplay of transparent and opaque pigments that convey forms which emerge in light and recede into shadow. Guided by the key element of light, Jon shares his process of building mass from a transparent underpainting with both subtle and indirect techniques such as glazing, velatura and scumbling. Day One begins with a short slide presentation on artists who have handled the subject of light uniquely throughout history. In the event of rain, class will take place in the studio, applying these invaluable approaches to still life painting, however most of this workshop will take place painting en plein air. Afternoons will be spent painting with personal instruction and individual critique by Jon.

Cancellation Policy

Thank you for signing up for a class. Once your class is paid for, we cannot offer a refund or credit, unless we cancel class due to low registration. Should you have any questions or concerns, please contact us BEFORE completing your payment.


Suggested materials list

These are the materials I use. I have listed a few brand options for each color on my palette. The color options are listed from most expensive to the cheapest. Generally, the more expensive the paint, means it will have better pigment and quality.
This is the palette I use for all of my work and my philosophy is to take only what materials I need for the day and no more. I recomend you try some of these out but you are welcome to use whatever colors or materials that you want. Don’t feel that you have to buy all new pigments just for my class.
If you only want to try one new thing, I would highly recommend the transparent earth yellow pigment if you have never used it.

Pick ONE tube of paint from each color group for a total of 9 colors on your palette

(Opaque Yellow warm)
(Blick Artist) cadmium yellow medium
(Rembrandt) cadmium yellow medium
(Grumbacher) cadmium/Barium yellow Mdm

(Opaque Red)
(Blick artist) cadmium red light
(Rembrandt) cadmium red light
(Grumbacher) grumbacher red
(Winsor Newton) Windsor red

(Transparent earth yellow)
(Old Holland) transparent Oxide yellow lake
(Gamblin) transparent earth yellow
(Rembrandt) transparent oxide yellow
(Grumbacher) transparent yellow oxide

(Transparent earth red)
(Gamblin) transparent earth red
(Rembrandt) transparent oxide red
(Grumbacher) transparent red oxide

(Transparent earth green)
Any brand of Sap Green
I prefer (Grumbacher). Look for the darkest sap green you can find.

(Transparent Blue)
Any brand of Ultramarine Blue.
Again look for the darkest you can find.
(Gamblin) and (Old Holland) are nice.

(Cool Transparent Red)
Any brand of Alizarin Crimson
I like Winsor Newtons.
Look for a nice dark one.

(Cool Transparent Green)
Phthalo Green (any brand)
(Windsor Newton) Windsor green
Viridian green (if you can't find phthalo)
Again look for the darkest.

(White) large tube
Any brand or type of white you wish
I use (Gamblin) Flake White replacement
Zinc is cooler and more transparent, Titanium and lead are more opaque. Titanium is the brightest.
Lead or Flake is the thickest.

I use Original Liquin. I like its consistency and drying rate. For landscape painting I put some in a tiny 1 oz. Nalgene container.
Feel free to use any medium you prefer

I recomend cheap mineral spirits from the hardware store. I put enough for a days panting in an 8 oz. Nalgene container.

I use filbert style brushes in sizes ranging from a 1/4 inch to about an inch when doing small 10"x10"ish paintings. I will be encouraging you to use a big brush so don't bring a truck load of tiny brushes. I like Blick's Masterstroke series but usually buy what is on sale. You don't really need more then 5 brushes. There is no need to carry 87 old worn out crusty brushes with you every time you go out to paint. A palette knife is handy and I also like to have tools to manipulate the paint on the painting. I usually have a soft watercolor mop brush and also use a small rubber scraper thingy.

An outdoor painting setup is helpful along with Rags or paper towels, plastic bag, sunscreen etc
(See photo of my painting kit below)

I like to paint on 1/4 inch thick birch Plywood
that I buy at the lumber yard and cut myself.
I usually ground it with 3 or 4 coats of acrylic gesso.
I also sometimes paint on Mylar (Dura-Lar) Taping it to a piece of foam core.
I will discuss that in the workshop.
I recomend you bring a few of whatever surface or surfaces (canvas,wood board, paper Mylar etc.) that you wish to paint on. The only surface I do not recommend is the cheap canvas-boards (canvas wrapped around cardboard) They always produce truly awful paintings.

Capturing Light with Transparent and Opaque Oil Pigments

Jon Redmond

Jon Redmond studied at the Pennsylvania Academy of the Fine Arts 1987-1991 where he won many awards including the prestigious Cresson traveling Scholarship. In 2003 he received his MFA from the University of Delaware. Jon has been represented by the Somerville-Manning gallery since 1990 and been included in group and solo exhibitions in New York City San Francisco, Philadelphia, Delaware and Maine. His teaching experience spans over 30 years and he has held painting classes and workshops in Italy, Greece, Ireland, as well as around the U.S. Jon splits his time between Philadelphia Pa. and Western Massachusetts.
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