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Peggy Macnamara's Wildlife Painting in Watercolor

Bring one full sheet of arches, Lana or Fabriano ,HP, 300lb watercolor
paper, 22x 30 inches. You can tear the sheet in half for transport.

plastic wells 2' by 2." The large wells allow you to mix a wet palette
for the first couple rounds of washes.

Please come with a complete drawing (no modeling, just line) of a skull,
flower, pine cone, insect, birds nest, leaves etc. If you have 2-3
completed drawings on your watercolor paper (and the object or a photo) we
can spent the time painting. The larger the images the better, at least 6
inches in diameter. At least one of the subjects you choose should be
neutral in color, brown, or gray. Please choose things you like to paint.

Please just bring the colors you already have. I will give you an
abbreviated version of what I use; Winsor Newton ultra marine blue,
maganese blue, prussian blue, burnt sienna, transparent yellow, Q red,
Alizarin Crimson, opera (holbein), bright violet (holbein), vermillian,
bright orange (holbein) and paynes gray.

round brushes, #4 and #10 , the size will depend on your images.
Sometimes one 6 will do.

Any questions, please contact Peggy at JRM2650@aol.com


Digital Workshops
Each digital participant should bring along a CD-R disc if they think they might want to bring home any project material they worked on. In most cases the instructor will hand off a disc with other support materials related to the session.

David Fierstein's 3D workshop
Either bring a fairly simple object / sculpture to model and/or digitized sketches or photos of orthographic views of your subject. Or one can work using instructor-supplied subject reference.

Steve Buchanan's Photoshop class
Reference material (photos, sketches or small specimens) for the subject of a very small drawing/painting. Something simple as we won't have time to create anything serious or elaborate!

Frank Ippolito's Stepping into 2D Animation with Adobe AfterEffects
Layered Photoshop file(s) the student wishes to animate. Additional source material can include layered Illustrator files. Note: each layer of these files can be animated independently in AE. Instructor will supply example files to those who do not bring any.

No additional supplies needed for Larry Lavendal's Painter class or Lana Johnson's
Powerpoint workshop.


Patricia L. Savage's Layering in Pastel

Students need to bring: a full set of 96 NuPastel by Prismacolor, any
other pastels they want to bring, small object or photograph that they
have taken, Ivory soap (non-oily soap for hand-washing), small hand
towel or old t-shirt, and kneaded eraser. Wear clothes that can get
stained. I will provide paper (Sennelier LaCarte sanded surface).

Any other questions, please don't hesitate to call Patricia Savage.

Marlene Hill Donnelly's Field Sketching at the Outer Banks
Sketchbook or separate sheets of hotpress or coldpress watercolor
paper, at least 7" x 9"

Pigma Micron pens, .005, .01, and .03; larger sizes if desired

Watercolor paint kit or tubes and welled pan

Traditional watercolor brushes including a #8 (or so) round, #1 round,
and 3/4" cat's tongue or flat for large washes, OR Niji Waterbrushes,
large and small

Graphite pencil, B

Pencil sharpener

Kneaded eraser

Water container (if not using Waterbrushes)
Rag or sponge for brush cleaning (Viva paper towels are very good and

Stool or sit-upon (gardener's kneeling pads are good, cheap, and portable)

Wide-brimmed hat

Drinking water bottle


Insect repellant

Please e-mail or call Marlene with questions at mdonnelly@fieldmuseum.org or phone (847) 657-7909

Gloria Louise Nusse's Muscles and Tissues of the Face

Students need to bring:

3-6 clay tools, (loops, boxwood, dental, wax or other tools capable of
medium to fine work)
Metric scale (flat ruler marked with mm aprox. 10 CM long)
Exacto blade knife with at least 1 extra blade.
Ball point pen and pencil.
Rag or small towel.

Wear clothing that you can get dirty.

Gloria Louise Nusse
Clay and Bones Studio
129 Stanford Avenue
Mill Valley, Ca 94941

Nancy Halliday's Parallel Line Illustration class

Please bring favorite items to draw, such as limb bones, skulls, even
photos of well-lit subjects that lend themselves to linearity. We will
be collecting some plants on the grounds as well. We will be drawing in
class, so it is not necessary to prepare a drawing in advance. Also
bring examples of artwork done with parallel lines to share, either
yours or another's, that you think successful and worthy of emulation.

If you wish to bring technical pens, do so. However, the purpose of this
workshop is to learn to vary widths of lines for shading and dimensional
expression, so the emphasis will be on metalpoint pens (often called
"dip pens"). Each person's touch with the pen and preference for
specific pens is different; experimentation is encouraged, so bring as
many pen nibs as you can (they're small and relatively inexpensive).


-Object to draw
-Pencils of your choice
-Blue non-reproducing pencil (optional)
-erasers of your choice
-Measuring devices; rulers, dividers, etc.
-bond or ledger paper for initial sketch (size depends on object drawn)
-Tracing paper for overlays and/or transferring (Clearprint 1000 HP)
drafting or white artist's tape
-Inking surface of your choice (bring enough for experimentation and
finished works):

1. For those who prefer a paper surface; 2-ply Strathmore bristol board
500 series, plate, or high finish is recommended. This will require
transferring the final drawing to the board.

2. For those who prefer a sulfite tracing paper (eliminating the
transfer step), Bienfang Satin Design 150H is recommended. Other brands
are Canson Vidalon and Arches Frosdite.

3. For inking on film; Mylare or Duralar (matte finish). Do not use
cellulose acetate.

4. Metalpoint nib recommendations:
-Hunt nos. 22, 56, 99, *100, 101, 102, 103, 104, *107, *108
-Gillott nos. *659, 1950, *303, 404, 170, 290, 291, 850 (*bring at least
these; you are welcome to bring any others not listed).
5. appropriate holders for pen points
6. India inks (for technical pens, use only the ink recommended for your
your brand)
-for dip pens for paper; Pelikan yellow label or Higgins Black Magic
or Rapidograph Ultradraw
-for dip pens for film; Pelikan Blue or green label or Rapidograph
7. Dry cleaning pad or powder (optional)
8. X-acto knife with no. 11 blade (bring extra blades)
9. Ink erasers of your choice. I find that a typist's whisk eraser works
well. Some may prefer electric erasers or imbibed erasers.
10. Erasing shield (an inexpensive bu important item).
11. Lint-free rage for wiping pens
12. Drafting brush (optional)
13. Small bar of soar (Ivory) for washing pen points
14. Red sable brush #2; optional for those proficient enough to render
ink lines with a brush

A word of caution: for those of you flying, secure well the tops of your
ink bottles or you may be wearing black clothing to the conference!
Technical pens also leak during flight.