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Michael Holter Material List

Michael Holter Material List

Watercolor Impressionism – Faces and Places

Workshop Supply List

Michael Holter


NOTE: Please read the supply list carefully to assure that you are prepared with the necessary materials for the workshop.

Following is a list of suggested supplies for Michael’s watercolor landscape workshops and classes.



  • Additional paper. Remnants, blocks or other sizes for excersizes.

I would recommend working ¼ sheet (of 32×40 sheet)


Arches 300 lb Hot Press (1 Sheet should be enough)


Have a sketch-book or other loose paper for sketches and value studies.


 (Colors marked with X are required for the portraits)

  • X raw sienna
  • yellow ochre
  • X ultramarine blue
  • X cerulean blue
  • X cadmium red light (Holbein or M Graham) Or scarlet lake
  • burnt sienna (prefer the WN)
  • X alizarin crimson, hookers green
  • sap green
  • quinacridone rust (M Graham)
  • neutral tint mineral violet (Holbein or M Graham)
  • cobalt teal
  • cobalt blue
  • cadmium orange
  • new gamboge
  • quinacridone gold

TUBES instead of dry cakes and that you avoid the student grade paints.


I usually use a John Pike palette and also an inexpensive folding palette on occasion. Any palette will do.
Water Container
Any kind will do.


I use a lightweight wood drawing board or mdf (medium density fiberboard) to mount my paper on.


I use masking tape to tape my paper to the board.
We may also use masking tape for masking… a wide roll would be good to have available (2” or ????)When attaching paper to the board, you may use clamps, push pins or any system that suits you. I have been using tape lately to keep the clean edge that results when it is removed.


Bring any masking fluid that you may have. (no preference)
You might like to purchase a Masquepen that has a built in fine point… 2 sizes are available. ( I have heard that some Michaels and Hobby Lobby have these)Dick Blick has them


For landscape, any kind of brush can be useful. Also scrapping tools, palette knifes, old credit cards etc.
Also flats, Hake brushes…I use predominantly rounds. There are a number of manufacturers of excellent sable brushes on the market. Pure sables are wonderful but if you are on a budget there are good substitutes made with a combination of natural and synthetic hairs.I use:
Escoda Prado #16 (synthetic)
Princeton Neptune Quill #6 (synthetic)
Princeton Neptune #16
Princeton Neptune #6
Or you might find these similar brushes
Silver Black Velvet #16 and # 8 (synthetic/squirrel – these are great for the price).One of the following is recommended.
Silver Black Velvet 3/8” StriperA Rigger Brush


Any pencil will do. Not too soft, since this is more line drawing than sketching. A kneaded eraser.


I will vary the angle that I paint, so an easel that can adjust easily is perfect. I often paint very vertical.
I have a Plein Air easel from enpleinairpro.com that is very versatile.
I also often use a French Box easel that can be tilted at any angle. While many painters are not accustomed to painting vertically, I would like everyone to try it.


A good absorbent cloth towel or roll of paper towels will work well.


I like to have a sponge handy for a variety of reasons. I find a Dupont Cellulose household sponge is the best for general purposes.
And I have resorted to using a Mr. Clean Magic Eraser sponge occasionally. Used sparingly, it can save a painting and lift your watercolor back to white paper.


We will be working from photographs.
Do: Shoot lots of photos leading up to the workshop. (landscapes, cityscapes,
people in various environments. Shoot in natural light (no flash)
Look for interesting shadow patterns.
Pick photos with lots of good light and dark patterns
Look for a way to crop the photo to give you an interesting composition
Print your photo as an 8×10 if possible.
Try shooting some photos toward the sun to get cast shadows coming toward you. These can make very nice compositions.
Also bring reference photos of people in a variety of situations.  For Portraits
Shoot close-up images of people in bright sunlight. Look for shadow patterns and interesting features. It would be best to NOT plan to paint someone who you know well since you may try too hard to get the likeness. The best images do NOT have large smiles with teeth showing….Do not use flash.


Once you have signed up for the workshop I will send you a photo via email that you will prepare prior to the first day of the workshop. This will give everyone a common experience as I introduce the steps for the portrait portion of the week.


Bring your camera. We will work briefly on capturing a good image and you may find having your camera available will be a bonus. Any good camera will do. I have even used my iphone to capture an image that has become a successful painting. I use a Nikon Digital SLR.


If you have a laptop computer or tablet you may bring it so you can also have your photo available digitally (great for zooming in to see details).


Have a ruler or other straight edge


It is good to have some kind of spray bottle that you can use to mist your painting to keep it moist or, on occasion get interesting effects. Any type that gives a fine mist is good.


We will be preparing drawings for landscapes in class or as homework assignments.

For portraits, as mentioned, I will provide an initial image for you to use that you should have ready for painting. And you should also have a drawing ready of a photo that you have taken and would like to paint.




 Cloudcroft Art Workshops, LLC
P.O.Box 1202
Cloudcroft, NM 88317