Miano Supply List

Supply List (items are available at our academy store)

Drawing Materials

Vine Charcoal (medium size sticks): hard, medium-soft and mostly-extra soft

Willow Charcoal (medium-size sticks)

Or Nitram Charcoal: B, HB, and H

Quality Drawing Paper: 18” X 24” peel-off pad (not newsprint) Canson Mi Tientes, white or off white

Drawing Board (approximately 21”x 27”)

Clips, for drawing board


Kneaded Eraser

Hog Bristle Brushes #2, #4 (Bright),# 8 (Filbert)

Sandpaper, for sharpening

Paper Towels (preferably Viva brand)


Painting Materials

Oil Colors

{Colors are listed in the order they should appear on the palette, from left to right, and primarily of Winsor & Newton brand}

Earth Colours:

Ivory Black

Raw Umber

Transparent Oxide Red


Prismatic Colours:

Alizarin Crimson

Bright Red

Indian Yellow

Cadmium Yellow

Viridian Hue (Winton)

Ultramarine Blue

Titanium White


Bristle brushes- variety of sizes, #2- #12.
Mongoose brushes- variety of sizes, #2- #12 Renaissance Sable- Cats Tongue, # 6 – #8

Palette and Mediums

Large Palette

Non-glass container with lid

Walnut Oil, for cleaning brushes

*Note: turpentine, mineral spirits or any other toxic solvents prohibited in the studio*


Canvas: cotton or linen (oil-primed preferred),

variety of sizes, 11” x 14”  – 18” X 24”


Recommended Reading

Harold Speed: The Practice and Science of Drawing;

Oil Painting Techniques and Materials

John H. Vanderpoel: The Human Figure

Charles Bargue Drawing Course, ed. Gerald M. Ackerman

George B. Bridgman: Complete Guide to Drawing from Life

Robert Johnson “Painting Still Life & Florals in Oil: A Painterly Approach” ~ April 18 – 22, 2016

johnson CarnationsThis workshop focuses intently on capturing the natural beauty of florals and other still life subjects in oil while working directly from life. The beauty and power of fresh undisturbed oil paint as well as the expressive and descriptive quality of the brushstroke is stressed. The instructor demonstrates and emphasizes the direct alla-prima approach to oil painting. All levels welcome.

Workshop fee $595


Required supplies for this class:
* Suggested Palette (Necessary):Naples Yellow Light(Rembrandt) Cadmium Lemon; Cadmium Red Light; Cadmium Yellow Pale; Permanent
* Alizarin; Yellow Ochre Pale; Cobalt Violet ; Indian Yellow (Windsor Newton) ; Ultramarine Blue; Transparent Oxide Red (Rembrandt) ; Cobalt Blue; Terra Rosa; Viridian (Holbein); White (Gamblin , Williamsburg or Utrecht White)- or any blend of Zinc White and Titanium White

* Optional colors to be kept in reserve for particular subject matter or effects or substituted for some of the necessary colors: Burnt Sienna Deep (substitute for Transparent Oxide Red); Cadmium Scarlet (substitute for Cadmium Red Light); Manganese Violet (Utrecht) (substitute for Cobalt Violet); Raw Sienna; Cerulean Blue or Manganese Blue; Cinnabar Green; Brilliant Rose (Old Holland); Permanent Rose or Rembrandt Rose; Cadmium Orange

* Painting Surface: Two or three panels or canvas with non-absorbent priming. No larger than 16″ x 20”

* Medium: Maroger, Gamblin Neo Megilp, sun thickened linseed oil, Galkyd

* Solvent: Gamsol or Turpenoid

* Brushes: A variety, which would include filbert bristles in the range from nos. 1 to 8. At least one small sable no. 0, 1, or 2. At least one soft flat (sable, badger or mongoose) no. 4 or above.

* Palette knife: Small triangular wedge shaped painting knife.

* Attitude: Humility, honesty and a capacity to be completely absorbed in seeing and painting without concern for the opinions of others.

* Optional Equipment: Painting scraper, eye shade (baseball cap or visor)

Gene Costanza “Five Days Ablaze!” ~ April 4 – 8 2016

Getting Older

It has been said that painting is a very special time when opportunity and preparation meet.  Workshops can be seen as a time to gather information and prepare oneself for when those times are at hand.   Fleeting moments and inspiration occur quickly……  Are you ready to sieze that moment? Have you trained  yourself to hold that idea until you can do it justice?
As much time as possible, given the vagaries of plein air painting (location, class size and weather) will be spent with individual students, with an emphasis on one-on-one time.  Gene will work to maximize your strengths  and minimize or identify your weaknesses to allow you to advance toward your goals. This workshop is for you and the goals you want to achieve in painting outdoors.
The class is open to all levels, however, students should be thoroughly familiar with their equipment and be able to set up their easels.
If you have never painted before, please contact Gene through the Southern Atelier or through his website.
Please obtain a copy of Carlson’s Guide to Landscape Painting and read chapter 3 if nothing else. Preferably make your way through it all. 
Workshop fee: $600
SUGGESTED SUPPLY LIST: Please do not bring student grade paint.
Gene uses these on his basic palette :
Graham alkyd titanium white
Rembrandt perm. red med.
Utrecht ultramarine blue
Utrecht cad. yellow lemon
Rembrandt cold grey
Regular Optionals:
Rembrandt cobalt blue light and/or
Rembrandt kings blue and/or
Vasari Bice
Vasari Shale
Vasari Ruby Violet
Thalo green
Vasari Shiprock
Vasari Rosebud
Holbein Perm. green light
The VASARI neutrals above, are values that are helpful. They are expensive but they are of the highest quality. You are not expected to have them all, I offer them as options and things you may want to be aware of over time.
I usually use Alkyd primed linen from Wind River Arts, number 350 (smooth) or 359 (courser ). I use smooth for smaller panels, but courser for work 20×24 or larger. I have a local shop mount my linen either on birch panel, or foam core, as needed. All have advantages and challenges. For a workshop have a supply of 8×10, 9×12 and at least two 12×16. I usually do not use oil primed linen as I find it slippery. Usually does not mean never. I also sometimes use just acrylic primed, cheapos, which seems to free one up to go for it in the field.
I have moved almost exclusively to Rosemary Brushes. I use the Long Ivory Flats. And series 2025.
LIQUIN mostly
Graham alkyd walnut oilGraham megalipEQUIPMENT:
Field easel of your choice. I often use a French Easel with portable palette (Wind River Arts) or the Open Box M (10×12 is what I have at present)
(Slik) tripod
(Holbein) turp can
(Viva) paper towels
palette cup if you so choose
various clamps to hold or fix things.
leatherman type tool
Rain and wind gear
panel carrier(s)
bear spray
bug spray
food (maybe except in bear country)
spare car key in painting bag

These are critical to the landscape painter, and simply must me read at least once.

OILS Trevor Chamberlain
Landscape painting Richard Schmid
The books and CD’s of Scott L. Christensen
Landscape Painting Birge Harrison
Landscape Painting Sir Alfred East

Books by David Curtis:
Painting with Impact
Painting on Locations
Capturing the moment in oils





Academy Art Collectors Gala & Benefit ~ Saturday April 9, 2016 ~ 6pm

Join us for an inspiring and interactive experience of art as we showcase local talent at the
Sarasota Art Collectors Gala and Benefit- a celebration at the Southern Atelier on Saturday, April 9th.
Sarasota Art Collectors Gala and Benefit – a celebration at the Southern Atelier
Enjoy the evening with exquisite hors d’oeuvres and a glass of complimentary champagne
while a live band sets the celebratory atmosphere.
Artist Charles Miano will paint a demo, while patrons mingle to music.
Saturday April 9th, 6:00 pm
Southern Atelier
7226 21st St., East
Sarasota, Fl 34243
(941) 753 7755
The event engages attendees in a creative, festive and artistic atmosphere. Guests will have the opportunity to participate in live silent auctions to purchase gallery paintings. Proceeds from the final auction bids will be donated to the Southern Atelier, which is raising funds for its operation and education program. A painting will also be raffled to one fortunate attendee. Patrons are welcome to donate additional funds to the Atelier the evening of the event. 
Attire: Strictly Festive Fashionable & Cocktail Attire
Cost: $15 at the door
***The event is open to families, however, anyone under 21 has to be accompanied by an adult. Please note that it will be a festive party atmosphere. Alcohol will be strictly served to those 21 and over only (proper government ID is required). Complimentary champagne toast will be provided only to individuals who are 21 and over.
Supporting classically trained artists is an important contribution both to the world and the local community. Your contribution means that the lessons of the past masters of art will be brought forward to new generations of artists and art lovers. You can make a difference to artists who want to continue the artistic traditions of the masters. The skills and techniques learned at the Southern Atelier transfer the genius of artists of past centuries to the present, and ultimately enrich the lives of all people with vibrancy that transcends the past and the future. The Southern Atelier is a nonprofit organization under Chapter 501(c) 3 of the Internal Revenue Code that enriches our community’s classical and representational art education and provides a dynamic teaching program to train highly-skilled artists. Private and corporate support is integral to the success of The Southern Atelier. Your donation helps to ensure our mission. Gifts and bequests to The Southern Atelier are tax-deductible.
For more information, please contact us at:

Painting with Mary Minifie ~ Five day workshop choosing either Portrait or Still Life ~ March 21 – 25, 2016

The orange bowl MinifieWe will explore the aspects of painting a good painting whether the subject is
portrait or still life. Emphasis will be on initial composition and the process of continuing
to improve design during the painting. Center of interest , color harmony and light and
dark spotting are some of the things we will work with.
We will use natural light and study the elements that make for a classical realism,
i.e. , lost and found edges, true color notes, building from light effects, proportion and
other drawing skills.
We will discuss the things that make for a good “start” phase of the painting and
then what makes for the finishing phase. Both emphasize different aspects.
In this workshop students will choose either to work with a portrait model or a still
life, but not both. The elements are the same for both, but in the interest of producing a
finished painting there is time only for one subject.

Workshop fee: $525 plus model share

Supply List

2 stretched canvases, approx. 11×14” or 16×20”, white ground if possible, (Or canvas panels)

Oil paint, artist grade: these are suggested colors, no need to spend a fortune, bring what you have, Catherine by Minifiebut I highly suggest the first three.

Cadmium Lemon Yellow
Alizarin Crimson
Cadmium Scarlet or Red Light
Ultramarine Blue (Deep rather than Light)
Ivory Black
Permanent Green Light

Bristle brushes, filberts, preferably. Nos. 2,4,6,8,10
One or two long handle oil sable, or synthetic soft brushes that can come to a poin – not too tiny

Small sketch pad and charcoal or pencil

Atelier Method Fundamentals of Drawing with Elizabeth Jenness


[returning in the fall!]

Wednesday 10:00 am – 1:00 pm
In this class you will begin to bring eye and hand together through an understanding of how to create the illusion of space in two dimensions. Basic concepts will be introduced through specific excercises designed to teach you to see, think and then draw.  The consistant practice of drawing under instruction will facilitate continual opportunity to discuss and implement a sound drawing approach. Beginners and all levels welcome.

Ancient Art Lecture Series: “The Roman Contribution to Art” A special 60 minute lecture by Dr. David Miano, followed by discussion ~ Monday, April 11, 2016. 10:00am – 11:30am

Monday, April 11, 2016. 10:00am – 11:30am.

romansMany historians and art critics tend to see Roman art as, at best, a poor copy of Greek art. It is possible that the Romans themselves shared this perspective. Roman authors often rave about Greek sculptors, like Phidias and Praxiteles, but they make no mention of Roman sculptors. The elements of Greek sculpture – realism, idealism, harmony of form – held a great appeal to the Romans. Where the Greeks treated art almost as a form of religious expression, the Romans seem to have treated it more like a commodity.

This lecture and discussion, however, is not about the uniqueness of Roman art, so much as the importance of the Romans for the continuation and propagation of the Greek art style and its eventual incorporation into the later artistic traditions of Europe. Chances are, the building you’re sitting in, or some museum or civic building your student has ever been to borrows elements of Roman architecture. The great demand for art in Rome, especially among the Roman elite, means that the sheer volume of Roman art dwarfs that of any previous civilization. There is much to look at.

Ancient Roman art history is particularly fertile material for arguing the continued relevance of ancient art to students, offering an opportunity to answer the perennial question: “Why should I care about this?”

This is the third in a series of lectures on ancient art – $25 to attend
Coming soon: Ancient Chinese Art.

David Miano earned his Ph.D. at the University of California, San Diego. He is the author of Shadow on the Steps: Time Measurement in Ancient Israel as well as several anthologies designed for classroom use, including Pen, Stylus, and Chisel: An Ancient Egypt Sourcebook, and Ideas in the Making: A Sourcebook for World Intellectual History to 1300. Dr. Miano has taught at the University of San Diego, the University of California, San Diego, and at San Diego Mesa College. In 2009 he received the Revelle College Outstanding Faculty Award in recognition of his excellence in teaching. Dr. Miano is the founder and executive director of Schola Antiquorum, a national, non-profit academic society dedicated to the study of ancient history, and has recently joined the faculty of the Academy of Classical Arts and Humanities in Sarasota, Florida.

Ancient Art Lecture Series “The Greeks and the Beginnings of Western Art” A special 90 minute lecture by Dr. David Miano – Wednesday, February 24, 2016. 6:30-8:00 pm.

Wednesday, February 24, 2016. 6:30-8:00 pm.

vaseThere is no better introduction to Western artistic conventions than with an exploration of the art of ancient Greece. Greek art was an expression of humanism, and it refined the naturalistic representations of the material world. It was not art for the sake of mere decoration or for the expression of the artist’s individual philosophy, but it was a medium for the ennoblement of the human being. Much of the style, and many of the techniques of the Greek artists, were adopted by the Romans, making their way into Europe, and finally into our modern culture. We thus can understand art today better by knowing the work of the Greeks. Dr. Miano will take us on a tour through Greek painting, sculpture, and architecture, highlighting the purpose and unique features of each, and introducing us to famous Greek artists and the artistic profession in that remarkable and ancient society.

This is the second in a series of lectures on ancient art – $25 to attend

Coming soon: Roman Art, and Ancient Chinese Art.
David Miano earned his Ph.D. at the University of California, San Diego. He is the author of  Shadow on the Steps: Time Measurement in Ancient Israel as well as several anthologies designed for classroom use, including Pen, Stylus, and Chisel: An Ancient Egypt Sourcebook, and Ideas in the Making: A Sourcebook for World Intellectual History to 1300. Dr. Miano has taught at the University of San Diego, the University of California, San Diego, and at San Diego Mesa College. In 2009 he received the Revelle College Outstanding Faculty Award in recognition of his excellence in teaching. Dr. Miano is the founder and executive director of Schola Antiquorum, a national, non-profit academic society dedicated to the study of ancient history, and has recently joined the faculty of the Academy of Classical Arts and Humanities in Sarasota, Florida.





Edward Jonas “Sculpting For Painters” ~ February 19 – 21, 2016

1 1-2 lifesize SportsmanshipIn art schools, up until the middle of the 20th century, it was a fundamental practice to require all art students to master their drawing skills before advancing to painting and sculpture. And for the study of the human figure it was obligatory to work in both disciplines as it provided a clearer understanding of space, form and movement.

The instructor will explain as well as demonstrate how sculpting the head can not only bring a greater understanding of depth and form for the portrait painter but also it can be a valuable tool in designing multi-figure compositions.

Attendees will work on building a life size human head from a posing model.

The class will cover:

    • How to properly build sculpture armatures.
    • What to look for and how to see when sculpting.
    • Classical proportions.
    • Anatomical structures
    • Racial and gender variations and characteristics
    • Understanding features that can share a commonality in unique characteristics.
    • Thinking visually and then developing your ideas in wax sketches.
    • Mold making ideas and options.
    • The keys to gaining a likeness and expression in your work.

Workshop fee: $385 + model share 

Materials list:

Modeling Clay.  Plastilene also called plasticene or plastilina.

There are two types of sculpting clay, oil-based clay and water based clay sometimes called earthen clay. The instructor will be using an oil-based clay but students may follow their preference.

Armature for sculpture of life size human head.

These can be purchased pre-made  (Jack Richeson Art Materials, Sculpture House, or The Complete Sculptor ) or the instructor can send instructions on how to build your own.

Calipers and metric ruler.

Spatula, like a cake frosting type an/or putty knife.

Small wax sculpting tools, if you have them, popsicle sticks can be used just as well when trimmed down with an exacto-knife.

Plumb bob and string. optional.

Meet & Greet, Lecture with Edward Jonas ~ February 18, 6:30pm

Edward Jonas Lecture – Meet & Greet
Thursday, February 18, 2016
Time: 6:30pm
Location: Southern Atelier
7226 21st St. E. Sarasota, Florida 34243

jonas portraitOne belief has accompanied Florida artist Edward Jonas throughout his 40-year career, it is that while abstract art speaks to the artist realistic art speaks to the world.  His high regard for the classical approach in both artistic techniques and teachings has brought not only high demand for his work but made him an advocate for change in art education programs.  This belief lead Ed to be co-founder and current Chair of the Portrait Society of America, a non-profit, educational organization dedicated to promoting the practice and appreciation of fine art portraiture and figurative works.  This sixteen-year-old international society, which is headquartered in Tallahassee, is supported by over 3,100 members that represent every state in the union and over twenty foreign countries.  International Artist magazine published in Sydney Australia contains a reoccurring Portrait Society section where the best of American portrait art is brought to a worldwide audience.  Ed contributes to each issue through his writings and art.

His portrait subjects have included the Governor Buddy MacKay, U.S. Ambassador to Viet Nam Pete Peterson, the families of professional golfer Greg Norman, Fuzzy Zoeller and Jack Nicolas.  Most recently Ed has gained notice for his sculpture.  His monumental bronze of two football players titled Sportsmanship stands at the west side of Doak Campbell Stadium.  This past January saw the unveiling of his bronze of the founder of both Florida State University and the University of Florida, Frances Wayles Eppes, grandson of Thomas Jefferson.
Ed continues to make Florida his home and his studio time is now divided between assisting the Portrait Society in its educational mission and his portrait painting and sculpture commissions.
Ed received his Associates of Art degree on a scholarship at Brevard Community College and then went on to obtain a Bachelor of Fine Arts from Florida State University.
His first professional position came in 1975 when he was added to a core team of five museum professionals challenged with creating the Museum of Florida History.  After ten years Ed resigned his position as Senior Museum and Exhibits Designer to pursue his own work.