April 15 - April 18, 2013
Plein air oil painting workshop in Alameda. This will be at Crab Cove, Crown Memorial park and spots like this along the Oakland Estuary:
Days are usually like this, subject to improvisation:
9:30 AM We meet at the designated spot and set up for me to do a demonstration.
10:00 AM On the first day, I do a demonstration painting with running commentary. Questions are always encouraged! The rest of the days, I will address specific subjects such as color mixing, use of white, aerial perspective: whatever comes up.
Noonish Lunchtime - bring your own
1:00 PM to 4:00 PM Students work on their own paintings, and I spend time with everyone, helping wherever I can.
Critiques, such as they are, occur naturally in the course of teaching, but if people want a formal, end-of-workshop Critique, no problem.
The fee is $275 per person. Please email me at email@example.com or go to my Contact page to arrange payment.
I'm sure anyone who isn't a complete beginner will have his or her own kit (if you are a beginner, email me at the above address and we'll go over it). I would like everyone to bring a sketchbook and several small panels (5x7 or 6x8).
I vary my palette from time to time, but these are the usual colors:
White, cadmium yellow lemon or light, cadmium yellow medium or deep, cadmium orange, cadmium red light, quinacridone red, ultramarine blue, phthalo or prussian blue, sap green, raw umber, burnt sienna, yellow ochre.
The core of this palette is a warm and cool of each of the primary colors, plus a few earth colors and convenience colors. I will be going over use of color, relative warm and cool colors, limited palettes, pigments off the beaten path, tonal values, plus anything else we can think of.
Unless I'm working larger than 20x24 or so, I paint on panel of some kind, generally masonite prepared with acrylic gesso.
and for watercolor workshops
As mentioned in the oil comments above, most people have a fairly worked-out routine of their own, but here's mine for the curious:
I use a John Pike palette - usually set on the ground unless I find a natural table or the hood of my car - and stand at a tripod-rigged more-or-less-horizontal panel with the paper clipped to it. Usual sizes for me are half sheets (15x22), 18x24, and full sheets (22x30). Since I'm a fidget with materials (or more kindly, a tester-outer), I use a few different papers: plenty of Arches; some of the Indian papers, eg Nujabi; Larroque; random others. Rough and cold pressed papers most often.
My usual colors in various brands: ultramarine, colbalt blue, cerulean blue, cadmium lemon, cadmium yellow med or deep, cadmium orange, cadmium red, quinacridone red, raw sienna, burnt sienna, raw umber, oxide of chromium green. Other colors on the palette may include: phthalo or prussian blue, viridian or some kind of vivid phthalo-based green, chromium titanate (PBr 24, called by Winsor and Newton Naples Yellow deep, and by M. Graham Naples Yellow - not genuine Naples yellow at all, but a really nice single-pigment napley yellow), cobalt violet, titanium white, yellow ochre, lamp black.
I carry a squirt bottle for cleaning the palette, some paper towels if I remember; army surplus canteen and fitted cup, plus spare water.
Brushes: sable and ox hair flats: 1-and-a-half inch and 1 inch; several sable rounds from big down to small; some kind of stiff scrubbing brush that never does what I want it to, ditto for the rigger. I have a weird thin flat bristle brush, 2 inches wide, that I get a lot of use out of: an old cheapo that used to be made by Richeson, but not any more - I should have bought dozens of them when I had the chance. A pencil comes in handy too.
If you don't already carry a sketchbook and spare watercolor paper, please bring some along.