Pleasure & Watercolor Painting - En Plein Air
Two and One-Half Day Workshop - Watercolor Painting En Plein Air
9am-5pm Friday August 25 and Saturday August 26 - and - Sunday August 27 from 9am-noon
Plein air painting in watercolor is a challenging but gratifying form of outdoor painting. It requires assured facilities on many levels to achieve desired results – understanding of paper surface, color palettes, brushwork, dilution control, composition, pattern and value judgement and many more aspects. The instructor will provide numerous tips and suggestions for approaching this process, and provide hands-on assistance and direction in studio & field, to help with improving students’ confidence and works. “I learned a great deal – contrast, color, chroma; a very collegial workshop.” G.G.
From his many years of seminar and workshop instruction, Frank offers an exciting and intensive learning experience covering many key principles of the watercolor medium. In his award-winning work, he strives to have “paintings capture an unusual view of the everyday. The clarity of that vision helps isolate my subjects and allows me to focus on a beautiful glimpse of light and life. Attempting to capture light’s fleeting effects with various color palettes, I experiment with ways to achieve spontaneity, freshness and vibrancy. Watercolor is a most responsive medium for the gestural, expressive style of painting that I prefer for exploring these color effects”.
Suggested Materials & References
The quality of your materials is a continuing step in striving for quality results. A solid base of well-researched, long-lasting supplies should aid your progress in the medium. Some sponsor papers & extra tubes of pigments will be on hand to experiment.
Papers: 140 lb. Watercolor blocks (10/11” x 14”, 15” x 22” half sheets, or 18” x 24”) either hot and/or cold press finish or both), preferably LanaAquarelle, Arches, Fabriano, Winsor Newton or equal. Option: If preferred, individual 140 lb. cut sheets, up to 22” x 30” full sheets and pre-stretched on Gatorboard may be used also.
Brushes: Sable/synthetic blends, or other composition; Loew Cornell, Robert Simmons, Winsor Newton, Isabey brands or comparable quality. Loew Cornell brands are the most economical. Rounds - #6, 8, 10, 14 and/or 20; Flats – ½”, 3/4”, 1”-1 1/2”; #6 or #10 Mop brush, & other shapes if available, filberts, chisels, etc.
Colors: 10 or more tubes of pigment, professional quality – DaVinci most economical), WinsorNewton, Daniel Smith, Holbein, Schminke – 1.) Lemon Yellow, 2.) Cadmium Yellow, 3.) Raw Sienna, 4.) Cadmium Orange, 5.) Cadmium Red, 6.) Carmine or Winsor Red, 7.) Cobalt Blue, 8.) Cerulean Blue, 9.) Prussian Blue, 10.) French Ultramarine Blue, 11.) Viridian Green, 12.) Perm. Alizarin Crimson, 13.) Burnt Sienna.
Trays: Plastic slotted mixing trays or field palettes (12-16 slots); prepare each well with generous blobs of pigments the day before class.. Bring two water containers for rinsing, although extras will be provided.
Pencils: H, HB, and/or B, and sharpener; kneaded and/or white plastic erasers.
Boards and panels: A 12” x 18” x 3/16” rigid gatorboard sheet(s) for mounting loose sheets; in addition to watercolor blocks. Masking or drafting tape will be somewhat adequate for mounting, but wetter washes may curl paper and lift tape, giving poor results.
Easels: Easels are necessary for plein air painting & available in a variety of materials, sizes & weights. Know how to quickly set it up, use it for your papers, blocks and palettes. Umbrellas may be part of your equipment, & perhaps compact chairs. Keep your stuff to a packable and efficient minimum for field work.
Related Studio Materials: 3/4” 3-M Scotch drafting tape, small watercolor strips for testing; sponges, blotters, X-acto knife etc. Available for sale during the seminar will be Paint Trays/Palettes, and Field Sketch Boxes.
References: With inclement weather, magazines or photos of landscapes, and/or reproductions of fine art watercolorists, pertinent to the individual’s interests or painting styles may be needed as a back-up.
Reading/Study Material: There are many titles on watercolor painting that are available at art/supply bookstores or on-line. Authors Charles Reid, Jeanne Dobie, Joseph Zbukvic, Alvaro Castagnet, Edgar Whitney, Stephen Quiller, and other titles cover many aspects of the medium. Out-of-print editions are exceedingly worth the trouble & expense for the serious watercolorist. Participants will find such books both useful and inspirational in preparation for the workshop.