Expressive Watercolor Landscapes, Seascapes, Dock scenes
and more in the quaint fishing village of Calabash, NC
En plein air and in the studio
9:30 a.m. – 4:30 p.m.
(Please plan on being here by 9 a.m. on the first day of the workshop)
Beautiful waterfront scenery, salt marshes, fishing boats, dock shacks, and working fishermen. Coastal scenery will serve as reference and inspiration. The waterfront is close by the studio which offers flexibility to deal with any weather issues. Each day will begin with discussion and a demo. Once the demo is complete there will be ample time for you to paint en plein air or in the studio. We will end each day with a critique session in the studio.
Day 1 Session in the Studio. We will address the fundamentals of design, composition, color harmony and the importance of simple value studies…all of which will be incorporated into my demos. Using only 3 values, we will simplify our reference to create good compositions, relying on basic shapes and simple arrangements of lights and darks.
Day 2: Plein air demo at the docks. Feel free to paint along with me or simply take notes and photographs for use in the studio. The plan for this day is to help you learn basic plein air skills and to transition your photos, sketches to a painting, either on location or back in the studio.
Day 3: Exploring “Wet into Wet” techniques. Transparent watercolors offer unlimited opportunities to create glowing colors that are especially effective in early morning and sunset scenes. This technique generally requires that we learn to take advantage of wet paper and the effect gravity has on pigments as they blend and gradate.
Note: this workshop is intended to work for both plein air and studio participation.
For those of you who prefer painting in the comfort of a studio I simply encourage you to attend my plein air demo, take notes and photo reference then return to the studio to paint. I will be available in both.
Having been raised on a tobacco farm in coastal North Carolina, I am proud to claim true Carolina coastal heritage. I particularly enjoy painting the scenes I grew up with…the landscapes, seascapes, lifestyles and the people. The fluidity of watercolor allows me to express nature's landscape and moods with crisp and vivid colors, whether painting in plein air or in a studio.
A graduate of Ringling School of Art in Sarasota, FL with continued studies at Roosevelt University and the American Academy of Art in Chicago. After retiring from a career in advertising, I returned to the low country and began my second career as an artist. To pursue my passion for watercolor I studied with numerous acclaimed artists, such as Irvin Shapiro, Tony VanHasselt, Tony Couch, Frank Francese, Don Andrews, Alvaro Castagnet and many more.
Memberships include: The Transparent Watercolor Society of America, The American Watercolor Society, and Signature member of the Watercolor Society of North Carolina plus many other local/regional art societies.
We all paint differently and are fond of personal colors and materials so feel free to bring whatever you are comfortable with. As a checklist I suggest the following:
1. Small Sketch Pad and Soft leaded pencil, #2,4 or 6.
2. Watercolor Paper: Always use professional paper. I primarily use Arches and Windsor and Newton 14# rough taped to a backing board.
I suggest bringing 6 to 8 Half sheets (15 x 22) or quarter sheets. For convenience when painting en plein air an easier option is to simply bring a (12 x 16) or (15x 22) watercolor block.
3. Painting Board: A lightweight backing board on which your paper can be taped or stapled
4. Easel. Since this workshop is both en plein air and in a studio, bring a easel or paint box that allows for painting in either situation.
5. Palette: Bring whatever watercolor palette you like…either plastic or metal is fine. It should have 15-18 pigment wells plus 3 to 4 mixing areas.
6. Pigments: I primarily use American Journey and Daniel Smith pigments. Try to bring a “warm” and “cool” of each of the 3 primary colors, Red, Blue and Yellow. As a die hard color enthusiast, I constantly experiment with different pigments, but currently my palette includes:
Aurolin Yellow, Cadimium yellow, Quinacridone Gold or Yellow Ochre,
Quinacridone Siena, Burnt Siena, Cadmium Orange, Alizarin crimson, Rose Madder Quinachidone, Wild Fuchsia, Royal Amethyst Violet, Periwinkle, Cobalt Blue, Ultramarine Blue, Thalo Blue, Pereylene Green, Hooker's Green Light, Spring Green, and Neutral Tint
You do not need to bring all of these.
7. Brushes: I use a mixture of flats and rounds. 3 flats and 3 rounds and a small rigger are all you need I prefer larger brushes that hold lots of pigments such as:
Flats: 2″, 1″, 1/2 and 1/4″,
Rounds: #16, 10, and a #8 plus a squirrel mop, a fine rigger.
Squirrel hair or synthetic brushes are fine rather than expensive bristle brushes.
8. Misc: Masking tape, water container, sponge, atomizer and paper towels.
9. Reference Photos: Bring a few photos with good light and dark patterns.
12 in stock