ATMOSPHERIC LAND AND SEASCAPES
MICK MC ANDREWS
June 8, 9, 10 and 11, 2017
Mick’s award winning paintings strive to capture the mood and atmosphere of a subject, combining the magic of watercolor with reverence for the principles of design to create works of sophisticated simplicity. He is a signature member of the Philadelphia Watercolor Society, The Pennsylvania Watercolor Society and the Baltimore Watercolor Society. Click here for more information and registration form.
Painting Creatively from Photographs,
Alexis Lavine, TWSA
October 27, 28, 29, 2016 – 9:30 a.m. - 4:00 p.m.
At The Glade Clubhouse, 16 Glade Farm Road, Rehoboth Beach, DE
Demos will include specific lessons designed to give you new ideas, methods, and inspirations on how to paint in creative, personal, and expressive way from photographs. This workshop is designed for all levels of painters, from experienced to beginners on up. There will be daily demos, critiques, and ample student painting time.
Lavine, a signature member of the Transparent Watercolor Society of America, as well as Watercolor West, the North East Watercolor Society, and the Southern Watercolor Society, creates realistically rendered paintings that are thoughtfully conceived, strategically designed, and carefully drawn around abstract shapes, values, colors, movement, and positive and negative spaces. You can see her work at www.alexislavineartist.com.
Space is limited, so please complete the registration form to guarantee your space.
Basic Supply List for: “Creative Painting from Photographs”
Alexis Lavine, Instructor
If you already have watercolor supplies, bring what you have and are comfortable using. You may choose to buy additional supplies on this list.
If you are new to watercolor, this is a good array of supplies, to get you started.
↓ Please read the following info about PHOTOGRAPHS!!! ↓
I will be using photographs as references for my demos. I will supply you with copies of them. You are welcome to use my photos as the basis for your own paintings. Or better yet, you use your own photos.
I recommend that you start collecting interesting photos, which you think might make good subjects for paintings. They do not have to be great photos. I have made paintings using photos which were out of focus, poorly exposed, cluttered, badly designed, or off kilter. You name it, I’ve done it in terms of bad photography – and surprisingly good paintings can result!
Please bring photos which YOU have taken, or perhaps your significant other has taken, while you were also there. I want you to learn to use your own photographic sources. Please, do NOT bring other people’s photos, or photos from magazines or internet web sites, calendars, greeting cards, post cards, or other outside sources.
Your photos can be printed out, or on your iPad, tablet, smart phone, or your lap top’s hard drive, whatever is most convenient for you. Bring lots of photos, and I will help you to choose and use them.
PAPER: Paper is the most important item, as far as quality and expense are concerned. Buy the best paper that you can afford; save your money on other items, such as paint and brushes. I recommend good quality paper, such as Kilimanjaro, D'Arches, Waterford, Whatman, Winsor Newton, or Fabriano, preferably 140 lb. cold-pressed paper. I buy my paper in full sheets, 22”x30” and cut them down to whatever size I wish to use. You can buy your own paper in sheets, pads, or blocks. I do NOT recommend Strathmore paper, in the yellow pads; it is very economical, but very unpleasant to work on! Another paper I do not recommend is Canson; it takes the color very unevenly and scratches quite easily.
PAINTING BOARD: If you are not painting on a block, you will need a rigid, waterproof board to support your painting, about 1 inch larger than your paper in both directions. A board that measures 16"x23" will work well for either a half or quarter sheet of watercolor paper. I think that Gatorboard is best. If you buy one of those standard brown drawing boards with the big clips attached, it may not work well for the sizes of paper you will be using.
PAINT : My favorite brands of paint are American Journey and DaVinci watercolors. There are many other good brands available, with a huge variety of pigments, tube sizes, and prices. I recommend using professional or artist grade paints, not student grade paints.
My pigments: The pigments in capital letters are more basic, if you are just building a palette. The others are less essential for a basic set-up, but I love to use them, and you will surely see me dipping my brush into them. I generally choose pigments which are not heavy stainers. LEMON YELLOW, GAMBOGE, quinacridone gold, YELLOW OCHRE, BURNT SIENNA, sepia, CADMIUM RED MEDIUM, PERMANENT ROSE, opera, cobalt violet, permanent magenta, MAUVE, ULTRAMARINE BLUE, cobalt blue, CERULEAN BLUE, Prussian blue, turquoise, VIRIDIAN GREEN, and SAP GREEN. I also have white gouache, which I occasionally put out on my palette, but only when needed for a specific task! I do not use black or gray paint.
BRUSHES: The best brushes are made out of sable hair and other very expensive animal hair. You can, however, buy very serviceable synthetic brushes or synthetic/natural blends at a fraction of the cost. Don't invest a lot of money in brushes until you know what kind you like to work with. If you will be painting small, the following brushes will suffice: 1" flat, 1/2" flat, a #10 and a #2 round brush. You may also want a 1/4" flat brush, a larger round brush such as a #20, and a larger flat brush, such as a 1 1/2" brush, particularly if you will be painting larger paintings. Most of my flat brushes are "one-stroke" which means that the hairs are longer and they hold more pigment. An old toothbrush is great for spattering paint. It is also helpful to have a couple of different sized scrubber brushes, such as the "Fritch" scrubber, and a few fan blenders.
PALETTE: I use a "Miller's Workhorse Traditional Watercolor Palette" from Cheap Joe's. A covered palette, such as the "workhorse," or the Mijello, Pike, or Wood palette, is best, since it will keep your paints moist between painting sessions. You can also use an enameled butcher tray, or even a white dinner plate, and cover your paints with plastic wrap. Whatever you use, make sure you have spaces for all of your pigments and a large, white mixing area.
OTHER SUPPLIES: Small (3.5 x 5 inch) sketchbook, tracing paper, sketching pencils, soft eraser, plastic water bowl, absorbent cloth rags or paper towels, natural sponge, cotton swabs, palette knife, salt, 4 bulldog clamps, spray bottle (with an adjustable spray.) Liquid frisket is very helpful to use with some subjects; if you use it, you will need several old or inexpensive brushes to apply it with, and a small amount of liquid soap, and a frisket remover. My preferred brand of frisket is Pebeo drawing gum.
FOCUS ON LANDSCAPES
Learn Joyce’s techniques for creating light filled, soft, colorful, landscapes. Joyce says, “In an attempt to translate my feelings for a subject I use interesting brush strokes, strong contrasts, sunlight and shadow in colors both soft and bold. These elements combine in a personal way providing a visual invitation to tempt others into my world."
PAINTING NATURE UP CLOSE IN WATERCOLOR
Workshop by Rachel B. Collins
Friday, July 31 through Sunday, August 2
| Complete Information, Cost and Registration form |
Discovering Yupo - A 2-day Workshop
Monday & Tuesday
9:30am until 4:00pm
Tired of painting the same controlled watercolors? Want to “loosen up?” Then Discovering Yupo is the class for you!
Chica Brunsvold, AWS, NWS, will lead you in a wild adventure using Yupo as your “paper.” This 2-day workshop will let you explore new ways to use watercolors, going with the flow while creating all sorts of textures and perhaps unforeseen images.
We’ll all start non-objectively ~ No advanced planning is necessary or even desired. Leave your photos and sketches at home. Seeing what happens when paint hits paper will delight you and free you from all preconceived ideas. Enjoying the possibilities and letting the painting suggest its own images is a phenomenal experience. Try it and you will find a joyful release from traditional watercolor. You can always do what you already know how to do on your own, but let yourself do this just for fun. You may love Yupo too. No critiques, just sharing ideas.
When: Monday, March 2, and Tuesday, March 3, 2015
Capacity: 20 students
Cost: Members $130. Non-members: $155.
Materials list will be sent separately to those participating in the workshop.
Susan Avis Murphy Watercolor Workshop:
Your finished painting can be either a quarter sheet (11”x15”) or half sheet size (15”x22”). On DayTwo, Susan will critique the final paintings to help you assess your progress and learn what you may wish to do differently in the future.
Workshop participants will need to bring a few additional things besides their usual watercolor supplies. Most important is a large (14ml) tube of Winsor & Newton’s Raw Umber. Small stencil brushes will be used to do a lot of lifting of paint see photo below). These are available at Michael’s in the stenciling department. Susan will bring a few stencil brushes along to sell, in case you have trouble getting them. A supply list can be found on page 3 of the attached PDF.
In addition to the supply list, the PDF contains other information and the Registration Form (click here.) You should be able to open and down load without difficulty.
Please fill out all areas of the Registration Form and mail it directly to me at the address listed on the form. Do not send it to the DWS P.O. Box or the Treasurer since either action would delay its arrival.
Contact: Elizabeth Collard, 302 645-4821 or e-mail: firstname.lastname@example.org
Photos from previous DWS Workshops