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.

Alexis Levine
 
Alexis Levine
 

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.

Alexis Lavine, TWSA      
http://www.alexislavineartist.com
https://www.facebook.com/alexislavineartist
alexislavineartist@gmail.com

 

Previous Workshops

FOCUS ON LANDSCAPES
Workshop by Joyce Hicks, AWS

June 12 through14, 2016
9:30 a.m. to 4 p.m. each day.
Members: $330 for three days’ Nonmembers: $375.
  Limited to 18 participants. 


White Barns in Virginia

Laurel Mountain Farm

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
9:30 am- 4:00pm
The Glade Clubhouse,
16 Glade Farm Road,
Rehoboth Beach DE

| Complete Information, Cost and Registration form |

 

Taking a close-in viewpoint on a subject from the natural world enables the artist to explore the interplay between the representational and the abstract. Developing an awareness of how an artist can develop a strong 2-dimensional design, while at the same time creating the illusion of 3-dimensionality gives us an important tool for making compelling paintings.

Students will work from photographs and actual objects to find and develop strong value compositions, and then use a wide variety of watercolor techniques to realize these compositions. There will be a thorough demonstration of composition and painting processes to get everyone going, but most of the time will be devoted to painting. As paintings progress, questions and challenges arise, and additional demos and discussions will broaden our repertoire of approaches and solutions. Emphasis is also placed on developing our capacity to see and critique our own work in an objective and constructive way.

This workshop works best for watercolorists with experience, but can meet the needs of students at a variety of levels, once they have been painting for a while. Visit: www.rachelcollinsart.com to see more of her work.

ABOUT THE ARTIST

Rachel Collins considers herself a realistic painter of nature’s abstract form. Her work has been on display and received many awards in a variety of nationally competitive watercolor exhibits, and she has had solo shows in galleries at art centers, colleges and universities, and other institutions in the Washington, DC area.

Collins is a signature member of the National Watercolor Society, the Watercolor USA Honor Society, the Transparent Watercolor Society of America, the Rocky Mountain National Watermedia Society, Southern Watercolor Society, and the Philadelphia and Baltimore Watercolor Societies, among others. She is a juried member of the Torpedo Factory Artists Association, and as such paints regularly in her studio in the Torpedo Factory Art Center in Alexandria, VA, and also teaches classes and workshops in watercolor at The Art League School in Alexandria.

PAINTING NATURE UP CLOSE IN WATERCOLOR SUPPLY LIST

Dear participants, Please bring to the workshop the paints, brushes and paper that you are most comfortable working with. If you are interested in knowing what I work with as my basic palette, please email me, and I’ll be happy to send along the information. But my favorite paints are not required colors! (click to email)

Recommended brushes

  • Round brushes – bring at least a medium (7-8) and a large (12-14). Make sure your brushes hold their points well, have good spring, and hold a reasonable amount of water. In my opinion, for the money spent, you will do better to have good quality synthetic brushes rather than low quality natural hair brushes. Bring all your brushes if you can, as all brushes can have a use in watercolor!
  • Flat brushes – bring at least a 1-inch flat wash brush My current favorites for most painting: Richeson Quiller brushes (7000 series), but best to bring what you are familiar with.

I use hake and other soft natural hair brushes a lot for laying down water, but rarely for painting, as these brushes often prove hard to clean.

Additional Items

  • Arches 140 lb. cold press watercolor paper, stretched, or 300 lb. cold press paper. You are welcome to work on other brands of artist-quality watercolor paper, but you may find that some of the techniques demonstrated may not work as well as they do on the heavily sized Arches paper.
  • A support Board to hold watercolor paper; Gatorboard is ideal because it is lightweight. John Pike palette or other large white plastic watercolor palette with a good-sized mixing area. at least one pencil (#2, HB or B)
  • Kneaded eraser
  • Lightweight white paper for sketching and planning. I use 16 or 20 lb. bond paper sold in rolls in some art stores, but any lightweight (not tracing) paper will do, as long as it is as large as your planned painting. 16 lb. studio bond paper comes in pads as well as rolls.
  • 1 sheet, middle value of Mi-Teintes paper (suggested colors: felt grey or steel grey; dark grey is too dark) cut into 6 or 8 smaller sheets – you can share this with another student, as in class you will probably use only 1 or 2 of the cut sheets.
  • 1 General’s white charcoal pencil (or other soft white chalk pencil - it needs to be erasable)
  • 1 General’s black charcoal pencil (any brand will do; just be sure it is erasable and not waxy) or a very soft graphite pencil (5B or softer).
  • white artist tape, drafting tape or masking tape
  • clips to hold paper on board if it is not staples or taped
  • paper towels
  • at least 2 water containers

Suggested Supplies

  • Saral graphite transfer paper (you can share a box with another student if you like)
  • Masking fluid (liquid frisket) – any reliable brand that hasn’t gone bad
  • Cheap or old brushes for using with masking fluid and/or textural effects

MODELS AS SUBJECTS TO WORK FROM

1. You can choose to work from an actual subject from nature: a plant, flower, fruit, vegetable, shell, etc.; or from photo references. We will be discussing working from both kinds of sources. Choose something that excites you as subject matter, as you will be studying it very closely!

2. If you choose to work from an actual object, you will be responsible for lighting your subject, so best to bring a battery-operated lamp to provide close illumination from the side. Choose an object, then, that won’t wilt under the lamp over the hours we will be working!

3. Alternatively, you may choose to work from photographic references. Bring your own photographs of a subject you like: the more the better. Make sure your photos are clear enough to tell you something about the subject. Blurry photos are not helpful here, no matter how “artistic”! I will bring photos that you are welcome to use (I relinquish all copyright!) but I can make no promises as to their suitability or quality for you–I have a lot of photos but don’t make any claim to being a good photographer!).

PLEASE DO NOT plan to paint from a photograph in a book, magazine, calendar, or the like. Published photographs may be referred to for informational purposes but must not serve as primary subject material.

Don’t forget to bring your lunch!

This workshop will strengthen your painting and compositional skills and will be beneficial to watercolor artists of all levels.

Discovering Yupo - A 2-day Workshop

Monday & Tuesday
March 2-3
9:30am until 4:00pm
Lewes Library


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
Hourss:  9:30 am – 4:00 pm each day
Location: Lewes, Library
(111 Adams Ave, Lewes, DE 19958 · (302) 645-2733)

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:
Painting the Figure

September 4 and 5, 2014
9:30am until 4:00pm
Glade Clubhouse

This two-day workshop is designed for students with some watercolor experience.
Learn a unique method of producing texture on paper using the "rivulet method" devised by Susan Avis Murphy.  You will then create an image with lifting-off and glazing techniques. The workshop will focus on painting the figure of a statue, using your own reference material or reference photos provided by Susan.  By the end of the two-day workshop, you will have produced a finished painting. 

Susan will be sharing the methodology behind her “rivulet technique”. 
“Artists are intrigued by the texture found in the background of some of my paintings.  It is a technique I devised many years ago while trying to solve the background problems in paintings of construction rubble.”  Susan described the technique in an article written for “The Watercolor Page” of American Artist magazine in 1982!  With a little practice and the right materials, other artists have found the rivulet technique easy to learn.

Below are some excellent examples of paintings done by Susan and her students in previous classes.  In addition to figure paintings, this technique can be applied to a variety of other painting subjects.

Susan' Paintings

      


Susan will be doing a complete demonstration of the “rivulet method” while creating a painting of a statue similar to the one shown first just above (“Water Sprite”).    You will then practice the rivulet and lifting techniques on a quarter sheet of Arches 140lb, cold press paper.

You will then practice the rivulet and lifting techniques on a quarter sheet of Arches 140lb, cold press paper.

For the finished painting, you will either work from your own reference photo of a statue you like, or you can work from one Susan will provide of a statue similar to the one used for the demo. She will be sharing a method she uses to transfer a tracing of the image onto the watercolor paper (using a full size printed template of the image and graphite transfer paper).

For the finished painting, you will either work from your own reference photo of a statue you like, or you can work from one Susan will provide of a statue similar to the one used for the demo. She will be sharing a method she uses to transfer a tracing of the image onto the watercolor paper (using a full size printed template of the image and graphite transfer paper).

Some of Susan's student's paintings using the "Rivulet" technique.


By Diane Shipley

By Jean Perretta

By Diane Shipley

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: fleur-de-lisstudio@comcast.net

 

Photos from previous DWS Workshops

Don Blow Workshop                                                       Dot Braun Workshop

Marie Natale Workshop

Janet Rogers Workshop

Brenda Kidera Portrait Workshop