SBThumbWHERE: Augusta, Missouri
LOCATION: We’ll meet at The Augusta Visitors Center.
WHEN: Monday, April 24th 9am-3pm (The day of the private estate paint-out, we will NOT be attending) 
COST: $50.00
LUNCH: Please pack food for your individual needs.
MATERIALS NEEDED: You may show up with as little as a pencil, and a sketchbook, or as elaborate a pre-sketching kit as the one I use and sell, called the Sketchbox. It is loaded with a pencil and sharpener, a Light Direction Sphere Pen (for determining the direction of light in your scene), 5 incremental value markers from 20%-black, and loose leaf note cards. Sketchbox sold separately, and can be viewed by clicking HERE!

This one day workshop will show, and emphasize the importance and discipline of pre-sketching prior to slinging paint. Breaking down and understanding the Visual Language Elements will be emphasized and examined at great length. Having a road-map of value contrast, shape placement, and a thorough understanding of edges before diving into a painting can, and more than likely will, save time in the painting process. More importantly, it allows you to move forward on the canvas with confidence, and deliberateness, even if the light goes away with a cloud moving over, or the shapes change completely over the course of the painting experience.

Below are the main bullet points that will be covered:
Value: The more you pre-sketch, particularly with incremental markers, the better you will get at identifying values. This is extremely important if you intend to explore contrast options. How far are the light and shadow values apart? The brighter the light, the higher the contrast. This factor can be accentuated and complicated by the local color of objects too. Identifying values is clutch, and I intend to get everyone up to speed on this quickly, and testing it through constant assessment. Both light and shadow contrast, as well as elements in the assessment of atmospheric, or aerial perspective will be examined.

Light Direction: A very nuanced, and highly misunderstood attribute to composition, and placement of shapes of value in the scene, this bit of the workshop may be one of the most interesting, and eye-opening. Where is the light coming from in your scene? How is this effecting the shapes you are seeing? How does this change across your scene based on your viewpoint?

Shapes: This is where composition, and editing, and linear perspective come in to play. Not only why we see the shapes we do, but how are we going to place the shapes within the picture plane. How is our viewpoint effecting the shapes we see? Are there vanishing points to be aware of in the depiction of man-made entities, and how to readily see and assess them. Are we going to push the horizon line off the top, bottom, or leave it in the scene?
Lots of tips on breaking up the picture plane into parts, helping in the placement of one shape in relation to another. What’s necessary in depicting your unique vision, and what can be left out?

Edges: When and why edges occur will be gone over with great detail. Where are the sharpest edges in your scene? Why they appear sharper. Which is the sharpest? Softest?

Below are some examples of pre-sketches, paintings that followed and the easel setup I use called the Daytripper Easel, with links provided to read about and/or purchase them (sold separately from the workshop):
Daytripper Easel
Sketchbox (used to do pre-sketches)
Continued Learning, or get a jump on the material I cover by ordering my book, Learn to See Learn to Paint. Preview HERE!