Outdoor Painter Society Sponsored Workshop:
May 27-30, 2018
9am-5pm, Sunday-Tuesday (plein air, weather permitting)
9am-1pm Wednesday (demonstration only, sit back and relax)
Max Enrollment: 15
For sign-ups please use this link:
This workshop is limited to 15 participants and will fill up fast. The total cost is $495.00. A $200 deposit is required at time of registration. $50 cancellation fee. No refunds after April 15, 2018. Balance due by April 16, 2018.
For workshop questions, contact Joshua Been: email@example.com
In this workshop, through clearly explaining concepts in the translation process from a three dimensional environment to a two dimensional surface, I will clear up the mystery, and strengthen your knowledge of the process and visual language of painting, from the source (plein air) to the studio. I teach a 4 pronged approach that is based in SEEING, UNDERSTANDING, and DEPICTING the VISUAL LANGUAGE ELEMENTS, Value, Shapes, Edges, and Texture. This is both easy to remember and an effective way of breaking down difficult subject matter into manageable visual information.
Get a jump on the information, pick up my book on the Visual Language of painting called,
“Learn to See Learn to Paint.” 134 page book will be sent out March 1st (at the printer currently)
A 4 pronged approach to learning Visual Language:
1. VALUE: Comprehend the causes of the appearance of VALUE. Discussion of Value Families, Keys, and Contrast Relationships, as well as the Anatomy of Light and Form, and how the Viewpoint effects VALUE. Also a breakdown of COLOR, how it can be exaggerated, downplayed, or just simply do what you intend.
2. SHAPE: We will talk about the importance of SHAPE to composition and draftsmanship. How integrally intertwined this element is with the three equal factors that cause it, the Light Source, the Form, and the Viewpoint. An overview of Linear Perspective, and 3D mapping a scene to aid placement, and feel of the light and form in space.
3. EDGES: See and understand EDGES, both tangible and intangible, and their relative importance to the overall intentions. We’ll analyze the 4 different Shape perimeters where Edges reside, Form Shadow, Overlaps, Cast Shadow, and Changes in Local Surface Value.
4. TEXTURE: I will demonstrate how different ways of applying paint enhances the viewer experience. This refers to both brushwork, and paint quality.
Incorporating the 4 Visual Language elements into design and composition will be an enormous focus in creating strong visual statements. It is through this understanding that good painting ideas become great painting ideas, and keep an artist fully engaged in the process. We’ll start each painting session with pre-sketches where the four elements are contemplated, and arranged in a visually pleasing way. Each day I will demonstrate the pre-sketch to color sketch process, working small and quickly to allow a lot of time for students to explore the process on their own with me engaging each student with one on one, effective help.
For additional practice and workshop preparation EXTRA CREDIT, go check out these 20 carefully curated exercises (also, know this is a work in progress area of the www.prolificpainter.com website). They are meant to be done in order, but depending on your experience, some may be repetitive for you. Read through them, and the ones that can help, will. By simply reading them, a more seasoned painter will be able to do many of them in your head. These will engage your brain in the definitions of the Elements of Visual Language so critical in developing your artist eyes, as well as continually develop the hand-eye coordination necessary in carrying out your intentions!
CLICK HERE FOR THE 20 PRACTICE EXERCISES!
*A small drawing kit for doing pre-sketches (can be as simple as a pencil and paper, or I prefer a kit similar to the Sketchbox complete with a pencil, pen, and incremental value markers. Check one out HERE)
*Assortment of bristle/synthetic (flat) brushes (Rosemary long hangle, long flats) and a medium sized pallet knife.
*Paper towels (Viva brand works great)
*Brush cleaner jar with agitator (a jar needs something to scrub the bristles on, that’s the agitator).
*Odorless paint thinner (I recommend Gamsol brand)
*10 6×8 canvases or panels for the plein air color sketches.
*3 8x10s or 9x12s for longer color sketches (nothing larger please, I spend a lot of time walking around helping each student individually, if you paint larger, I will not be able to help you because it will take too much time)
*A Portable Easel (I have two great ones available, called the Daytripper, and the Fly on the Wall Easels. To check them out, click HERE)
Paint: (I prefer Utrecht Brand)
Cadmium Yellow Lemon or Light
Cerulean Blue (HUE)
Sunday, May 27th
9:00 Meeting at McConnel Art Center.
9-12:00 Lecture and overview of Visual Language.
12:00-12:30 Lunch Break
12:30 Carpool/convoy to a destination.
1:00 Pre-sketch and color sketch painting demonstration. (Focus on accuracy, translating what you see)
2:00-5:00 Group painting session, I will be helping individually.
Monday, May 28th
9-9:30 Carpool/convoy to a destination.
9:30-10:00 Pre-sketch and color sketch painting demonstration. (Focus on varying the idea, moving things around, linear perspective, viewpoint, lighting)
10:00-12:30 Group painting sessions with and me walking around helping individually.
12:30-1:00 Lunch Break
1:00-2:30 Another pre-sketch and color sketch painting demonstration.
-5:00 Group painting session.
Tuesday, May 29th
9-9:30 Carpool/convoy to a destination.
9:30-10:00 Pre-sketch and color sketch painting demonstration. (Focus on edges, tangible vs. intangible, texture, and style)
10:00-12:30 Group painting session with me walking around helping individually.
12:30-1:00 Lunch Break
1:00-2:30 Pre-sketch and color sketch painting demonstration.
2:30-5:00 Another group painting session.
Wednesday May 30th
9:00am-1:00-2:00ishpm Demonstration open to the paying public ($50.00, this is included in the workshop tuition, and those signed up will get preferred seating). Sit back and relax after 3 long days of painting, while I demonstrate blowing up a plein air color sketch into a larger canvas. This demonstration will be a wonderful overview, and a great opportunity to review and re-take notes on effective studio practices incorporating every bit of knowledge gained through the on-location experience. Throughout this demonstration, I’ll be talking about crucial decisions in the process, and how to stay engaged, efficient, and deliberate in applying paint.