In-person April 3, 10, and 17
10 am to 2 pm
No matter the skill level, students always learn a lot in Paul Clendenin’s popular painting classes. In this three-part series, we’ll have a look at painting roses, including photorealistic representations, stylized images, and an Impressionist approach. Students will learn about materials, colors to use for highlights and shadows, and paint application techniques through lecture and demonstration by the instructor. Students will then be able to complete up to three small paintings depending upon student’s experience, size of canvas, and dedication of time outside of class. While we may examine other blossoms, our focus will be painting roses.
Paul will be working in oils, but acrylic and watercolor painters are welcome to attend.
If you’re new to oils and not sure if you want to invest in paints until you try them, we have some extra tubes at the Guild you may use for this class.
Artist Bio Paul Clendenin was born in Portland, Oregon and is a lifelong resident of the Northwest. He is versatile artist and winner of numerous awards. Paul works in many disciplines but his first love is oil painting, followed closely with watercolors. He has taught in a variety of media over the last 20 years. Paul has been a member of the Portland Art Guild for over 25 years and currently serves on the board.
See his work at https://paul.clendenin.net/
- PAINTS Please do not let the lack of any specific color cause you to suffer great expense or inconvenience. Often other colors will be a close enough match, and the Guild does have some oils you can use. We try to encourage a good neighbor sharing policy as best we can.My traditional palette consists of:
- Titanium White
- Ultramarine Blue
- Phthalocyanine Blue
- Cadmium Yellow Light
- Burnt Sienna
- Alizarin Crimson
- Cadmium Red Light
For painting flowers, I might add:
- Sap Green
- Cadmium Orange
- PAINTING SURFACE A few small canvases or canvas sheets
I will be working no larger than 11X14 on stretched canvases or tablet sheets of canvas taped to a board. I will have extra boards available if you use sheet canvas (available in tablet form and perfectly appropriate for fine and lasting work). You may elect a size that suits you, but the larger the canvas, the slower you will work. My experience is that students should work small, as it reduces material costs and forces you to use larger brushes in a smaller space.
- BRUSHES For 11 x 14” canvas, the following brush sizes should suffice:
- One or two small synthetic bright brushes ¼” to 5/8” wide.
- One or two small synthetic filbert brushes (same sizes as above)
- A #1 or #2 synthetic script liner
- A large brush in ¾” or 1″ for doing background fill
- A soft blending brush
- OTHER MATERIALS
- A TABLE EASEL (we have a couple extra ones at the Guild)
- PALETTE I use a paper “strip” palette, but you may bring any
- RAGS OR paper towels for wiping and cleaning brushes
- MEDIUM Painting medium for oils. I use Original Liquin, but there are a lot of different brands available.
- ODORLESS PAINT THINNER (Gamsol or equivalent) in a jar or other receptacle
- BRUSH CLEANING SOAP