Description
“Landscape Painting 1-2-3!”
with Eduardo Fernandez
In-person
June 12, 19, 26
9 am to 12:30 pm
This workshop is designed to help artists develop a better understanding of the essentials of landscape painting in acrylic or oil. Instruction and demos will cover materials, brush work, color mixing, composition, and building a landscape painting step by step. The class will include lively discussion of master artists and their work. Students will learn and gain inspiration by painting landscape master copies – a tried and true way to learn and develop your own style. The class will focus on process, hands-on learning, and personalized instruction. Open to all levels but some basic working knowledge of drawing as well as painting with acrylics or oils is highly recommended.
INSTRUCTOR BIO. Eduardo Fernandez is inspired by the effects of color and light, direct observation, imagination, and love for painting and drawing. Portraits, still-life, and landscapes are ongoing themes in his work. Eduardo is known for his portrait work and has exhibited in several Pacific NW venues. He greatly enjoys teaching and has been an instructor at the Portland Art Museum, Pacific NW College of Art, and Multnomah Arts Center. To view his work visit: www.eduardofernandez.com
MATERIALS LIST
I. PAINTS You may choose to paint in oils or acrylics.
A. If you have limited experience with painting then using a limited palette is recommended, as it will help to learn the basics of color mixing and make it easier to create color harmonies.
Limited Palette:
Titanium White
Cadmium Yellow Light
Alizarin Crimson or Naphthol Crimson or Naphthol Red
Prussian Blue or Ultramarine Blue
B. If you have experience painting, using awarm/cool versions of each primary color will enable you to create almost any color. (Earth colors like Yellow Ochre, Raw Sienna or Burnt Sienna can be added to make the chromatic painting palette listed below more versatile.)
Full Color or Chromatic Palette:
Titanium White
Cadmium Yellow Light
Cadmium Orange Light
Cadmium Red Medium
Alizarin Crimson
Ultramarine Blue
Phthalo Blue
Phthalo Green
II. BRUSHES
There are a variety of brush styles but a Filbert is most versatile: A basic set includes the following sizes: #2, 4, 8, 12 & 16. Acrylic brushes are typically made of synthetic not natural materials like hoghair.
Note: Blick has a nice summary and chart of brush types that can be downloaded as a PDF at http://www.dickblick.com/info/brushmeasurement/
III. STRETCHED CANVAS OR PANELS
Stretched canvas or panels varying in size from 11×14 to 16 x 20.
For studies, canvas cut from a roll is another alternative (in which case you’d need a pair of scissors to cut the canvas into different sizes and tape it onto a board).
Note: Professional grade supports do not need additional gesso. If you decide to use student grade supports or pre-cut canvas pads then applying 1 or 2 coats of acrylic gesso prior to the workshop is recommended for a better painting experience, but not requirement for the class.
V. BRUSH CLEANERS & CLEANING SUPPLIES
Non-breakable container to hold water for cleaning your brushes. No glass!
Paper towels.
Small plastic grocery bags for refuse.
VI. MEDIUMS
Mediums are used to change the consistency of paint as well as to slow or extend the drying time. Acrylic painters can use Golden’s OPEN medium, along with a small spray mist bottle, to slow the drying time. Standard acrylic paints can also be replaced with Golden’s OPEN Acrylics which has extenders already mixed into the paint to slow drying time.
VII. OTHER ESSENTIALS
A view finder & value scale.
Mixing Palette: 11 x 14 or larger size!
Palette knife to mix paint.
Artist tape.
Sketchbook, drawing pencils & eraser.
Optional: Canvas or panel carrier. I use inexpensive canvas clips when transporting and protecting my paintings done on stretched canvas. http://www.jerrysartarama.com/discount-art-supplies/canvas-and-boards/canvascarriers/wet-canvas-carrying-clips.htm
