Having had many classes with a limited palette and taught the importance of value shapes, I wasn't sure there was anything "New" to be learned. Boy, was I wrong! Knowing theory is good but getting to put it into practice, consistently, 5 days in a row, under Gene's guidance was fantastic. Most valuable for me was being allowed to set up my easel near Gene and mimic his strokes and paint choices. And, because the class was small, we could ask more questions, more often, than most workshops allow. What a joy!
~Jan Simmons~
Workshop Supply List - Find below a partial list of SUGGESTED equipment and a recommended palette of colors. Whatever you like painting on easel-wise is ok of course. I just use what I like.
Equipment
I use a French Easel with portable palette (Wind River Arts)
or Open Box M pochade. The 10 x 12 is what I have at present in the pelican case
(Slik) tripod
(Holbein) turp can
(Viva) paper towels
palette cup
various clamps to hold or fix things.
leatherman type tool
corkscrew
Rain and wind gear
panel carrier
water
Basic Palette:
Costanza uses these on his basic palette - (please do not bring “student grade” paint. You are only fighting your materials and painting is hard enough.)
Graham alkyd titanium white
Rembrandt permanent red medium.
ultramarine blue
Utrecht cad. yellow lemon (sometimes) cad. yellow or cad yellow medium
Rembrandt cobalt blue light
Rembrandt kings blue or Vasari bice
Thalo green or viridian
Vasari Shiprock
Rembrandt cold grey
Optional colors:
Holbein grey of grey
Holbein Perm. green light
Rembrandt kings blue or Vasari bice
Vasari bluff
Vasari adobe
Vasari ship rock
Panels:
I usually use Alkyd primed linen from Wind River Arts, number 350 (smooth) or 359 (courser than). I have a local shop mount my linen either on birch panel, or foam core, or birch plywood as needed. All have advantages and challenges.
Brushes:
Utrecht 209 flats 2-10 in the field up to 12x16 panel.
Grumbacher Gainsborough (if you can find them)
Utrecht sable rigger #8
holbein Killington have nice spring
Robert Simmons Signet
Medium(s): depending on....
Liquin
Graham Walnut Alkyd
Megalip
Safety and Security:
THE BUDDY SYSTEM!!! I ADVOCATE GOING OUTSIDE WITH AT LEAST ONE FRIEND. FROM NEIGHBORHOOD TO WILDERNESS, SAFETY FIRST.
bear spray
bug spray
water
sunscreen
food (maybe except in bear country)
whistle
spare car key in painting bag
cell phone
Reading List:
REQUIRED:
"CARLSON'S GUIDE TO LANDSCAPE PAINTING" John F. Carlson Ch. 3 Angles and Consequent Values.
Values is the constant in all two dimensional representational art. It is the foundation, the rock, and it is the starting point when evaluating what you're going to paint. When you start a piece. It is the constant. You go there as you analyze the progress you are making, and it is your first stop when you analyze problems.
This book is in paperback and although all of it should be read, ideally often, the chapter on values is, well, invaluable. Please obtain a copy and read the chapter before the workshop, if not immediately.
CRITICAL KNOWLEDGE:
These are critical to the landscape painter, and simply must me read at least once.
John F. Carlson LANDSCAPE PAINTING
Edgar Payne COMPOSITION OF OUTDOOR PAINTING
SUGGESTED:
Oils Trevor Chamberlain
Landscape painting Richard Schmid
The books and CD’s of Scott L. Christensen
Landscape Painting Sir Alfred East
Landscape Painting Birge Harrison
The Art of Edward Wesson Ron Ranson
- every art book known to humanity
NOTE: Gene does not warrant the safety of any art material(s) whatsoever.
EQUIPMENT SOURCES:
Jerry’s artarama
