Achieving Vibrant Landscapes in Oils
Dates: 14-15th September 2019
Painting the landscape is one of the most elusive art forms. Translating and simplifying the inspiration derived from seeing a beautiful landscape is the goal for this workshop.
I will outline some basic principles that all landscapes painters should consider, including light and shadow, basic composition, and aerial recession to give a sense of depth. I will be illustrating my lesson with examples from the masters.
We will begin the landscape painting process by stepping through the landscape, painting the shadows, then placing the light.
You will be painting your own reference image, but following the steps in constructing the painting, outlined by myself.
Paints: I like to use a variety of colours which probably would drive many people mad (and for this reason I will have paint available to purchase in case the palette is missing a colour you feel you really need), but my basic palette includes:
● Yellows: Cadmium yellow or Cadmium Yellow Pale
● A transparent yellow which could be: WN Indian Yellow, Gamblin Red Gold, AS Australian Red Gold, Rowneys Italian Pink, (I don’t really have a preference but the bold ones, if you’re just starting)
● Reds: Cadmium Scarlet, or Cadmium Red
● Magenta, or Crimson Alizarine, or Rose Madder, or Quinacridone Red
● Blues: Maimeri Puro Cyan, French Ultramarine Blue, Cobalt Blue,
● Brown: transparent Mars Brown, or transparent Mars Red
Notes on colours: I really like quinacridone colours, I usually buy them regardless of the brand when I find them, simply because they’re amazing. I like to use transparent colours in preference to opaque because I can get a broader tonal range, and can make most of the opaque colours. I’m not prescriptive on colour because I think that, in the end, they should be a personal choice and give you the chance to express your own colour tendencies. (You may notice I don’t have any greens — that’s my personal preference!).
Other materials provided:
● 1 Canvas 24”x30” will be provided. (I will also have a variety of sizes available for purchase.)
● Easel, palette, vinyl gloves, paper towel and a plastic bag for rubbish.
● Brushes: I like to use stiffer-haired flat brushes, so something like hog hair brushes are good, in about 3 different sizes (sizes are different with brands); as well as a liner or rigger brush for fine lines. I will also have brushes available to purchase. I’ve been using Rosemary and Co brushes, which are top quality and last a long time if you take care of them.
● Turps jar for washing brushes. A smaller container or lid for turps to use on the canvas. I usually like to use gum turps for washes on canvas because it dries tacky and is great to sit the next layer of paint on. However we will be using gamsol instead, which, if used in excess, will make the canvas slippery so be aware. Gamsol is the best studio solvent because it has the lowest volatility, thus less toxic.
What you’ll need to bring:
● Reference photos: please keep it simple, something with, say, a gum tree in the foreground, and perhaps some hills in the distance. Bring several samples so that we might be able to choose the best one. Ideally the subject will be well lit, with nice shadows.
● Bring a willingness to try something new and have some fun!
If you you would like to book this workshop or have any questions about it, please email or call me:
Tel.: 0427 962 127