9:30 A.M.-4:30 P.M.
All Levels Welcome
Gage Capitol Hill
Brushes: A minimum basic set of a #8 round, a one-inch flat, and a rigger or other fine pointing brush if you are purchasing new; or whatever you are used to and already have. Watercolor brushes are traditionally much softer than acrylic or oil brushes. Holding a lot of paint and keeping a good point (for rounds) are the important qualities. If this is your first experience with watercolor, don’t buy expensive sable brushes right away. Even though many people swear by them, I’m hard on equipment and find soft synthetics to be just fine.
Paints: A basic set of colors. “Professional” or “artists” watercolors in tubes are almost always more intense than pans; I use only tube colors. Bring what you have if you already have watercolors; it’s not a requirement to go out and get all new paints. Here is my basic color set; I try to have both a cool and warm version of each basic color, as well as a good mix of transparent/opaque/staining pigments. Every manufacturer’s paints are different; I mix them up a lot. I generally like Daniel Smith, Schminke, Holbein and Winsor & Newton. I’ve developed a personal addiction to some particular hues, but again, bring what you have.
- Raw Sienna (more opaque than transparent)
- Potters Pink (transparents)
- Cadmium Red (opaque)
- Permanent Orange (opaque)
- Quinacrodone Sienna (stain)
- Cerulean Blue (Dan Smith’s is opaque)
- Manganese Blue Hue (transparent)
- Royal, Indanthrone or Schminke’s Delft Blue (stains)
- Cobalt Blue (opaque)
- Cascade Green (Dan Smith)
What is it that keeps artists engaged with this supposedly difficult medium? How is it like all others, and how is it different? Under the guidance of expert watercolorist Suze Woolf, we will start with studio exercises to develop our powers of observation and facility with the medium. Using those principles (and weather permitting), we’ll move outside to make fresh, spontaneous, and spirited landscape paintings.