Description
Introduction To Plein Air Painting, one day workshop with VICTORIA TEMPLETON
Date: Saturday, May 18, 2024
Time: 10:00am – 3:00pm (30 minute break for lunch)
Fee: $175 / $200
Locations in the field and in the CCAC Studio
“En plein air “ is a French expression meaning “in the open air” and refers to the act of painting outdoors with the artist’s selected subject in direct view. This is completely different from studio painting. One is out in the fresh air using all the senses. Outdoor painting captures nature’s beauty, light, and essence of the artist’s experience. Call it a visual diary! Painting life outdoors requires the artist to observe, work quickly, and adapt to the environment. You’ll learn quick decisions and adapt because of the fleeting moment. You also learn to edit and focus only on the essentials. The changing light, the fluctuating weather, and the vitality of the landscape will breathe life into your work in ways that photographs, and indoor painting can’t replicate. There will be tips that the studio just can’t provide. You ‘ll acquire more confidence to take back to the studio.
This workshop requires a basic knowledge of painting and sketching. Part of the morning will be instructional with some exercises. There will be a half hour lunch break and the rest of the afternoon dedicated to painting with a review and gentle constructive critique.
Location to be announced. Just for fun: an art supply prize drawing held at the end of the workshop.
Plein Air Art Supplies
I highly recommend at a minimum, a double primary palette: 2 warms and 2 cools of each of the primaries plus some secondaries. Mediums should be nontoxic and used in small quantities. Hat, sunscreen , bug spray, baby wipes, comfortable shoes, dress in layers. Plastic bag for trash. Paper towels but I recommend disposable Shop towels found in hardware or Home Depot. (Usually Blue color} Bagged Lunch and water to drink. Stay Hydrated!
PAINT COLORS:
*CADMIUM YELLOW LIGHT
*CADMIUM YELLOW MEDIUM
* BURNT UMBER
*ULTRAMARINE BLUE *PHALO BLUE GREEN SHADE
*ALIZARIN CRIMSON * QUINACRIDONE MAGENTA
*CADMIUM RED LIGHT OR NAPTHAL RED
* TITANIUM WHITE
*IVORY BLACK
OPTIONAL COLORS: * PRUSSIAN BLUE, VERIDIAN,DIOXIDE PURPLE, BURNT SIENNA,
YELLOW OCHRE
MEDIUMS
OIL: NONTOXIC ONLY WALNUT, LINSEED OR SAFFLOWER OIL., ANYTHING SIMILAR ODORLESS MINERAL SPIRITS LIKE GAMSOL OR MONA LISA SMALL GLASS JARS WITH LID FOR TRANSPORT ACRYLICS: RETARDER(-I LIKE GOLDEN OR LIQUITEX ) AND MATTE MEDIUM, WATER, PLASTIC CONTAINER
Plein Air Art Supplies
Canvas: Flat gessoed panels 5×7 and no larger than 9×12. Square should be no larger 8×8. You can often buy these in packs. A canvas pad or multic media paper will work too. Excellent for the morning exercises. Foam core or Masonite board to secure your biggest panel, just a bit larger (i.e.12x 10.) Mask or white painters tape to attach.
Brushes and Palette Knives: Bristle or synthetic of your choice. Maybe 2 sizes of each: flat, round, and filbert. Choose the appropriate size for your canvas size. Largest flat should be one inch. Avoid teeny brushes 1 inch to a half inch are fine.Palette knives with rounded and angled edges. If you’ve never painted with them, bring some! You can get a lot in fast.
Support Equipment: Ideally if you have …..Lite weight Portable
Easel: French or half French, Soltek, EASyl, Guerilla, Strada, Open Box-there are many types. These are if you want to stand up or sit.
OR a Pochade box fitted with mount to attach to a tripod will work too. Maybe artist boxes are an example.
OR Make one with a cigar box and fit a nut to mount on the tripod.
OR you can sit with your board in your lap. We might not have tables or seating. A portable beach chair with a strap or a beach towel to sit on. The cape is windy so be sure your easel can stand firm. I’ve used a sack that I fill with rocks found on location and tie to my standing easel or my tote bag. Bungee Cords of several lengths-great to attach and hold many items secure and to each other. Folding chair to carry like a beach chair. Optional: Umbrella
Palette: This depends on your easel and your preference. Handheld with hole, Or a palette box Like Materson, fitted with glass or throw away palette paper (freezer paper works too. I pre-cut sheets.) Both palettes keep my paints wet for a few days. For my small cigar box pochades I line the bottom with freezer paper and then “seal” with Press and Seal wrap (I love this product!)
Miscellaneous: extra-large black Sharpie or Copic Wide marker, Sketchbook, graphite pencils (I like a Lyra pencil), kneaded eraser, a cardboard wet paint carrier or pizza like box, ballpoint pens, assorted binder clips(my best tool to hold many things) If using watercolors or goauche: Your choice of paper, consider a watercolor block. Easy to paint direct on. I like Fabriano paper or Bockingford. I cut the sheet into sizes I want. Pastels please contact me for a detailed supply list.
Victoria Templeton Bio As a native Californian from San Francisco, Victoria absorbed forms of creative art, always drawing and painting in some form since childhood. She majored in Theater Arts at Loyola Marymount. For over twenty years she was in retail management in the designer fashion industry. Still, she remained drawn to designers and their creative process. She left the industry to pursue fine art. Roger Armstrong, a master California painter and school founder at the Laguna College of Art and Design, took her in as a protégé. From him, she learned to risk failure. “Its only paint and paper” he told her. She studied and worked for him for seven years. Upon his death, the Irvine Fine Art Center asked Victoria to continue his class. Another passion, teaching, emerged. She expanded her weekly classes to the Laguna Beach Susi Q Center and conducted workshops. Her approach, like her mentor, encourages students to lose fear, take risks and view painting as a process. When she moved to Cape Cod in 2015, She put teaching aside and focused on her own artwork. She has studio space at The Old Schoolhouse in Barnstable Village. She is a continuous participant CCAC plein air group and contributed to their second 2019 edition of Plein Air Painting on Cape Cod. She participated in Cape Cod shows and received recognition. “Child-like curiosity and play remains the most important part of my work. When I trust creative energy and stop critic chatter, my paintings reflect the authentic relationship I forged with the subject or landscape. I paint in all mediums, using what feels best for me that day.