Capture On Location What Your Camera Leaves Out
1-Day Plein Air Workshop with Barbara Jaenicke, Mountain Maryland Plein Air Workshop/Allegany Arts Council Sunday, June 25, 9am – 4 pm

Cost: $150 (lunch is included; please let us know if you prefer a vegetarian meal)

Workshop Description:

The camera also doesn’t experience the landscape in the same way as an artist; it doesn’t provide the sensory experience from the artist’s time spent observing the location. When painting outdoors, many artists fall into the trap of recording only the subject matter within the landscape. But more important to the plein air artist is to capture accurate information regarding values, color temperature and chroma (color intensity)…all things the camera messes up. In this one-day workshop, Jaenicke will discuss and demonstrate (in oil) the specific visual information she strives to capture in the landscape to take back to the studio. Artists may work in any medium.

Supply List:

Note: This workshop is open to artists working in any medium. Instructor demo will be in oil. Included here are suggested supplies for oil and pastel. If you’ll be working in a medium other than oil or pastel, please bring supplies that would be the equivalents for your medium to the ones listed here.
Weather-permitting, we’ll be outside all day, so please dress appropriately for the temperature and conditions. I recommend comfortable closed-toe shoes even in warm weather. If rain is predicted, we’ll move the entire workshop indoors.

I’ll conduct a morning demo from approximately 9am – 11am. Students will have the rest of the day to paint.

General supplies for plein air painting:

Portable plein air easel that will accommodate your medium Sunscreen and bug spray
Plenty of water and snacks Plastic bags for trash
Small, lightweight portable chair for viewing the morning demo


Reference Photos:

In case of inclement weather and we’re forced indoors, please bring a few of your own landscape reference photos. You may work from printed photos or from your iPad or small laptop. (Please, however, do not plan to work directly from photos on your phone.)

PASTEL SUPPLIES:

Pastels

Feel free to use your favorite soft pastels in a wide range of values. I use hard pastels for blocking in, and then wet down the block in with alcohol. (Nupastel 244 blue-violet is one of my favorite block-in colors.) I highly recommend organizing your pastels by value. Among my favorite soft pastels are Terry Ludwigs, Sennelier half sticks, Schmincke and Great American Artworks

Surface:

2-3 11×14 or 8×10 pastel surfaces, depending on how fast a painter you are.

Feel free to use your favorite surface. I prefer sanded paper mounted to a stiff panel. One of my favorite surfaces is True Grit panels (400 grit) available from www.frenchcanvas.com which are basically Uart paper mounted to gatorboard. You can also mount regular Uart paper yourself to foamboard or gatorboard with a spray adhesive. (For studies and workshop exercises, Scotch Photomount works well…spray back of Uart paper and panel surface, and press down edges and corners thoroughly). I don’t recommend other premounted versions of Uart, as the texture is different and difficult to work with. If mounting yourself, please have all paper mounted prior to workshop.
I use a liquid underpainting with alcohol, but you may use a dry underpainting if that’s your preference. Be sure your surface can accept liquid media if you choose to use a liquid underpainting.
Other pastel supplies:

• If using a liquid underpainting, rubbing (isopropyl) alcohol and jar for alcohol
• Brush for underpainting – I use a #8 or a #12 (depending on size of painting) old/worn bristle brushe, but other similar sizes can be used.
• Backing board (such as foamboard) to hinge your panel or tape your paper to if you’d like to free up your edges when your panel is placed on your easel
• Artist’s tape
• Hand wipes
• Paper towels
• Latex gloves or other hand protection if desired
• Small sketchpad and pencil

OIL SUPPLIES:

Paint*

Titanium White, Ultramarine Blue, Cobalt Blue, Viridian Green, Cadmium Lemon, Cadmium Yellow, Yellow Ochre, Permanent Red Medium, Alizarin Crimson, Transparent Oxide Red, plus Burnt Umber for toning the surface.

I tone my surface with a mixture of Burnt Umber and Alizarin Crimson (warm flesh color slightly lighter than a mid- value)…just a light wash with a rag or paper towel dipped into the mixture and thinned with mineral spirits. You can either tone your surface ahead of time or just before painting.

*I have no specific brand preference, but usually use Utrecht (for Titanium white), Rembrandt (for Transp. Oxide Red and Perm. Red Med.), Winsor Newton for Cad. Yellow, and Gamblin for all other colors. If you already have similar colors, feel free to bring what you have rather than purchasing exactly what’s listed above. What I’ve listed are typically the colors I’ll use in my demonstrations.

Surface

2-3 11×14 or 8×10 panels
I recommend panels from SourceTek (www.canvaspanels.com)–any of their sturdy panels are good–or French Canvas (www.frenchcanvas.com) Either oil primed or acrylic primed is fine.

Other oil supplies:

• Portable palette (if your plein air easel doesn’t already have one)
• Odorless mineral spirits (such as Gamsol)
• Container/brush cleaner
• Painting medium (I use linseed oil or solvent-free gel, but any medium is fine) and small container if needed
• Variety of brushes ranging in size from 2 – 10. (I use flats and filberts, both bristle and synthetic.)
• Palette knife
• Wet panel carrier
• Paper towels
• Hand wipes
• Latex gloves or other hand protection if desired
• Small sketchbook and pencil