Plein Air Painting with Gaye Adams scheduled from September 8-15, 2017
This course will focus on introducing painters to the basic skills that are key to producing successful field studies. Leaning to design from what is in front of you, simplifying and developing a process for recording the most changeable elements quickly and accurately, and completing the painting in one sitting is where the focus of the course will lie. Finding correct tonal and color relationships right from the start will teach students to create convincing and atmospheric paintings.
Instruction will consist of a morning demo, and then one on one coaching as the painting day progresses. Students will be encouraged to paint smaller paintings and more of them, so that they can be completed before the light and other elements change drastically.
Plein air painting is hugely valuable in terms of skill building for the developing painter; in addition it is challenging, stimulating and extremely engaging. Nature offers up many gifts to those who sit and study her. Whether you are just beginning your journey as an outdoor painter, or just looking to increase your skill set, this workshop will do both.
Oils are recommended for this course, but pastellists and acrylicists are also welcome. Gaye will be working in oils.
I’m expecting this workshop to fill up quickly as our maximum is 12 painters.
Tuition includes welcome dinner and orientation, 5 full days of plein air painting with instruction at remote locations only accessible by boat plus 1 free day to relax, paint or tour the island, a final critique and windup celebration, accommodation, welcome dinner, stocked breakfast and packed lunches plus daily prepared dinner at WhaleKum Inn, coffee, tea, water (in studio and on board The boat).
Tuition does not include transportation to and from Pender Island, transportation while on Pender Island, and all other activities.
Depending on the accommodation type the total cost of LeMistral Painting Workshops range from $1,836.00 to 2,190.00
Our Maximum number of painters is 12 however we can accommodate up to 16 persons in case partners would like to take a holiday on Pender Island. There are activities such as sea kayaking, sailing, fishing, hiking, whale watching and golfing.
Accompanying Partner = $1000.00
About Gaye Adams
I am blessed to live the life of a painter. My work is not at all difficult to understand. It is merely an ongoing exploration of that which I find beautiful, from the everyday to the extraordinary. What really drives me to the easel is my love of rendering light. Backlight, cast shadows, bounced light – all of it is quite mesmerizing to me. I enjoy the other elements [resent in the visual field, those of colour and design etc., but the light hooks me every time.
In addition to doing my larger studio paintings, I very much enjoy painting on site, and have been privileged to do a fair amount of traveling and painting in the last number of years. I also enjoy doing small studies of the still life and the model in my studio during our long Canadian winters. To balance the solitude of my life as a painter, I find a great deal of fulfillment paying forward the skills my mentors have passed on to me to my students. What a joy. I have gotten to meet some really amazing folks through the years.
If you have any questions or comments for me, please feel free to drop me a line. I would love to hear from you.
Visit Gaye Adams website here
*see Gaye’s plein air landscape demo on youtube here
Suggested Equipment and material list.
- I like Raymar supports, specifically the featherlight series that can be ordered at Raymar.com. These can be more pricey than other supports but they are wonderful to use in the field. They are canvas mounted on board, and are very portable, light, and archival. Stretched canvases are bulky to transport, and the light can shine through them on location, so panels are preferable.
- Any support you bring should be well gessoed with acrylic gesso, so that they are not too absorbent. I recommend not working any larger than 8X10” for this workshop. Plan on bringing at least six – eight panels. Also bring some 6X8” supports – perhaps three or four.
- A pochade box is ideal as it is designed specifically for painting outdoors. They are an investment, however, and I do not expect you to go out and purchase one if you are not certain you will continue to paint outdoors.
- Another option is a french easel, or a portable easel of another type. Whatever your system, please set it up and try it out at least once before the workshop….it will give you time to tweak your set up so it is not problematic in the field. Having a system in a back pack or on rollers is best.
- Blue automotive shop towels (these are lint free, strongest, and most absorbent
- A plastic grocery bag for soiled towels
- A leakproof container for solvent if you are an oil painter, for water if you are an acrylicist.
- A Viewfinder – these can be purchased at most art supply stores. We want the type that is neutral gray and has a small peek hole that can be used for isolating colors. You can make one out of gray mat board, say 3X3” square, with a pencil size hole in the middle of it.
- Bring a brimmed hat of some sort, and sun screen
- Packed lunch and water as we will likely be out in the field over lunch hour.
- Wet panel carrier of some sort for oil painters. Even a pizza box will work for this purpose.
- Portable stool. I find an inexpensive tripod style stool the easiest to use – it is light and compact. Canadian tire usually carries these. Even if you like to stand while you paint, you may wish to sit during demos.
- Full Palette:
- Titanium White
- Cadmium Yellow light or Cadmium Yellow
- Yellow Ochre
- Transparent Red Iron Oxide or Transparent Earth Red
- Cadmium Red Light
- Alizaron Crimson
- Ultramarine Blue
- Pthalo Blue
- I use Gamsol to clean my brushes while working in the field. It is worth it to spend a little
more and get a solvent that is odorless
- Walnut oil, neomegilp, or linseed oil to help your paint flow out if needed
- Acylicists should bring a polymer glazing liquid and use a stay wet palette
NOTE: If you have oils, please bring oils instead of acrylics. They are much easier to use in the field due to delayed drying time and malleability.
I will be working in oils.
Bring a variety of sizes and shapes.
Here is what I typically use:
- Size 2,4,6,8,10,12 (note these sizes can vary widely between manufacturers, so rather than looking at the number on the brush just think: small, like 1/8”, up to large, such as 3/4” to 1” – good quality hogs hair. A good quality brush costs more, but keeps it’s shape and doesn’t shed bristles.
- Same sizes in softer synthetic mongoose or other good quality synthetic brush
I find flats and brights the most versatile and useful.
I would rather you bring fewer brushes, but better quality brushes.
A good quality brush will keep it’s shape when wet, and will have some spring to it.
If you have any questions around the supply list, please email me directly