Oil & Watercolor Workshops
When: October 2nd and 3rd, 2010
Where: Arts Umbrella in Woodinville, Washington
Contact: Kristin Morris, phone 425-415-0853 or email: email@example.com.
This workshop is given through EAFA.
Deanne will be judging the EAFA show, October 18.
Deanne will be the featured speaker at Women Painters of Washington on October 13th, 2010
Allied Arts Association 2012
**CLASSES SOLD OUT
When: March 15, 16, 17 2012
Classes begin: 9:30am to 4:00pm
Materials: A suggested materials list will be sent to each participant upon receiving deposit of $100.00 due March l. Balance is due March 8, 2012
Where: Allied Arts Gallery, Eduation Wing
89 Lee Blvd.
Contact: Jeannette Perry, Workshop chairman
Painting in watercolor has many advantages. One loaded brush travels clear across the paper, thus, it is faster than painting in oil. It dries quickly without a great deal of cleanup with distalants as required by oil. It is easier to transport than oil, not as bulky and messy . It lends itself to a more spontaneous response. The timing in watercolor is probably the most difficult to master, having to do with how much water and how much pigment is necessary to achieve the proper value or color and how wet or dry the paper. The beauty of a good watercolor is it’s transparency and immediacy. There is not another medium that can quite duplicate that remarkable feature.
GABRIOLA WORKSHOP 2010 (Federation of Canadian Artists)
**CLASSES SOLD OUT
When: September 13 through 19th of 2010
Where: The Haven, Gabriola Island, British Columbia, Canada
Contact: Vickie Daiziel, FCA Executive Director
FCA office 604-681-2744 or e-mail at firstname.lastname@example.org.
The beauty in oil painting, is it’s rich buttery texture, deep intense color, it doesn’t move on the canvas and can be manipulated longer than watercolor. It doesn’t dry lighter or darker but remains more constant in terms of value and color. While painting small field studies, the color may be truer depending upon whether the proper value and color field is close to what is experienced in the landscape. Painting in either medium can be deeply satisfying or the reverse, very frustrating.
While painting in oil, and the results are not what is desirable, it is possible to scrape out or wipe out certain areas of the painting and rework it providing the composition is acceptable. The goal for the representational artist is always to bring a 3 dimensional world into a 2 dimensional foremat. I always try and forgive myself and the paint, all the while knowing I can never quite capture the beauty in nature. It is a painting, painted by an inspired, dedicated , humble, appreciative artist!
Painting on Location
A word about painting on location. It is unpredictable except for one thing, the light. It will predictably change and you have a small window of time to “catch the light”. Because of this restraint, there is a spontaneity in the work that is usually not present in the studio when there are no time restraints . The brushwork on location work is usually broader, more direct, and the work retains a simpler and more forceful design, less “ fussy” . The feel of the painting is more human, more painterly and less contrived than a studio painting might be. While painting in the field or in the studio however, my concern is always for a good composition, if I can manage that, the correct value and color choices can be made.