Each group and each student is unique! My goal is to offer a roadmap that will continue to guide your creative journey long after the workshop is over. To bring more clarity to your work. To learn to paint with intent. To continue the journey from ‘painting’ to becoming a ‘painter’. And most importantly – how to develop the mindset of ‘practice’ that leads to successful ‘performance’.
Day one: I will be doing a demo start to finish, explaining my thought process for each step, aiding you in developing a personal methodology. During the demo we’ll touch on a variety of subjects – drawing, design, value, color, harmonizing your painting, materials and brush and paint handling. We will discuss how to approach your creative process – concept, scene selection and preparation. You will learn the steps that prepare the groundwork for a successful painting.
Day two: Permission to slow down and find the joy! You will have time to work through each of the preparatory steps for creating a painting ‘en plein air’. I’ll be teaching a method not a style. Whether you’re new to plein air or an experienced professional having a structure that allows you to check your progress at each stage before moving on to the next will bring more consistency to your efforts. You’ll avoid a problem, unresolved from an early stage in the process, spoil what otherwise may have been an inspired painting. Start strong! End Strong!
Day three: The day will be devoted entirely to using the preparatory work from days one and two to bring your paintings to completion. Each student will receive individual instruction. The day will be devoted to putting into practice the concepts we’ve covered and allow you to focus on that on the thing that is going to put wind under your wings!
Bring your questions, your curiosity and some thoughts about what you’ve been most wanting to improve!
Carrying on the great traditions of representational oil painting and passing that torch to her students are Lyn’s two great passions in life. She is an award winning plein air and studio oil painter with works that hang in private collections across the United States. After returning from studying art in Melbourne, Australia, Lyn began a 25 year career as an American illustrator and painter, garnering awards from the Oil Painters of America, Fine Art Connoisseur Magazine, Southwest Art, the Society of Illustrators, the Art Directors Club, the Illustrators Workshops, and the American Institute of Graphic Arts.
Lyn’s early inspiration came from the great Illustrators of the Golden Age of Illustration and their contemporaries, the American and European painters of the late 1800’s and early 20th century. She was captivated by not only the power of the images but their story-telling ability. Lyn takes the focus, energy and ability to respond in the moment required of plein air painting and uses it to inform and bring life to her studio work. Lyn’s devotion to painting ‘en plein air’ takes her on the road for more than half the year before returning to her studio in Durango, Colorado for the winter months. Her commitment to teaching began with nearly a decade as an illustration instructor and now continues through her workshops.
I paint because it’s necessary. It’s part of my DNA. My North star. The few times I’ve tried to escape it, it’s always chased me down. I feel whole when I paint, directionless when I don’t. I remember every minute of a day spent painting. It tunes the senses and the soul.
My inspiration comes always from patterns. They are the first things to draw me to a subject. Divisions of space. Light and dark. The subtle and not so subtle. Whether I’m responding to something from the natural world, the world of man or an interesting intersection of the two I’m compelled by a need to capture the moment. I have an overwhelming need to first understand what’s captivated me, second, interact with it using brushes and paint, and finally share the results – my view of the world.
My paintings are always about what compelled me to paint something in the first place. For me a successful painting is the one that is able to elicit that same feeling in concert with a more personal feeling known only to the viewer. I consider that the completion of a painting.
Plein Air Workshop Supply List
The supply list is just a suggestion. Supplies are expensive so don’t feel you need to go out and replace all of your equipment! The list is what I use and will be demonstrating with. It will be easier to do the exercises if you can bring supplies that are somewhat similar. These are my personal preferences. The only things I’d like you to bring verbatim from the list are the items under the ‘SKETCHBOOKS AND MARKERS’ and ‘SOLVENT & MEDIUM’ sections. We’ll do some of our most important studying using the sketchbook and markers. “Start strong end strong!”
Contact Lyn with questions about the class: email@example.com
Centurion Deluxe Oil Primed Linen Panels
3 – 8×8
2 – 9×12
Wet Panel Carriers (I like Raymar and Panel Pak)
SKETCHBOOKS AND MARKERS: REQUIRED
Strathmore 400 Series
– 7”x10” hard-covererd Field Drawing sketchbook
– 4”x6” soft cover, top spiral bound sketch pad
Prismacolor Premier double ended chisel markers:
– Cool Gray: 30, 50, 70, 90 and black
Pen for note-taking
HB mechanical pencil for sketching
SOLVENT AND MEDIUM
PLEASE BRING ONLY Gamblin Oderless Mineral Spirits for your solvent and only M.Graham walnut oil for a medium. Solvent container / brush washer. Note: The Sedona Arts Center will provide Oderless Mineral Spirits for students use and reclaim used spirits.
M. Graham Oils – except where indicated:
Titanium White – 50Z. (M. GRAHAM or GAMBLIN)
Cad Lemon (GAMBLIN)
Cadmium Red Light
Alizarin Permanent (GAMBLIN)
Manganese Blue Hue (GAMBLIN)
Transparent Red Oxide
Rosemary Ivory Long Flats – long handled: 2,4,6,8 10,12
Blick Palette Knife Style 4 – 3/4 in x 2 1/16 in.
Double ended rubber wipe out tool
Gloves in a Bottle Shielding Lotion
Paper Towels – Viva Select-a-size
Gray Scale And Value Finder Card
Single edge blade paint scraper for cleaning palette
Small garbage bags
ADDITIONAL PLEIN AIR GEAR FOR PLEIN AIR WORKSHOPS:
Use whatever brand of easel and tripod you’re used to and prefer. My personal favorite is Josh Been’s – Daytripper.
Umbrella – BestBrella – white (I try to not use an umbrella)
Neutral colored shirt/jacket