Sedona Fall Colors

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Description

This workshop follows the week-long Sedona Plein Air Festival Oct 13 – 20, 2018. Betty Carr will be participating in the festival.

In this five-day workshop learn to capture the beauty of light! Betty Carr teaches students to accurately portray the effect of light on any subject in watercolor or oil. Students can work in either medium and will explore a variety of locations in beautiful Sedona.

During her workshop Betty begins each day with a demonstration/ lecture covering tools, techniques, brushwork, problems and solutions. Emphasis throughout the workshop is on organization and simplification of darks and lights, value and color relationships, edges, movement and mass to create a dynamic, coherent composition.

Betty Carr’s energetic style and enthusiasm for painting and teaching create an infectious atmosphere of adventure and “can do” among her students. She has traveled the country teaching workshops for many years. Her instructional book “Seeing the Light” is available through North Light Books.

TUITION:
Oct 5-day course $600

First Meeting on Monday is 10:00 am in the North Studio on the Arts Center Campus. Instructor will arrange location meetings for the duration of the week.

Payment Options: Students may pay in full or choose the payment-plan option during registration. The payment plan requires a non-refundable $125 deposit with the balance due 30 days before the first day of the workshop.

Cancellation/Refund Policy: The $125 deposit is non-refundable; the balance is due one month before the first day of the workshop. No refunds after the one-month cut-off date. If paying in full upon registration, $125 of the total tuition fee is non-refundable. There are absolutely no refunds after the 30 day cut-off date for any reason, unless the Sedona Arts Center has to cancel the workshop, then all money paid will be refunded in full.

Betty Carr

Betty Carr

Betty Carr was born and raised in Santa Cruz, California and developed a love of art from visiting museums. For 23 years she taught art in public schools and did sculpture in her spare time. In 1980, she married landscape painter, Howard Carr, and they have devoted their lives to painting. They travel several months of each year, from Oregon to South Carolina in a specially equipped mobile home. In numerous locations, they teach artist workshops. She advises her students to draw continually because – drawing is critical to good painting.

From the time she was a young girl, Carr has been represented by galleries. She has been featured in numerous publications including Art of the West, Southwest Art, American Artist, Art Talk, American Artist and Vitality magazines. Betty is proud of her acceptance into the exclusive Knickerbocker Association of New York City. Energetic, brightly colored landscapes and still lifes are the signature work of this artist who is known for her skillful use of light, color and shadow. On the influence of light on her watercolors, she writes – “What catches my eye is the effect light has on form in unique situations whether fleeting, spilling over, striking, etc. I challenge myself in capturing its dramatic and/or subtle effects. I strive for confident enthusiastic brushwork, the maximizing of color’s value and intensity range and a fresh painterly approach, the result appearing effortless.”

  • Oil Paints
    Alizarin Crimson Ultramarine Blue Cerulean Blue Cadmium Yellow Lt. Cadmium Red Lt. Cadmium Red Medium Burnt Sienna Yellow Ochre Cobalt Blue Viridian Sap Green Lemon Yellow Titanium White Optional- Permanent Rose
  • Oil Palette
    Wood; Plexi Glass, Paper, Easel Pal, French Mistress or French Companion, your preference
  • Oil Brushes
    Hog Hair Bristle: Flats and/or filberts, #4, #6, #8, #10, a couple small to medium soft hair brushes for blending effects and edge work. Pallet knife for mixing and painting. I prefer good quality flats and recommend the Silver- Grand Prix and Silver -Bristlon, various sizes (favorite #4, #6 #8)
  • Canvas
    Pre-stretched cotton, and/or linen; panels are also fine; a variety of small to medium sizes, your choice as to size preference; (small to large). generally small to medium (6x8, 8x10, 9x12, 11x14, etc.)
  • Medium
    Odorless mineral spirits, refined linseed oil. Containers to hold mediums
  • Other Oil Supplies
    Paper towels, paint cloths, pencil and sketch pad, trash bags If painting in the studio- bring a few of your favorite photos- (landscapes, Still-life, architecture, seascapes, etc. )
  • Easels and Umbrellas
    Bring your favorite pochade box, French easel or other easel/palette system that you like for painting outdoors. Also, an umbrella for your easel if you like - it can make a difference in your choice of painting locations – you don’t have to hunt for shade.
  • Watercolor Paints
    Feel free to choose your favorite brands Alizarin Crimson Antwerp Blue Ultramarine Blue Burnt Sienna Yellow Ochre Permanent Rose Winsor Red Cobalt Blue Maganese Blue Cad. Orange Cobalt Violet Cad.Yellow lt. Lemon Yellow Viridian Colbalt Violet Quinacridone Burnt Orange Opaque White (Favorite Brand) Cad. Scarlet Sap Green Carr Yellow (American Journey)
  • Watercolor Palette
    Robert Wood, Pike, Robbie Laird, Cheap Joe's – the larger the better which ever you prefer.
  • Paper
    D’Arches 140lb Cold Press, D’Arches watercolor blocks are fine all though I prefer sheets. Sketchbook for preliminary value studies. 300lb D’Arches can also be used.
  • Watercolor Board
    Watercolor Board, Gator Board, Foam Core (double thick) for stretching watercolor paper. Suggestion - bring two boards.
  • Pencils
    HB, 2B, 4B, etc. ( a couple watercolor pencils)
  • Erasers
    Gum, Pink, Pearl, Magic Rub, etc.
  • Watercolor Brushes
    Incorporate your favorite, preferably larger rounds, #8, #10, #12, #14, etc. Also a couple smaller round and flat brushes for details. 1” – ½” Flats for washes. Pallet knife for scratching detail and textural work, small fritch (cheap joe’s) or short, small, stiff brush to lift edges and lights. Recommended Brushes: Joe Miller signature Series 50/50 Brushes, Silver Black Velvet stripper, Escoda Reserva Tajmyr-Kolinsky (Aquario, Barcelona). Note: We will be using expressive, impressionist strokes; large rounds and flats work best for excellent results.
  • Other Watercolor Supplies
    Liquid Frisket, spray bottle, paper towels, salt, sponge, rubber cement pick-up, masking tape, baby toothbrush, small bar of soap, Q-Tips, Kleenex. Bring an easel if you prefer to work on it. We will be working outdoors. Bring an easel or pochade box if you prefer to work upright. Also, an umbrella for your easel if you like - it can make a difference in your choice of painting locations – you don’t have to hunt for shade.
  • Books
    Seeing the Light, an Artists’ Guide” by Betty Carr “Hawthorne on Painting” by Mrs. Charles Hawthorne “The Art Spirit” by Robert Henri

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