Wet and Wild

JGPollard.Play of Light
JGPollard_Creek Splashes!
JGPollard_Crescent Moon Ranch
JGPollard_Below Midgley Bridge
JGPollard_Impatiens by the Creek

Description

WET & WILD! 

Julie Gilbert Pollard

May 3 – 5, 2019

Plein air to studio – Paint in the Medium of Your Choice  – With Demos in Watercolor & Oil

Learn to paint water that looks wet, reflective and splashy! With stunning Oak Creek as your model, study the anatomy of a water cascade. Techniques will be demonstrated to address the various puzzles with which the artist is faced when painting this stunning, fascinating and challenging subject!

 

DAY ONE – PLEIN AIR

  • The first day will be spent “en plein air” at a nearby Oak Creek location. You can do “light” plein air painting, i.e. sketching, color-sketching or simply taking photos, using a minimal set-up – or you can take a full assortment of plein air equipment. The joy of a plein air experience should be accessible to all! So the amount of equipment you take is your choice. There are lists of suggested supplies available for levels of activity at both ends of the spectrum.
  • The second and third days will be spent in the SAC studio, using material gathered the previous day, working on paintings started on location or beginning new paintings, as you wish.

 

DAYS 2 & 3 – STUDIO LESSONS WILL FOCUS ON:

  • Demos in both transparent and opaque mediums, i.e. :
    • Transparent: WATERCOLOR which is adaptable to Fluid Acrylic used-as-watercolor
    • Opaque: OIL which is adaptable to Heavy-body (tube) Acrylic used as an opaque medium

(Naturally, Acrylic can be used in both manners in the same painting.)

  • Maintaining the plein air “feel” and sensitivity in studio painting
  • Using your photo as inspiration rather than absolute visual fact
  • Introduction to “Acrylic Underpinnings” for Watercolor and Acrylic painters (the small amount of fluid acrylic necessary will be furnished)
  • A similar technique will be used for Oil painters using Alkyd Purple Lake (the small amount required will be supplied)
  • Negative painting lessons for the watercolorist (also applicable to Fluid Acrylic used-as-watercolor)
  • Paint handling lessons for the Oil painter (also applicable to tube Acrylic used like Oil)
  • Creative use of color – color mixing – painting with green – “using color as value” (as seen in her North Light Books and Videos)

All levels are welcome and encouraged to attend. The only prerequisite is an attitude of joy in the act of painting.

There will be demos, instruction at all levels as needed, individual critique and lots of painting time. Class time will be structured, yet open enough to accommodate the artistic spirit within us all!

www.juliegilbertpollard.com

Julie Gilbert Pollard

Julie Gilbert Pollard

Julie Gilbert Pollard paints in oil and watercolor in a fluid, painterly manner, a painting style that is representational, yet colored with her own personal concept and perception. She is the author of three North Light Books including Discover Oil Painting and Watercolor Unleashed, plus nine videos and several additional publications.

She has given instruction in watercolor and oil since 1985 in numerous venues such as La Romita School of Art in Umbria, Italy; Cheap Joe’s Art Workshops in North Carolina; Saanich Peninsula Arts and Crafts Society in Sidney, B.C., Canada, Vale do Lobo in Portugal; Sedona Arts Center School of Art and Scottsdale Artists’ School in Arizona.

A frequent award winner, Julie’s oils and watercolors have hung in numerous juried and gallery exhibits and is a signature member of the National Oil & Acrylic Painters’ Society, Arizona Watercolor Association and San Diego Watercolor Society.

Julie loves to paint and share her studies and methods. “It’s an elusive image I try to express in my paintings – one I’m continuously striving for. This world of ours is often a frightening and mysterious place, but is filled with scenes and subjects that excite my eye and imagination! The magical allure of the natural world, and my reverence for it, compel me to attempt to capture its essence in paint.”

WET & WILDPlein air to studio!

Paint in the Medium of Your Choice

With Demos in Watercolor & Oil (Acrylic is Welcome*)

SUPPLIES FOR PAINTING AND/OR SKETCHING “EN PLEIN AIR” and STUDIO
Copyright – Julie Gilbert Pollard
C 602-448-6195      JulieGilbertPollard@cox.net      www.JulieGilbertPollard.com

The first day will be spent “en plein air” at a nearby Oak Creek location. You can do “light” plein air painting, i.e. sketching, color-sketching or simply taking photos, using a minimal set-up – or you can take a full assortment of plein air equipment. The joy of a plein air experience should be accessible to all! So the amount of equipment you take is your choice and you are free to bring whatever supplies you are comfortable with. I strongly suggest however to keep your equipment as minimal as possible. Unless you are a seasoned plein air painter, I’d like to recommend that you focus on our subject matter – rocks, water and foliage – rather than more equipment-intensive challenges. But PLEASE use the supplies you are personally comfortable with.

After registration you will also receive a 2-part (2 PDF docs) article on plein air painting by email that shows in photos my minimal supplies and my “maximal” set-up as well. You will also find a minimalistic option for oil painting in the article.

MISCELLANEOUS EQUIPMENT THAT APPLIES TO ALL MEDIA

  • Backpack or other carrying case
  • When using a plein air easel I use an EASyl Lite – http://artworkessentials.com/Index.htm – for oil or watercolor
  • For sitting, a great option is an “Art Comber” which is a folding chair on wheels with a large supply compartment (which can also take the place of the carrying case), widely available at online art supply stores. Alternatively, you could bring a small folding stool if you like. However, many people, including myself at times, simply find a rock or wall to sit on and put their painting board on their lap or the ground – in which case I advise bringing a cushion or at least a towel to sit on – rocks are hard and cold!
  • Sketch book
  • 2B Drawing pencils, or personal choice (I oftern use gray Prismacolor pencils as they do not smudge.
  • Pencil sharpener
  • “Vanish” eraser (Jerry’s Artorama), “Click eraser”, gum eraser or kneadable eraser
  • White facial tissues + baby wipes for quick clean-up
  • Camera, extra batteries, extra memory cards (My phone serves as a backup camera. I once broke a camera on a trip, so I try to be prepared.)
  • If you have one, an Electronic Tablet or iPad on which to either take photos or to view photos later in the studio

PERSONAL COMFORT ITEMS

  • Hat
  • Sunglasses
  • Sunscreen
  • Cell phone
  • Drinking water
  •  Snacks and/or lunch
  • Jacket
  • Artist’s tape or duct tape could come in handy
  • Knit gloves with the fingertips cut off
  • Insect repellent: wipes, spray, etc.

WATERCOLOR SUPPLIES

You are welcome to use your usual Watercolor supplies – here are mine:

PAINT

Note that for plein air watercolor I use M. Graham paint – it’s made with honey, and re-constitutes with water better than other brands – making it great for travel. I squeeze out sizable amounts into my travel palette and allow to dry overnight so that the paint doesn’t escape from the palette during travel. This provides plenty of paint so I don’t need to bring the tubes. Another good choice would be full- or half-pan watercolors – often sold in a travel kit palette with pre-selected colors, but you can buy individual pans as well. For plein air I normally use the following M. Graham colors:

Hansa or Azo Yellow                                        Quinacridone Red                                    Cobalt Blue

Nickel Azo Yellow                                             Quinacridone Rose                                  Anthraquinone Blue

Indian or Gamboge Yellow                             Cobalt Violet                                              Manganese Blue

Cadmium Orange                                             Ultramarine Violet                                    Turquoise

BRUSHES

  • #8 or 12 round (Kolinsky sable, nylon or synthetic/natural blend – I mostly use a Connoisseur Kolinsky sable #8)
  • #4 “Quill”/mop
  • ½”, ¾”, & 1″ Aquarelle (flat brush with beveled tip to the handle), nylon or “blend” (no particular brand)
  • Winsor & Newton Artists’ Watercolour Sable # 3 or 4 Pointed Round (“pointed round” is longer hair than “round”)
  • 2″ wash or Hake

PAPER

  • 2 – 4 pieces of watercolor paper, 11×14, which is very portable, along with a drawing board – I use an 11×14 piece of “plexiglass” – very thin and lightweight – bulldog clips to attach paper to plexiglass
  • More portable: 10×14 watercolor block
  • Even more portable: 9×12 Strathmore Visual Journal 140 lb. Watercolor pad

 

MISCELLANEOUS ITEMS

  • I use a Mijello 18 well travel palette for both plein air and studio painting.
  • Collapsible water container for plein air – larger container for studio
  • Spray bottle – I use eyeglasses cleaning solution spray bottles for their fine mist spray.
  • Old white towel, bath size or larger
  • Tracing paper
  • Wet Media Acetate – optional – I order from Dick Blick
  • Masking fluid and “rubber cement pick-up” – masking materials are optional

*ACRYLIC – Acrylic supply list is available upon request – Though demos will be in WATERCOLOR and OIL you are welcome to use ACRYLIC – for the Acrylic painters, I will refer to “transparent” and “opaque” painting, e.g.:

  • Transparent WATERCOLOR techniques are adaptable to Fluid Acrylic used like Watercolor
  • Opaque OIL techniques are adaptable to Heavy-body (tube) Acrylic used like Oil

OIL, WATER-SOLUBLE OIL or ALKYD OIL

You are welcome to use your usual Oil painting supplies – here are mine:

PAINT

Here is a very pared-down list of STANDARD colors that provide a balanced palette. This is a SUGGESTED list only – please use your own favorites! I use mostly Holbein DUO Aqua Oils – the colors listed below are available in “DUO” and most other brands as well (exceptions noted), and provide a good starting palette of colors with both warm and cool versions of the three primary colors. (My colors vary a bit from time to time as I try new ones.) The 7 shown in red (and underlined) directly below are a good minimal starting palette:

Titanium White

Lemon Yellow or Cadmium Yel. Light

Quinacridone Rose or Rose Violet (DUO)

Manganese Blue

Indian Yellow

Quinacridone Scarlet/Red

Cerulean Blue Hue

Cadmium Yellow

Cadmium Red Light

Ultramarine Blue (Light, DUO)

Naples Yellow

Lilac (DUO) or

Lavender (DUO) or

Jaune Brillant

Radiant Violet (Gamblin)

Radiant Blue (Gamblin)

BRUSHES—bring your favorites—these are mine:

  • I use bristle brushes: flats, brights and filberts, from size 2 to 8 (+ size 10 for larger canvases) and a few Winsor Newton Monarch flats and brights in a variety of sizes including a round, size 1 or 2 for signature.

SUPPORT

  • 2 – 4 archival canvas boards, 11×14, 9×12 or 8×10 – I use Raymar Feather Lite archival canvas boards
  • Wet painting carrier in size appropriate for canvas – Raymar is lightweight
  • Note: If you plan to paint on top of your watercolor block-in with oil later in the studio you will get better results if you coat the surface of the canvas with Daniel Smith or Golden Watercolor Ground ahead of time. Please refer to my PDF plein air article e-mailed to you that explains this method.

MISCELLANEOUS MATERIALS AND EQUIPMENT

  • Odorless mineral spirits/OMS (if you use water mixable oils, plain water is OK though I personally still prefer mineral spirits)
  • Gamblin Galkyd Gel in tube or Winsor & Newton Liquin Impasto in tube
  • Two containers for the mineral spirits – I use a Silicoil Tank or a10 oz. sealable pot for use while painting and an 18 oz. plastic jar for the used spirits – the OMS will be re-used to protect the environment and to save money!
  • Palette: I use a disposable paper palette pad
  • Palette/painting knives: I use two trowel type knives, one about 1″ long and one about 3″ long
  • Apron
  • Viva paper towels and a couple of rags
  • Disposable latex or nitrile gloves – optional, but I use them every time I paint with oils.
  • Small Fredrix real canvas tablet for studies and exercises








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