Gene Costanza “Five Days Ablaze!” ~ April 4 – 8 2016

Getting Older

It has been said that painting is a very special time when opportunity and preparation meet.  Workshops can be seen as a time to gather information and prepare oneself for when those times are at hand.   Fleeting moments and inspiration occur quickly……  Are you ready to sieze that moment? Have you trained  yourself to hold that idea until you can do it justice?
As much time as possible, given the vagaries of plein air painting (location, class size and weather) will be spent with individual students, with an emphasis on one-on-one time.  Gene will work to maximize your strengths  and minimize or identify your weaknesses to allow you to advance toward your goals. This workshop is for you and the goals you want to achieve in painting outdoors.
The class is open to all levels, however, students should be thoroughly familiar with their equipment and be able to set up their easels.
If you have never painted before, please contact Gene through the Southern Atelier or through his website.
Please obtain a copy of Carlson’s Guide to Landscape Painting and read chapter 3 if nothing else. Preferably make your way through it all. 
Workshop fee: $600
 
SUGGESTED SUPPLY LIST: Please do not bring student grade paint.
Gene uses these on his basic palette :
Graham alkyd titanium white
Rembrandt perm. red med.
Utrecht ultramarine blue
Utrecht cad. yellow lemon
Rembrandt cold grey
Regular Optionals:
Rembrandt cobalt blue light and/or
Rembrandt kings blue and/or
Vasari Bice
Vasari Shale
Vasari Ruby Violet
Thalo green
Vasari Shiprock
Vasari Rosebud
Holbein Perm. green light
The VASARI neutrals above, are values that are helpful. They are expensive but they are of the highest quality. You are not expected to have them all, I offer them as options and things you may want to be aware of over time.
Panels:
I usually use Alkyd primed linen from Wind River Arts, number 350 (smooth) or 359 (courser ). I use smooth for smaller panels, but courser for work 20×24 or larger. I have a local shop mount my linen either on birch panel, or foam core, as needed. All have advantages and challenges. For a workshop have a supply of 8×10, 9×12 and at least two 12×16. I usually do not use oil primed linen as I find it slippery. Usually does not mean never. I also sometimes use just acrylic primed, cheapos, which seems to free one up to go for it in the field.
Brushes:
I have moved almost exclusively to Rosemary Brushes. I use the Long Ivory Flats. And series 2025.
Mediums:
LIQUIN mostly
Graham alkyd walnut oilGraham megalipEQUIPMENT:
Field easel of your choice. I often use a French Easel with portable palette (Wind River Arts) or the Open Box M (10×12 is what I have at present)
(Slik) tripod
(Holbein) turp can
(Viva) paper towels
palette cup if you so choose
various clamps to hold or fix things.
leatherman type tool
corkscrew
Rain and wind gear
panel carrier(s)
waterSAFETY AND SECURITY:
THE BUDDY SYSTEM!!! I ADVOCATE GOING OUTSIDE WITH AT LEAST ONE FRIEND. FROM NEIGHBORHOOD TO WILDERNESS, SAFETY FIRST.
bear spray
bug spray
water
food (maybe except in bear country)
whistle
spare car key in painting bag

READING LIST:
Critical:
These are critical to the landscape painter, and simply must me read at least once.
John F. Carlson LANDSCAPE PAINTING
Edgar Payne COMPOSITION OF OUTDOOR PAINTING

SUGGESTED:
OILS Trevor Chamberlain
Landscape painting Richard Schmid
The books and CD’s of Scott L. Christensen
Landscape Painting Birge Harrison
Landscape Painting Sir Alfred East

Books by David Curtis:
Painting with Impact
Painting on Locations
Capturing the moment in oils