Saturdays 9 to 12

September 7th to October 26th

Supplies List

Click Here for a video demonstrating my kit.

Email me at adrianeisenhower@waltonavenueatelier.com with questions. Most of these materials can be found at Lakewood Art Supply on Madison Ave.

-Sketchbook/Pencils

-Paint:

If we are new to painting, I highly recommend starting out by working in black and white (grisaille). In which case, the following will suffice:

Titanium White

Ivory Black

If we want to have a color gamut to work from, this palette of primaries will do:

Ultramarine Blue

Cadmium Yellow Light

Alizarin Permanent

We can discuss in person what colors to add to your palette if interested.

-Brushes: Use the brushes you are familiar with. For those of us who are just beginning, an assortment of different brushes will be adequate.

For my initial block-in with paint I like to use filberts. I usually use Silver Grand Prix Filberts, size 2, 4 or 6 For the upper layers of paint, and form modeling, I use sable filberts from size 2 to 12. This is my preference.

-Palette Knife/Knives
-Medium
Cold Pressed Linseed Oil

If you have a medium you prefer, that is fine. Whatever medium it is, I recommend you work with it consistently to gain familiarity with it.

-Rags/Cut up t-shirt/shop towels or paper towels by Viva

-Small stainless-steel palette cup to hold your linseed oil

-Jar with turps, for cleaning brushes

-Panels/Canvas:

I recommend rigid panels or oil paper between 5×7 and 11×14. Ampersand Gessoboards are readily available. Stonehenge oil paper is carried at our local art supply store in Lakewood. I can vouch for oil primed linen panels by Centerion. They can be found on the Jerry Art Arama site at a reasonable price.

Preparing your own panels on MDF or Baltic Birch is also good option. Email me with questions regarding this process.

Pochade box, French easel, Italian easel with cigar box :

We will need a system in place that holds our panels and provides a palette. I have long used a pochade box called OpenBox M. If you have any questions about what will work best for you, email me.

Itinerary

Week 1: Introduction to Plein Air Painting and Light & Shadow

Studio Session:

-Introduction to plein air painting: history, benefits, materials overview.

-Discussion on the importance of light and shadow in painting.

-Demonstration: how light and shadow create form and atmosphere in landscapes.

Activity:

Studio exercise: still life or simple indoor setup focusing on light and shadow.

-Critique and feedback on indoor paintings.

Week 2: Planning and Preparing for Outdoor Painting

Studio Session:

-Techniques for sketching and planning compositions.

-Introduction to portable easels, paint storage, and necessary outdoor gear.

-Choosing a suitable painting location: discussing light conditions and compositions.

Activity:

-Students prepare their outdoor painting kits.

-Practice sketching compositions in the studio or nearby outdoor spaces.

Week 3: Outdoor Painting Excursion – Local Park or Gardens

Outdoor Session:

-Set up in a local park or garden.

-Focus on capturing natural light and shadow in the landscape.

-Instructor demonstrations on plein air techniques.

Activity:

-Students paint landscapes outdoors, focusing on light, shadow, and atmospheric effects.

-Individual guidance and feedback during the session.

Week 4: Outdoor Painting Excursion – Urban Setting or Historical Site

Outdoor Session:

-Visit an urban setting or historical site for a different plein air experience.

-Emphasis on capturing architectural details, light/shadow interplay in man-made structures.

-Discussion on incorporating figures or urban life into plein air compositions.

Activity:

-Students paint urban landscapes or historical sites en plein air.

-Review of works-in-progress and feedback.

Week 5: Museum Visit and Analysis of Plein Air Paintings

Studio Session:

-Discuss the role of museums in studying art history and techniques.

-Introduction to plein air paintings from different historical periods and artists.

-Analyze how light and shadow are portrayed in museum pieces.

Activity:

-Guided visit to a local museum with a collection of plein air paintings.

-Sketching or note-taking on techniques observed in museum artworks.

Week 6: Coastal or Waterfront Painting Excursion

Outdoor Session:

-Visit a coastal area, lake, or riverfront for plein air painting.

-Focus on capturing reflections, water movement, and changing light conditions.

-Techniques for painting water and sky in different atmospheric conditions.

Activity:

-Students paint waterfront landscapes en plein air.

-Group critique and feedback on paintings.

Week 7: Forest or Rural Landscape Painting Excursion

Outdoor Session:

-Explore a forested area or rural landscape for plein air painting.

-Study light filtering through trees, textures of foliage, and natural color palettes.

-Techniques for creating depth and atmosphere in woodland scenes.

Activity:

-Students paint forest or rural landscapes en plein air.

-Review of works-in-progress and feedback.

Week 8: Final Outdoor Painting Excursion and Critique

Outdoor Session:

-Final plein air painting session at a selected location (students’ choice or instructor’s recommendation).

-Encourage students to apply techniques learned throughout the course.

Activity:

-Catered lunch at the Hildebrandt Artist Collective

-Group critique of final plein air paintings.

-Discussion on progress made and areas for further development.

-Wrap-up session: reflections on the plein air experience and future painting goals.

Notes:

Materials: Ensure students have access to basic plein air painting materials such as easels, portable palettes, brushes, and suitable outdoor paints.

Safety: Always consider weather conditions and ensure students are prepared for outdoor painting sessions with appropriate clothing and sun protection.

Flexibility: Adjust the locations and focus of outdoor sessions based on student interest and local opportunities.

This curriculum provides a balanced approach to learning plein air painting, starting with foundational studio sessions on light and shadow, transitioning to outdoor practice, and enriching the experience with museum visits to contextualize their learning within art history.