Watercolor Impressionism Faces and Places Workshop Description

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1 Watercolor Impressionism Faces and Places Workshop Description Michael Holter This workshop will focus on the use of watercolor to paint exciting impressionistic paintings of people and places. You will explore the use of light and shadow to create interesting compositions and achieve dynamic results. We will examine the fundamentals of watercolor painting to assure that all students are familiar with the techniques. Daily discussions and application of the principles and elements of design will be woven into your painting experience. Each day you will engage in exercises that will solidify the content that you are working on and spend time viewing other artists work. We will discuss the methods and the impact that these artists achieve using their techniques. Michael will demonstrate his approach to creating portraits and landscapes and show you several high-speed video demonstrations. Many watercolorists have an aversion to painting people. Special attention will be paid to the steps Michael uses to paint his award-winning figurative paintings. By the end of the workshop you will feel confident that you too can complete successful paintings. And you will have ample time to successfully complete your own paintings. Michael welcomes novice and advanced students and tailors the experience to individual needs. Testimonies "After having taken workshops from some of the premier artists in the world, I am very hesitant to take a workshop unless I suspect genius in either the artist's technique or creativity. Also, with my own many years of traveling and teaching international porcelain workshops gives me special insight of what makes a teacher not only exceptional...but superb! Michael's workshops, which offer instruction into how he solves design problems, as well as fun lessons for 'loosening up', are so rare in generosity that I must call him a 'world-class' teacher. His workshops are fun, intelligent, creative and fully understandable for all levels of artists. Do not miss a chance to take a workshop with Michael Holter!" Celeste McCall President Society of Watercolor Artists Michael s workshop was the best workshop I have ever attended.

We will examine the fundamentals of watercolor painting to assure that all students are familiar with the techniques.

2 Gayle Ledbetter, Board member and exhibition chair Southwestern Watercolor Society "For the past dozen years I have facilitated and/or participated in more than 20 watercolor workshops, as an officer of SWS and as a principal in a local gallery. Michael's recent workshop on watercolor portraits was one of the top few that "really made a difference" in the way that I approach painting. Take it... you will learn about design and composition, techniques, and hints on taking reference photos -- all for turning out terrific watercolor portraits." Herb Reed, Past President Southwestern Watercolor Society. Watercolor Impressionism Faces and Places Workshop Supply List

Michael's recent workshop on watercolor portraits was one of the top few that "really made a difference" in the way that I approach painting. Take it.

3 Michael Holter Note: Please read the supply list carefully to assure that you are prepared with the necessary materials for the workshop. Following is a list of suggested supplies for Michael s watercolor landscape workshops and classes. PAPER (FOR LANDSCAPE) Arches 140 lb CP (2 FULL SHEETS SHOULD BE ENOUGH) Additional paper. Remnants, blocks or other sizes for excersizes. I would recommend working ¼ sheet (of 22x30 sheet) (FOR PORTRAIT/FIGURE) Arches 300 lb Hot Press (1 Sheet should be enough) SKETCHBOOK Have a sketch-book or other loose paper for sketches and value studies. PAINT (Colors marked with X are required for the portraits) X raw sienna, yellow ochre, X ultramarine blue, X cerulean blue, X cadmium red light (Holbein or M Graham) Or scarlet lake burnt sienna (prefer the WN), X alizarin crimson, hookers green, sap green, quinacridone rust, (M Graham) neutral tint mineral violet (Holbein or M Graham) cobalt teal, cobalt blue, cadmium orange, new gamboge, quinacridone gold TUBES instead of dry cakes and that you avoid the student grade paints. PALETTE I usually use a John Pike palette and also an inexpensive folding palette on occasion. Any palette will do. WATER CONTAINER

Remnants, blocks or other sizes for excersizes.

4 Any kind will do. DRAWING BOARD I use a lightweight wood drawing board or mdf (medium density fiberboard) to mount my paper on. TAPE I use masking tape to tape my paper to the board. We may also use masking tape for masking a wide roll would be good to have available (2 or????) When attaching paper to the board, you may use clamps, push pins or any system that suits you. I have been using tape lately to keep the clean edge that results when it is removed. EXACTO BLADE Or similar tool for cutting masks. MASKING FLUID Bring any masking fluid that you may have. (no preference) You might like to purchase a Masquepen that has a built in fine point 2 sizes are available. ( I have heard that some Michaels and Hobby Lobby have these) Dick Blick has them BRUSHES For landscape, any kind of brush can be useful. Also scrapping tools, palette knifes, old credit cards etc. Also flats, Hake brushes I use predominantly rounds. There are a number of manufacturers of excellent sable brushes on the market. Pure sables are wonderful but if you are on a budget there are good substitutes made with a combination of natural and synthetic hairs. I use: Escoda Prado #16 (synthetic) Escoda Prado #8 (synthetic) Princeton Neptune Quill #6 (synthetic) Or you might find these similar brushes in your art supply stores Silver Black Velvet #16 and # 8 (synthetic/squirrel these are great for the price). One of the following is recommended. Silver Black Velvet 3/8 Striper A Rigger Brush I also have some flats and hake brushes that are useful for landscapes. PENCIL and ERASER Any pencil will do. Not too soft, since this is more line drawing than sketching. A kneaded eraser. EASEL I will vary the angle that I paint, so an easel that can adjust easily is perfect. I often paint

I have been using tape lately to keep the clean edge that results when it is removed. EXACTO BLADE Or similar tool for cutting masks. MASKING FLUID Bring any masking fluid that you may have.

5 very vertical. I have a Plein Air easel from enpleinairpro.com that is very versatile. I also often use a French Box easel that can be tilted at any angle. While many painters are not accustomed to painting vertically, I would like everyone to try it. TOWELS A good absorbent cloth towel or roll of paper towels will work well. SPONGE I like to have a sponge handy for a variety of reasons. I find a Dupont Cellulose household sponge is the best for general purposes. And I have resorted to using a Mr. Clean Magic Eraser sponge occasionally. Used sparingly, it can save a painting and lift your watercolor back to white paper. PHOTOGRAPHS We will be working from photographs. Do: Shoot lots of photos leading up to the workshop. (landscapes, cityscapes, people in various environments. Shoot in natural light (no flash) Look for interesting shadow patterns. Pick photos with lots of good light and dark patterns Look for a way to crop the photo to give you an interesting composition Print your photo as an 8x10 if possible. Try shooting some photos toward the sun to get cast shadows coming toward you. These can make very nice compositions. Also bring reference photos of people in a variety of situations. For Portraits Shoot close-up images of people in bright sunlight. Look for shadow patterns and interesting features. It would be best to NOT plan to paint someone who you know well since you may try too hard to get the likeness. The best images do NOT have large smiles with teeth showing. Do not use flash. ASSIGNMENT PRIOR TO THE WORKSHOP Once you have signed up for the workshop I will send you a photo via that you will prepare prior to the first day of the workshop. This will give everyone a common experience as I introduce the steps for the portrait portion of the week. CAMERA Bring your camera. We will work briefly on capturing a good image and you may find having your camera available will be a bonus. Any good camera will do. I have even used my iphone to capture an image that has become a successful painting. I use a Nikon Digital SLR. COMPUTERS If you have a laptop computer or tablet you may bring it so you can also have your photo available digitally (great for zooming in to see details). STRAIGHT EDGE

SPONGE I like to have a sponge handy for a variety of reasons. I find a Dupont Cellulose household sponge is the best for general purposes. And I have resorted to using a Mr.

6 Have a ruler or other straight edge SPRAY BOTTLE It is good to have some kind of spray bottle that you can use to mist your painting to keep it moist or, on occasion get interesting effects. Any type that gives a fine mist is good. THE DRAWING We will be preparing drawings for landscapes in class or as homework assignments. For portraits, as mentioned, I will provide an initial image for you to use that you should have ready for painting. And you should also have a drawing ready of a photo that you have taken and would like to paint.

THE DRAWING We will be preparing drawings for landscapes in class or as homework assignments.

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