- Wednesday - Friday
July 19, 2017 - July 21, 2017
9:00 pm - 4:00 pm
Since we all come to painting with a lot of information and history of our own, it’s not possible for Marc to know each individual students’ experience and abilities. We will paint in the ﬁeld, incorporating instruction and practice to help you move forward in your approach to the challenges that plein air painting presents to the artist. It will include lecture, demonstration and practice, the three ingredients to effective instruction and learning. We will cover some so called “basic” elements and techniques. Marc prefers to call these “critical” elements to painters. Drawing, Value, Color, Composition and Edges… all put into a package called “CONCEPT”, the basis for any painting that you paint.
Marc works with each individual student at their own level and spends a lot of time with each student at their easel, giving individual instruction. He also demos everything that he asks you to do.
You may not go home with paintings to be framed, but you will go home with a portfolio of valuable exercises that you can refer back to as you move forward in your own painting process.
All Marc asks is that you come with an inquisitive and open mind, and the Art Spirit within you.
BIO: Marc R. Hanson, O.P.A.M. (born 1955)
“I have pursued a career as a painter for many years now. Along the way my methods, materials and focus have evolved. A naturalist at heart, the landscape is the perfect vehicle for expressing the joy I have for the world that surrounds me. My real interest and challenge as a painter is how to best manipulate the core principles of painting into effective visual statements. I’m most successful when I’m able to communicate that joy to the viewers of my paintings.”
Marc teaches landscape painting workshops locally and nationally. “ I love working with other painters in their pursuit to better their craft. My goal is not to have them assimilate my style and technique, but to teach them how to more closely examine the subject and apply the principles that representational painters must follow to become effective visual communicators.” Marc has shown his work in galleries and museums nationally and internationally since the early 1980’s.
Marc is a Master Signature Member of The Oil Painters of America (O.P.A.M.), having won an Award of Excellence at the O.P.A. National Exhibit in 2000, 2007, 2009, 2010 and 2011. In 2011 Marc’s painting ‘Right or Left’ was awarded Bronze Medal for Painting at the OPA National Exhibition in Coeur d’Alene, ID. Among his many awards, he’s placed four times in The Pastel Journal’s ‘Pastel 100’ competition.
Other Recent Awards-
~Door County Plein Air Festival – Honorable Mention 2011, Artist Choice and First Place 2012, First Place 2013, Third Place 2015
REQUIRED SUPPLY LIST:
These are items that I would like for you all to have along for a number of exercises that we will do as a class.
-1 panel that is 11×14 or 12×16. Divide the panel into four (4) equal segments as shown here. Tape off the center lines with thin masking tape (not blue type). Bring at least one of these. Some people love this exercise and want to do more than one so you might wish to bring along a couple of these boards.
– Ivory Black paint ( in addition to your normal palette of paints) or if using pastels, bring along a set of about 7 or 8 grays from black to white.
– Figure on painting at least 2 panels (or canvases or paper (for pastelists)) in the size range of 9×12 or up to 11×14… per day. If we end up having to be inside due to inclement weather, bring along reference in the way of either photos or ﬁeld studies to work from.
– If you can manage it, bring along 1 or 2 larger sized canvases or panels. In the size range of 16×20 to 18×24. These are also for the studio in case of rain.
RECOMMENDED SUPPLY LIST:
The following is not a required list. This is what I currently use for oil and pastel painting. This frequently changes. I do not want you to have to go out and spend money on these particular supplies just for this class. If you don’t have supplies then by all means use this as a starting off point. If you are already comfortable with what you are using, use those supplies. Like I said, I frequently discover new supplies that I substitute for the ones that I might be using at the time. Art is an adventure of discovery and I don’t like to limit myself to using the same old materials over and over if I ﬁnd something that works better with me. But as good as you can afford, but don’t buy so expensive that you’re afraid to use them. Quality in paint does make a HUGE difference. If I were to splurge in any area of materials it would be in the quality of the paint I buy.
OIL PAINTING EQUIPMENT:
Easel (French, OpenBoxM, EasyL, Soltek as examples), Umbrella, Thinner container, Water bottle, OMS, Sunscreen, Hat, Bug spray, Paper towels, Plastic trash bags, Gloves or Gloves In A Bottle (to protect hands from solvents and paint).
Palette – ( My current palette listing my preferred brand of paint)
BUY THE BEST QUALITY PAINT YOU CAN AFFORD. LESS EXPENSIVE BRUSHES ARE FINE, BUT PRO QUALITY PAINT IS A MUST HAVE.
* White- Utrecht Titanium White or W&N Grifﬁn Quick Dry White (speeds drying time if traveling) I’ve been mixing equal amounts of these two whites for a mixture that sets up faster and dries overnight. Great for travel.
* Cadmium Yellow Light – M.Graham
* Cadmium Yellow Deep- Rembrandt
* Yellow Ochre- Utrecht or M Graham
* Cadmium Red Light- M. Graham or Utrecht
* Alizarin Crimson- M. Graham or Permanent Alizarin – Gamblin or W&N
* Transparent Oxide Red- Rembrandt
Terra Rosa, Venetian Red or Light Red (any brand)
Cobalt Blue – M. Graham or another
* Ultramarine Blue – M. Graham
* Viridian- W&N or another
Greenish Umber-(A new color for me made by Utrecht. A great dark neutralized earthy green that has become a favorite of mine)
* (Denotes colors that are always on my palette.)
* (Denotes colors that are always on my palette.)
Robert Simon’s ‘Signet’ Hog Bristle Brushes ( reasonably priced and lasting as long as any of the more expensive brushes of similar quality ), Robert Simmon’s “Simply Simmons” (all sizes $3.99 at some art supply stores, and at Michael’s Art and Craft stores), Utrecht series 219 brushes are great too. Check the ferrules for tightness when buying.
– Flats and Brights in sizes ranging from #4 to #12… # 6, 7 & 8 used most often.
– Any other brushes, including some cheapo Ox Hair brushes will at times come in handy.
Linen or canvas panels of choice. Centurion OPDlx oil primed linen panels are affordable and a wonderful surface to paint on. Panels are preferred for space saving and travel considerations when working in the ﬁeld. Fabrics can also simply be cut to size (plus margins) and taped to a back board as needed. Use whatever support you feel good about painting on. But if you are painting economically, buy good quality colors and be nice to your pocket book by using brushes that work, and supports that aren’t going to break the bank. For instance, 300lb water color paper, mat board, museum board, or hardboard primed with acrylic primer, or 2 coats of shellac, is perfectly ﬁne to paint on. Another option is using the inexpensive canvas boards that Grumbacher, Utrecht, Dick Blick, and Michael’s sell. These are ﬁne for class work. If you use these however, I would suggest that you re-prime them with an acrylic primer of choice. They are a much better painting surface with an additional coat of primer.
Refunds will not be given within one month of the start of a workshop or within one week of the start of a class. Classes are not pro-rated, and there are no makeups for missed classes. A $25 processing fee is withheld from all refunds.
The Art Center reserves the right to cancel any class or workshop due to insufficient enrollment, in which case tuition will be fully refunded.
If Falmouth public schools are closed due to weather conditions, the Falmouth Art Center will also be closed. Missed classes will be rescheduled.
Venue: Falmouth Art Center