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Angus Wilson: Still Life – Simplify a Subject, and Get Bold with Color

$550.00$595.00

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 Angus Wilson’s workshop will focus on simple rules and techniques to create more expressive, colorful paintings.

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Friday through Sunday,  October 4, 5, 6
from 9:00 am to 4:00 pm

This is a 3 Day workshop in Acrylic Painting. Oils are also welcome.
This workshop is for all levels of painting experience.

 Angus Wilson’s workshop will focus on simple rules and techniques to create more expressive, colorful paintings.  He will primarily guide students though his own distinctive approach to painting, with a focus on techniques for breaking free from conventional styles and old habits, encouraging simple and easy methods to create stunning artwork, opening the students up to more creative, confident work. During the workshop Angus will teach many aspects of painting, with a particular focus on color, simplifying composition, and the power of dynamic ‘under painting’.

The workshop will be held on ‘still life’ painting, but ideas and methods learned in the class can apply to all painted subjects.

The class will work in the studio from a number of arrangements. During the workshop, painting exercises will be used as a method for teaching ideas and principles. These will include an approach for:

  •  designing & re-imagining color choices, and
  • creating energetic, simplified brush work.

The workshop will focus primarily on acrylic, but oil painting is also welcome. If the student wishes to work in another medium, please contact the art center so we can notify Angus before the workshop.

Additional information on subjects covered in the workshop.

  • Color planning within a painting (using the power of under painting and complimentary colors).  Many ‘traditional’ workshops and teaching gets bogged down in the complexities of color and paint, this isn’t strictly necessary for painting great paintings, find out why.
  • Freeing up color – methods for adapting the colors in a subject to create a stronger painting.
  • Getting to know paint – Acrylic and oil. Ways to approach each medium.
    Optionally, for interested students, Angus will have a break-out lesson and demo teaching how he uses a computer, (or tablet), to plan a painting  and make color choices.
  • ‘tricks’ and training –
    Methods for finding a style that works for you
    Tricks to knowing a subject before you start painting
    Which do you do, ‘plan’ or ‘wing it’?… and why you should try the other one!

 

Falmouth Art Center Refund Policy:

Refunds will not be given within one month of the start of a workshop. Workshops are not pro-rated. A $25 processing fee is withheld from all refunds.

The Art Center reserves the right to cancel any workshop due to insufficient enrollment, in which case tuition will be fully refunded.

Materials

I like to keep the materials list pretty relaxed. During the workshop I will work mostly with acrylic paint, however participants can bring either oil or acrylic media — whatever they are most comfortable with.

PAINTING SUPPLIES

Over the workshop you will see me using a number of the paint brands and colors listed below, but do not feel you must mirror this setup. Bring a range of paints that you are happy with (ideally artist quality materials; try to avoid student-grade paints). A number of the processes I demonstrate lend themselves to acrylic, but they are not exclusive to the medium; comparing oil and acrylic, usually it’s more a question of drying times. Bring either oils or acrylics, whichever you are most comfortable with. DO NOT FEEL YOU HAVE TO BRING EVERY COLOR LISTED IN THIS DOCUMENT!

 

*ACRYLIC PAINT – I use exclusively liquitex heavy body Acrylic, No mediums except for occasional glaze medium. If you’re bringing Acrylic paint, ideally look for thick or heavy body paints (with Acrylic I feel that’s important).

  • Titanium White
  • Ivory black
  • Cerulean blue
  • Cobalt blue
  • Phthalo blue (green shade)
  • Deep violet
  • Naples yellow
  • Cadmium Yellow
  • Indian yellow
  • Yellow ochre
  • Sap green
  • Vivid lime green
  • Viridian
  • Cadmium orange or Pyrrole Orange
  • Burnt umber
  • Quinacridone magenta
  • Quinacridone red-orange
  • Cadmium red
  • Raw sienna
  • Cobalt teal
  • Cobalt turquoise
  • Brilliant purple
  • Brilliant blue

 

In recent years, as over 90% of my work has been in acrylic, the heavy use of one medium has naturally refined down to a shorter list of colors. For your own curiosity, here’s what I use a lot (all colors are Liquitex names, but other brands have the same colors in other names (to keep us artists confused).

  • Titanium White, (often)
  • Ivory black,  (often)
  • Cerulean blue,  (occasional use)
  • Cobalt blue,  (often)
  • Manganese blue,  (occasional use)
  • Deep violet,  (often)
  • Brilliant purple,  (often)
  • Brilliant blue,  (often)
  • Cadmium Yellow ,  (often)
  • Indian yellow,  (often)
  • Turner yellow,  (occasional use)
  • Green gold,  (often)
  • Vivid lime green,  (occasional use)
  • Light green permanent,  (often)
  • Quinacridone magenta,  (often)
  • Quinacridone red-orange,  (occasional use)
  • Cadmium red,  (often)
  • Turquoise deep,  (often)
  • Raw sienna,  (occasional use)
  • Cobalt teal,  (often)
  • Pyrrole Orange,  (occasional use)

 

 

*OIL PAINT ~ I use mostly Sennelier oil paints (listed below) along with some colors from Windsor-Newton, but with oils (shockingly) I do jump around. I dilute with turpentine or odorless mineral spirits. I don’t personally use other mediums, gels etc.

  • Titanium White
  • Ivory black
  • Cerulean blue
  • Cobalt blue
  • Prussian blue
  • Cobalt violet
  • Manganese violet
  • Naples yellow
  • Cadmium Yellow
  • Yellow ochre
  • Sap green
  • Viridian or Pthalo Green
  • Permanent bright green
  • Cadmium orange
  • Cadmium red
  • Alizarin crimson
  • Raw sienna
  • Burnt umber
  • Gold ochre
  • Quinacridone magenta
  • Cobalt teal
  •  

 

  • BRUSHES ~ I’ll use a lot of Filberts, between sizes #7 – 12; the larger the better. Flats are also ok. Personally I’m less keen on rounds. Also bring a 3 size round brush, but mostly bring good sized brushes.

 

  • PALETTE KNIFE ~ A handy tool to have for scraping, but I wont be painting with it.
  • EASEL ~ The Falmouth Art Center can provide easels for the workshop.
  • PALETTE ~ a travel palette of your choosing, nothing too large, or too small. Around 10-15 inches wide is enough to work with. Toned is best, gray or wood. (please no white plastic/paper – this is difficult to judge color on, especially outdoors).
  • MEDIUM ~ Odorless Mineral Spirits, Gamsol, etc. Bring whatever mediums you wish & feel comfortable with. For Acrylic I also sometimes use a little Acrylic glaze medium.
  • BRUSH WASHER ~ 8 oz. size to contain your medium
  • SURFACES ~ Gessoed canvas boards (art stores carry Fredrix, Utrecht, etc.) or wooden panels (again gessoed). I would suggest you bring 2-3 panels at a size no larger than 24” x 18”, but around that size. (Judge sensibly, if you feel you’re a fast and loose painter, then bring a couple more). Please, also bring a few pieces of chipboard to paint on. Most art stores carry sheets of these for a couple of bucks (it’s the same material that’s on the back of sketchpads, but a heavier ply). Bring 2 or 3 sheets of this around 24X18 in size. OR if you can’t find that in your local store, look for gessoed card, again very cheap and again cut these to the appropriate size. A heavy mixed media paper can also work.  The important thing to note is you want a hard support that is inexpensive. Please again, no larger than 24” x 18” and no smaller than 8X10, any sizes between these ranges are fine. (Note if 24X18, sometimes we will divide these up as we work and do multiple exercises on one sheet/panel.

 

Instructor Bio

Angus Wilson was born and raised in Scotland and has lived in numerous cities throughout Britain. He has worked as a professional artist his entire career (27+ yrs), however his work has been varied, and few would say his path to a fine art career was by a traditional route. Originally attending art college in the disciplines of photography, film, and animation, Angus then pursued a career in television and video, as well as the computer entertainment market. Angus worked as a director, producer, editor, and animator, winning international awards for his animation and for a number of his entertainment products. Throughout this period of his life, ‘traditional painting’ functioned as a sideline. However in 2004, with growing popularity in his work, Angus made the decision to pursue his fine art career full time.

 

The artist’s work is reminiscent of many great post-impressionists, such as Matisse and Cezanne, but there’s also a contemporary underpinning that gives his work a powerful kick of originality, justifying his growing success and loyal following.

 

In 2007 Angus relocated to the San Francisco Bay Area, he works mainly in oil and acrylic. He has and continues to be involved in numerous shows, displaying work internationally. His work is collected and held by museums, corporations and collectors worldwide.

 

 

 
 

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