With wit and whimsy, filled with a passionate knowledge of the history of watercolor painting, Timothy James Standring will hold your attention during this five-day workshop in which you’ll cover all the basics. Fundamentally, you’ll learn with hands-on exercises that watercolor techniques are closely aligned with paper surfaces, brushes, and even the pigments themselves. All of these have interesting properties that lend to the final painting.

You’ll experiment with cold and hot press papers, natural and artificial brushes, different brands of watercolor pigments, learn how to stretch paper, and set up your portable kit for painting on site while traveling for pleasure or for work. And most of all, you’ll learn how to discern what constitutes a true watercolor painting.

Students Should Bring: 

• Watercolor pad (Recommended: 9 x 12 inches, Chanson XL). Watercolor blocks are more expensive if your budget can afford them: [9 x 12 Saunders Waterford White (20 sheets); Stonehenge, or Fabriano 20 sheets—all 140 lb—or panoramic size, for example by Sennelier, 9 x 4 inches]. Cold press or hot press paper, but more control with cold press.

• Watercolor pigment kits from Schmincke [Horadam Aquarelle]; Sennelier, Windsor Newton, QOR, small .5 ml tubes are preferable than the half pans). If purchasing the latter, Pigment recommendations: Neutral Tint, Cobalt Turquoise, Lavender, Cobalt Blue, Ultramarine (or French Ultramarine), Windsor Violet (WN), Permanent Alizarin Crimson, Cadmium Red, Cadmium Orange, Burnt Sienna, Burnt Umber, Raw Umber, Yellow Ochre, Transparent Yellow Ochre, Windsor Yellow, Ivory Black, and Titanium White
• Watercolor brushes (Recommended synthetic brands: Silver Black Velvet is my current favorite; da Vinci Casaneo, Princeton Aqua Elite, Princeton Velvet touch, Raphael Precision, rounds and flats, sizes 8 to 14, perhaps even a smaller one, but sizes vary according to manufacturers; an inexpensive goat’s or boar’s hair  ½ and 1–inch flat brush); and an oil painter’s brush, number 4 bright (it is a small stubby brush on a long handle)
• Two containers for water (Sea to Summit brand collapsible is terrific)
• Watercolor palette—the flat rectangular box for mixing colors (Recommended: Loew Cornell flat plastic palette that folds, but there are many to select from on Amazon, Blick’s, or Jerry’s Artarama); or a Holbein enameled palette [more expensive]).  A broad porcelain white dinner plate purchased at a thrift store will do as well. If you purchase the plastic palette, wash off the surface with a plastic sponge and soapy warm water before putting pigment into the small boxes.  We can do this on the first day of class.
• ½ inch artist masking tape
• 2 oz pump spray bottle
• Graphite pencil (Recommended: Faber Castell 3 H “grip 2001”)
• Pabeo drawing gum or Schmincke no. 731 masking fluid.
• Cartographer’s Pen
• Roll of soft paper towels [Viva is recommended]
• Equipment for open air painting: recommended for lightweight painting easels with tripods available on Temu.com. You can position your easel to paint standing up or sitting down.
• Enthusiasm, curiosity, courage to mess up your palette, and questions!

Bookings

Timothy James Standring

Though small in scale, Timothy James Standring’s watercolours pierce the assumed poetics that the media aspires to express.  Over the past decade, he has brought gimlet-eyed attention to his works through deft material sensitivity and technique. His influences stem from a line of artists extending from Edgar Degas and John Singer Sargent to Joaquìn Sorolla, Andrew and Jamie Wyeth, and JMW Turner. His recent watercolour works reflect a preference for painting with the pigment-loaded belly of his brushes instead of their tight point which results, surprisingly, in marks and images reminiscent of dry brush oils on unprepared paper. Such heavily pigmented watercolours enliven the poetic statements his compositions sustain. Standring’s works are in private collections across North American and Europe and have appeared in many juried exhibitions in the United States.  Critics have drawn attention to his works in the Denver Post, Fine Art Connoisseur, and American Watercolor.  This will be Standring’s fourth appearance as an instructor at the LSA.

Bookings

Tickets

Price$425.00

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