When I paint I am trying to tell the truth about my subject. Every time I put brush to canvas I am trying to find what is essential about that scene and to give it life on the canvas. Invariably, a significant part of this goal is achieved by simply rendering an authentic light. Whether direct sunlight or indirect ambient light, I aim to capture the particular effect that the light is having on my subject on that day and at that time--everything else in my painting flows from this. 


Given the priority of authentic light in my work, it is this element that I like to focus on during the three-day workshop. As such, we will focus on value and color temperature relationships above all else. There is no question that good drawing is paramount to our effort since nothing wrecks a painting faster than drawing errors. But I typically tell students that no one needs to spend good money to have me tell them to measure harder. Our time is better spent on the more difficult and crucial concepts of value and color temperature. Elements such appropriate edges, surface texture, composition, and others will also be discussed as needed. 


Each day I will demo from 9 – 12pm. We break for lunch from 12-1pm. From 1-4pm attendees paint and I give individual suggestions, advice, and critique. From 4 -4:30 we reconvene and do an optional group critique (I always say that if you juggled chainsaws and lost that day, you don't have to show us the bloodied remains). 


Each attendee should bring all the gear they need to paint outside. I typically have extra of just about everything if needed. Refer to the suggested materials page for the materials I use. While attendees do not need to use what I use, the way I paint relies heavily on two things above all else: canvas and brushes.