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WORKSHOPS with NANCY COUICK
2021 workshops with Iain Stewart
How to keep Spontaneity Alive in Your Studio Work.
Together we will cover all aspects of how I work to keep my paintings lively and gestural. It’s quite easy to get bogged down in detail and for me the perfect tool is the sketchbook. We will work both in our books and on traditional watercolor paper covering a range of subject matter and scenes. I believe that a workshop without the worry of success typically leads just there. Learn how to let go of the fear of ruining a painting and take true joy in your work. I will share my process to begin drawing with confidence, painting quickly, and breaking a painting down into understandable steps that you can repeat on your own. I typically cover how to treat painting water scenes, landscapes, and the urban environment in all of my workshops. My interest in these subjects is how man’s hand has touched the earth and how my sense of “place” is explored. I find this practice to be unique to everyone and it is my intention to help you find your own artistic voice. We will cover design, drawing, painting techniques, and finally an understandable way to put them all together. As an instructor I do not like to “pull rabbits out of hats.” I want you to understand my motivation at every stage of the process so that you can decide how you may choose to incorporate some of my techniques in your own work. I believe a good workshop begins with a foundation built on freedom of fear and the importance of pushing yourself to new levels of expression. A workshop should not be about the instructor stunning you with their own work. It is about your experience. A truly great workshop will lead to you being surprised at what you are capable of and invigorated to explore further.
My very best,
Iain Stewart aws / nws
Iain Stewart is Scots born watercolor artist and a signature member of the American and National Watercolor Societies among other state and international societies.
His work has received numerous awards in international competition and he is a sought after juror and instructor.
He has been published in Watercolor Artist, The Art of Watercolour, Plein Air Magazine, Southern Living, Cottage Living, Better Homes and Gardens, The Robb Report, Watercolor Artist Magazine, Splash 15 16 18, and the French publication Pratique des Arts. He has also contributed to the Urban Sketchers book series.
He is a brand ambassador for Daniel Smith paints and Escoda brushes.
In 2020 Iain will be a faculty member at the Plein Air Convention and Expo and an invited exhibitor and instructor for the International Watercolor Masters in Shropshire England.
Most recently his painting “Oh to be Back in the Land of Coca~Cola” won the Marge Saroka Memorial Award in the 152nd American Watercolor Society International Exhibition in New York- 2019
His work “Swedish Trains” will be exhibited in the Fabriano Aquarello International Exhibition in Fabriano, Italy.
His article “Etching in Memories” will be published in the June issue of Watercolor Artist available April 16.
In addition to gallery work, Iain is an Architectural Illustrator with an international clientele and teaches watercolor and design drawing at Auburn University.
● A sketchbook. I use a Stillman & Birn Alpha Series 9" x 11" hardbound sketchbook. If you already have a sketchbook it will be suitable as long as the paper can take watercolor.
● I use Arches or Saunders Waterford 140lb Cold Press or rough paper in addition to loose sheets of Stillman & Birn Beta series papers. Bring twice as much paper as you expect to use. We will typically work at 1/4 sheet and do at least one demo a day.
● A stretching board. I use masonite, or gator board and (Scotch brand) masking tape to affix the paper to the board.
● Drafting or masking tape 1” size
● A water holder and small spray bottle.
● A watercolor palette. I use a folding metal travel palette by Craig Young or the Holbein series flat palettes.
● Paper towels- I use Viva, it’s extremely absorbent and works well. Do not use dyed or patterned towels
Paint and Brushes
● Brushes- you will need a small, medium, and large watercolor brush. I recommend the Escoda Perla, Versatil, Ultimo series short handled rounds No's 14 and a Versatil 3/4" flat. A squirrel or synthetic mop No 14 or close to it. A small No. 4 round for detail. I also use a small palette knife and a 2" Mottler brush which you can pick up at your local hardware store. Make sure it has stiff bristles and some spring to it.
● a brush carrier. I use a Cheap Joe's folding carrier but anything that will protect your brushes and not bend the points will work.
● Paint- I use primarily Daniel Smith Artist's watercolors. I do not suggest using student grade paint. The only difference is the amount of pigment used and your work will look much more washed out than mine.There are many manufacturers out there and I have tried most of them. Daniel Smith, Winsor and Newton, Holbein, M. Graham, Rembrandt, are all suitable.
Full Palette (only as a suggestion- we can typically make your colors work. I do use the Quinachridone Orange and Cobalt blue quite a bit)
Quinachridone Burnt Orange or Winsor and Newton's Burnt Sienna.
Sedona or Winsor and Newton's Light Red
Permanent Alizarin Crimson
Greenish Yellow- Holbein
Zinc White (gouache)
Naples Yellow (gouache)
In most cases the colors you already have will work if you have good quality paint. I don't expect you to buy every paint on my palette- if there is a color you have in question please email me.
Any other watercolor materials you generally use. In most cases the materials you already own will work. I would, however, suggest that you have at least one large wash brush one mottler and a pointed detail brush at size 10 or 14.
Michael Holter July 10-13, 2019 ... His workshop this past year was awesome!
"Watercolor Impressions: Faces and Places"
American Impressionist Michael Holter works in both watercolor and oil. He is a signature member of the National Watercolor Society, the Transparent Watercolor Society of Americam and holds memberships in many other watercolor societies. Michael says, "I think of my work as impressionistic. I like to represent people or places and allow the painting to evolve from the structure of what is recognizable. The challenge is to balance the care needed to make the representation interesting? and perhaps believable, with the freedom, looseness and painterly quality that makes painting so unique and expressive."
This four-day workshop is $450.00. Register through PayPal at the button below or send a deposit check of $100 plus the Workshop Registration Form to the Studio.
Joel R. Johnson August 14-17, 2019 Joel was also awesome!
Joel R. Johnson’s paintings reveal his concern for the effects of light on form in terms of color, value, and the subtleties of texture and weight. Through the various layers of transparent pigment a sense of luminosity and depth is achieved. The design of space – shape relationships create a personal viewpoint that transports the viewer into the mind’s eye of the artist and hopefully allows the painting to speak and be felt contributed to his development as an artist.
Register today! Spaces are limited! Registration can be made by paying a $100 non-refundable deposit through PayPal on our secure site, or by downloading and printing the Workshop Registration Form and mailing it to the Studio with a check for $100.00.
Four days of workshop time plus catered lunches is $425.
I am still painting at home! Just let me know if you want to conversation!