Land and Sky (Online Workshop) Winter 2025 w/ Tony Bevilacqua
February 5 to February 19 (Wednesdays), 1:00 PM to 3:30 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/Ld5goHRx0Ds
Workshop Description
During this 3-week workshop concentrating on landscape and sky sketching in oils, we will discuss technical elements including materials, color, value, edges, and composition. We will also focus on creating a mood and an atmosphere with our paintings and allowing ourselves to loosen up and learn through exploration and experimentation.
Workshop Outline
Class will be devoted to discussion and demonstrations, but feel free to paint along with the demonstrations. Assignments will be done outside of class and discussed at the start of each following class.
Week 1 -
Introduction, view images for inspiration, talk about materials and approach to sketching. I will start a quick sketch and talk about composition, value relationships, and mixing color. Assignment given at end of class.
Week 2 -
Review and discussion of the assignment from previous week. I will go right into another sketching demo, working quickly on one or two paintings. Assignment given at end of class.
Week 3 -
Review and discussion of the assignment from previous week. I will choose a sketch from the past couple of weeks to make a more focused painting using what we’ve learned about color, value, mood, etc. You are invited do the same as a final assignment and I will review the finished painting with you as a follow-up if you wish.
Workshop Materials
For this class we will be painting in oils. The specific items listed are a recommendation and are not a requirement for the class, they are what I most often use myself and what I will be using for the class demos. If you have been painting for a while and have things like brushes, colors, or paintings surfaces that you love using, that is great. You are free to use whatever you like. We will make time during our classes to talk specifically about materials and how they can impact the way we work and the overall feeling and mood of our paintings.
This is a great basic group to become familiar with and use. 37ml tubes are a good size.
Learning how the colors mix and interact with each other can take you a long way. I may not end up using every one of these colors each time I paint, but l typically have them all out on my palette when I’m working, knowing that I can use them to mix whatever color I might need:
Titanium White
Ivory Black
Burnt Sienna
Ultramarine Blue
Cerulean Blue
Viridian
Quinacridone Magenta
Alizarin Crimson Permanent (Alizarin Claret from Michael Harding is my preference)
Cadmium Red Light or Pyrrole Red as an alternative
Yellow Ochre
Permanent Yellow Medium (Williamsburg is my preference)
Cadmium Yellow Light or Permanent Yellow Light as an alternative
If you’re just starting out and don’t want to buy this whole list of colors right away, that’s fine. A more limited set of essentials to get you going are the following:
Titanium White
Ivory Black
Ultramarine Blue
Permanent Alizarin Crimson
Cadmium Red Light or Pyrrole Red
Cadmium Yellow Light or Permanent Yellow Light
Yellow Ochre
Brushes
You’ll need several brushes of various sizes. Brush types affect paint handling and mark making very differently. Bristle brushes are great, as are sables, and I often use synthetics for sketching. For the size that we’ll be working in, I use a range of filbert and rounds, sizes 2 through 6. I also use cheap round sable watercolor brushes to blend and soften edges. For this class I would recommend at least one of each of the following:
round - size 2 and 4
filbert - size 2, 4 and 6
round sable watercolor brush (nothing fancy, a $3-5 brush will do) - size 4 & 6
script liner - size 2/0
Painting Surface
You’ll need several painting surfaces. These could be primed hardboard panels, oil-primed linen mounted to panels, and/or Arches oil paper. I prefer 6x8 inches for sketching. Ampersand makes a great pre-primed Gessobord that I often use. Raymar makes excellent oil-primed linen panels, and the Arches oil paper is sold in pads and can easily be cut to size. For this class you should have:
5 to 6 painting surfaces of your choosing, 6x8 inches each
Mediums
You can use whatever medium you like or none at all, if you prefer. I use M. Graham’s Walnut Alkyd medium, which speeds the drying of the paint a bit.
Other
A good palette
A palette knife
February 5 to February 19 (Wednesdays), 1:00 PM to 3:30 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/Ld5goHRx0Ds
Workshop Description
During this 3-week workshop concentrating on landscape and sky sketching in oils, we will discuss technical elements including materials, color, value, edges, and composition. We will also focus on creating a mood and an atmosphere with our paintings and allowing ourselves to loosen up and learn through exploration and experimentation.
Workshop Outline
Class will be devoted to discussion and demonstrations, but feel free to paint along with the demonstrations. Assignments will be done outside of class and discussed at the start of each following class.
Week 1 -
Introduction, view images for inspiration, talk about materials and approach to sketching. I will start a quick sketch and talk about composition, value relationships, and mixing color. Assignment given at end of class.
Week 2 -
Review and discussion of the assignment from previous week. I will go right into another sketching demo, working quickly on one or two paintings. Assignment given at end of class.
Week 3 -
Review and discussion of the assignment from previous week. I will choose a sketch from the past couple of weeks to make a more focused painting using what we’ve learned about color, value, mood, etc. You are invited do the same as a final assignment and I will review the finished painting with you as a follow-up if you wish.
Workshop Materials
For this class we will be painting in oils. The specific items listed are a recommendation and are not a requirement for the class, they are what I most often use myself and what I will be using for the class demos. If you have been painting for a while and have things like brushes, colors, or paintings surfaces that you love using, that is great. You are free to use whatever you like. We will make time during our classes to talk specifically about materials and how they can impact the way we work and the overall feeling and mood of our paintings.
This is a great basic group to become familiar with and use. 37ml tubes are a good size.
Learning how the colors mix and interact with each other can take you a long way. I may not end up using every one of these colors each time I paint, but l typically have them all out on my palette when I’m working, knowing that I can use them to mix whatever color I might need:
Titanium White
Ivory Black
Burnt Sienna
Ultramarine Blue
Cerulean Blue
Viridian
Quinacridone Magenta
Alizarin Crimson Permanent (Alizarin Claret from Michael Harding is my preference)
Cadmium Red Light or Pyrrole Red as an alternative
Yellow Ochre
Permanent Yellow Medium (Williamsburg is my preference)
Cadmium Yellow Light or Permanent Yellow Light as an alternative
If you’re just starting out and don’t want to buy this whole list of colors right away, that’s fine. A more limited set of essentials to get you going are the following:
Titanium White
Ivory Black
Ultramarine Blue
Permanent Alizarin Crimson
Cadmium Red Light or Pyrrole Red
Cadmium Yellow Light or Permanent Yellow Light
Yellow Ochre
Brushes
You’ll need several brushes of various sizes. Brush types affect paint handling and mark making very differently. Bristle brushes are great, as are sables, and I often use synthetics for sketching. For the size that we’ll be working in, I use a range of filbert and rounds, sizes 2 through 6. I also use cheap round sable watercolor brushes to blend and soften edges. For this class I would recommend at least one of each of the following:
round - size 2 and 4
filbert - size 2, 4 and 6
round sable watercolor brush (nothing fancy, a $3-5 brush will do) - size 4 & 6
script liner - size 2/0
Painting Surface
You’ll need several painting surfaces. These could be primed hardboard panels, oil-primed linen mounted to panels, and/or Arches oil paper. I prefer 6x8 inches for sketching. Ampersand makes a great pre-primed Gessobord that I often use. Raymar makes excellent oil-primed linen panels, and the Arches oil paper is sold in pads and can easily be cut to size. For this class you should have:
5 to 6 painting surfaces of your choosing, 6x8 inches each
Mediums
You can use whatever medium you like or none at all, if you prefer. I use M. Graham’s Walnut Alkyd medium, which speeds the drying of the paint a bit.
Other
A good palette
A palette knife
February 5 to February 19 (Wednesdays), 1:00 PM to 3:30 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/Ld5goHRx0Ds
Workshop Description
During this 3-week workshop concentrating on landscape and sky sketching in oils, we will discuss technical elements including materials, color, value, edges, and composition. We will also focus on creating a mood and an atmosphere with our paintings and allowing ourselves to loosen up and learn through exploration and experimentation.
Workshop Outline
Class will be devoted to discussion and demonstrations, but feel free to paint along with the demonstrations. Assignments will be done outside of class and discussed at the start of each following class.
Week 1 -
Introduction, view images for inspiration, talk about materials and approach to sketching. I will start a quick sketch and talk about composition, value relationships, and mixing color. Assignment given at end of class.
Week 2 -
Review and discussion of the assignment from previous week. I will go right into another sketching demo, working quickly on one or two paintings. Assignment given at end of class.
Week 3 -
Review and discussion of the assignment from previous week. I will choose a sketch from the past couple of weeks to make a more focused painting using what we’ve learned about color, value, mood, etc. You are invited do the same as a final assignment and I will review the finished painting with you as a follow-up if you wish.
Workshop Materials
For this class we will be painting in oils. The specific items listed are a recommendation and are not a requirement for the class, they are what I most often use myself and what I will be using for the class demos. If you have been painting for a while and have things like brushes, colors, or paintings surfaces that you love using, that is great. You are free to use whatever you like. We will make time during our classes to talk specifically about materials and how they can impact the way we work and the overall feeling and mood of our paintings.
This is a great basic group to become familiar with and use. 37ml tubes are a good size.
Learning how the colors mix and interact with each other can take you a long way. I may not end up using every one of these colors each time I paint, but l typically have them all out on my palette when I’m working, knowing that I can use them to mix whatever color I might need:
Titanium White
Ivory Black
Burnt Sienna
Ultramarine Blue
Cerulean Blue
Viridian
Quinacridone Magenta
Alizarin Crimson Permanent (Alizarin Claret from Michael Harding is my preference)
Cadmium Red Light or Pyrrole Red as an alternative
Yellow Ochre
Permanent Yellow Medium (Williamsburg is my preference)
Cadmium Yellow Light or Permanent Yellow Light as an alternative
If you’re just starting out and don’t want to buy this whole list of colors right away, that’s fine. A more limited set of essentials to get you going are the following:
Titanium White
Ivory Black
Ultramarine Blue
Permanent Alizarin Crimson
Cadmium Red Light or Pyrrole Red
Cadmium Yellow Light or Permanent Yellow Light
Yellow Ochre
Brushes
You’ll need several brushes of various sizes. Brush types affect paint handling and mark making very differently. Bristle brushes are great, as are sables, and I often use synthetics for sketching. For the size that we’ll be working in, I use a range of filbert and rounds, sizes 2 through 6. I also use cheap round sable watercolor brushes to blend and soften edges. For this class I would recommend at least one of each of the following:
round - size 2 and 4
filbert - size 2, 4 and 6
round sable watercolor brush (nothing fancy, a $3-5 brush will do) - size 4 & 6
script liner - size 2/0
Painting Surface
You’ll need several painting surfaces. These could be primed hardboard panels, oil-primed linen mounted to panels, and/or Arches oil paper. I prefer 6x8 inches for sketching. Ampersand makes a great pre-primed Gessobord that I often use. Raymar makes excellent oil-primed linen panels, and the Arches oil paper is sold in pads and can easily be cut to size. For this class you should have:
5 to 6 painting surfaces of your choosing, 6x8 inches each
Mediums
You can use whatever medium you like or none at all, if you prefer. I use M. Graham’s Walnut Alkyd medium, which speeds the drying of the paint a bit.
Other
A good palette
A palette knife