AMY BRNGER
2 Day Flower Painting Workshop. February 6 -7, 2026.
"Liberate Your Brushwork and Amplify Your Color"
AMY BRNGER
2 DAY FLOWER PAINTING WORKSHOP
February 6 -7, 2026. (9-4 daily).
Centennial Hall. 105 Post Road. North Hampton, NH
$420 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Would you like your flower painting to be more expressive, luscious, and energetic? And enjoy
the color and beauty of flowers in February? Join painter Amy Brnger for a two day workshop
devoted to florals in painting. Flowers are a great muse for exploring energy in brush strokes,
liberating color, and exploring how neutrals can actually increase the potency of the color on
your paint surface. Expand your notion about what flower painting can be. In this workshop, we
will be focusing on:
limited palette, some targeted exercises to warm up your mind and body, and then short session
paintings. Our final day will end at 3:00 pm in order to have a group presentation and
discussion of work.
We will break for lunch at 12:30 and participants can either bring their lunch or get a take out
lunch in North Hampton. I plan on a 45 minute break so that your painting time is maximized.
Call or email Todd to Register: (603) 819-9100
Email: [email protected]
* Credit cards, Venmo, Pay Pal, checks, or cash for teachers pet.
* or Mail a deposit check for $100 made out to Todd Bonita to:
Todd Bonita
28 McShane Ave
Greenland, NH 03840
Please write, "AMY BRNGER workshop" in the memo on the check.
2 DAY FLOWER PAINTING WORKSHOP
February 6 -7, 2026. (9-4 daily).
Centennial Hall. 105 Post Road. North Hampton, NH
$420 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Would you like your flower painting to be more expressive, luscious, and energetic? And enjoy
the color and beauty of flowers in February? Join painter Amy Brnger for a two day workshop
devoted to florals in painting. Flowers are a great muse for exploring energy in brush strokes,
liberating color, and exploring how neutrals can actually increase the potency of the color on
your paint surface. Expand your notion about what flower painting can be. In this workshop, we
will be focusing on:
- Liberating and limiting strokes
- Creating short session paintings
- Experimenting with color, while learning to mix with a limited palette
- Using flowers to create an inviting composition
limited palette, some targeted exercises to warm up your mind and body, and then short session
paintings. Our final day will end at 3:00 pm in order to have a group presentation and
discussion of work.
We will break for lunch at 12:30 and participants can either bring their lunch or get a take out
lunch in North Hampton. I plan on a 45 minute break so that your painting time is maximized.
Call or email Todd to Register: (603) 819-9100
Email: [email protected]
* Credit cards, Venmo, Pay Pal, checks, or cash for teachers pet.
* or Mail a deposit check for $100 made out to Todd Bonita to:
Todd Bonita
28 McShane Ave
Greenland, NH 03840
Please write, "AMY BRNGER workshop" in the memo on the check.
SUPPLY LIST
AMY BRNGER ART SUPPLY LIST:
BRUSHES
● I have a selection of brushes, between 1/4”-1 ½” wide. I prefer brights due to the flat top, but you can use what you are comfortable with. My preferred brand is Trekell, Opal 4000 Flat size 12, Golden Taklon 2510 size 10 and 16 flat, and sometimes a size 4. Rosemary brushes are also terrific. I do buy natural hog bristle, but I like the hardiness of the synthetics as I am a vigorous mark maker. Filberts create a rounded edge so feel free to bring those, if you have them. Don’t bring a bunch of tiny brushes!!
PAINTS
Suggested Oil Paint Color List
I mostly use Gamblin Artist Grade oil paints. Other good brands: Windsor Newton,Holbein, Williamsburg, Rembrandt, and Michael Harding are all good brands. My preference for Gamblin is only because I have used them for years and I enjoy the predictability of the product.
I know paints are expensive but please don’t bring old paints that you haven’t used in years or a bunch of colors a friend gave you–they usually do NOT work well and you are frustrated. And if the colors are different from my basic list you won’t be able to get the colors I do….more frustration for you.
Paint List
Gamblin Paint
Titanium White
Burnt Umber
Quinacridone Magenta or Rose Cadmium Red light
Ultramarine Blue
Phthalo Turquoise
Cadmium Yellow Light
India Yellow and/or
Cad Yellow Medium
Other colors I often have with me
but these are optional:
cad yellow medium
Cerulean Blue
Cobalt Teal
Cad red medium
SURFACES
1) Bring two “junk” surfaces (gesso both sides of some cardboard or gesso over some reject paintings) 16 x 20. We will use these for some warm up activities each day. 2) Bring at least two surfaces per day (some of you will work on one painting but other speed demons might finish two!). Good sizes: 10 x 10, 12 x 12, 11 x 14, 12 x 16, 16 x 20. You can work larger if you’d like, but if you want to leave with some finished paintings, I wouldn’t go larger than 18 x 24 or 16 x 16.
3) In terms of surface, I will be using Ampersand Museum Quality Panels. I like the firm surface as well as the way the gesso has just “enough” tooth to it. But bring what you’d like!
OTHER MATERIALS
Your favorite sketchpad, notebook and some graphite or vine charcoal (messy but nice to make some quick images).
SOLVENT and OIL
● Odor free solvent. Gamblin makes a nice one; Gamsol. But any odorless thinner will do. Gamsol Refined Linseed oil or Gamblin no-solvent gel.
I mix ½ oil and ½ solvent for a general purpose medium.
PALETTE
● Whatever you prefer–I like a large palette, at least 16 x 20 when I am working at home. I will likely use a wooden palette, maybe covered with grey palette paper so that you can see the color easily. Just don’t bring a teeny tiny palette that will be frustrating for you. EASEL
● I’m a standing painter and will be bringing mine. Todd has a few standing easels and some table easels. I encourage standing while painting because you bring a good body energy to your painting but I understand that some people may have mobility or physical issues that require sitting while painting.
OTHER THINGS
● Paper towels or shop towels. My favorite brand is Viva. I go through a roll each day.
● 2 glass containers with a lid (or you may have your own containers for solvent and medium already). For your solvent. Old salsa, peanut butter, and relish jars are great.
4-12 ounce jars.
● Metal Palette knife for mixing paint. You want one with a metal end that is around 3” long –not a tiny or oddly shaped knife. I buy the Che Son brand whenever I can find them. Very simple with a good but not too stiff snap.
● Disposable gloves. I buy medical grade gloves by the box, making sure they fit snugly.
● Plastic bags. I bring one bag per day; grocery bags.
● Roll of tape (for the warm up exercises).
● Plastic wrap to cover your palette. I will have some on hand in case you don’t have any. Pictures of Materials
BRUSHES
● I have a selection of brushes, between 1/4”-1 ½” wide. I prefer brights due to the flat top, but you can use what you are comfortable with. My preferred brand is Trekell, Opal 4000 Flat size 12, Golden Taklon 2510 size 10 and 16 flat, and sometimes a size 4. Rosemary brushes are also terrific. I do buy natural hog bristle, but I like the hardiness of the synthetics as I am a vigorous mark maker. Filberts create a rounded edge so feel free to bring those, if you have them. Don’t bring a bunch of tiny brushes!!
PAINTS
Suggested Oil Paint Color List
I mostly use Gamblin Artist Grade oil paints. Other good brands: Windsor Newton,Holbein, Williamsburg, Rembrandt, and Michael Harding are all good brands. My preference for Gamblin is only because I have used them for years and I enjoy the predictability of the product.
I know paints are expensive but please don’t bring old paints that you haven’t used in years or a bunch of colors a friend gave you–they usually do NOT work well and you are frustrated. And if the colors are different from my basic list you won’t be able to get the colors I do….more frustration for you.
Paint List
Gamblin Paint
Titanium White
Burnt Umber
Quinacridone Magenta or Rose Cadmium Red light
Ultramarine Blue
Phthalo Turquoise
Cadmium Yellow Light
India Yellow and/or
Cad Yellow Medium
Other colors I often have with me
but these are optional:
cad yellow medium
Cerulean Blue
Cobalt Teal
Cad red medium
SURFACES
1) Bring two “junk” surfaces (gesso both sides of some cardboard or gesso over some reject paintings) 16 x 20. We will use these for some warm up activities each day. 2) Bring at least two surfaces per day (some of you will work on one painting but other speed demons might finish two!). Good sizes: 10 x 10, 12 x 12, 11 x 14, 12 x 16, 16 x 20. You can work larger if you’d like, but if you want to leave with some finished paintings, I wouldn’t go larger than 18 x 24 or 16 x 16.
3) In terms of surface, I will be using Ampersand Museum Quality Panels. I like the firm surface as well as the way the gesso has just “enough” tooth to it. But bring what you’d like!
OTHER MATERIALS
Your favorite sketchpad, notebook and some graphite or vine charcoal (messy but nice to make some quick images).
SOLVENT and OIL
● Odor free solvent. Gamblin makes a nice one; Gamsol. But any odorless thinner will do. Gamsol Refined Linseed oil or Gamblin no-solvent gel.
I mix ½ oil and ½ solvent for a general purpose medium.
PALETTE
● Whatever you prefer–I like a large palette, at least 16 x 20 when I am working at home. I will likely use a wooden palette, maybe covered with grey palette paper so that you can see the color easily. Just don’t bring a teeny tiny palette that will be frustrating for you. EASEL
● I’m a standing painter and will be bringing mine. Todd has a few standing easels and some table easels. I encourage standing while painting because you bring a good body energy to your painting but I understand that some people may have mobility or physical issues that require sitting while painting.
OTHER THINGS
● Paper towels or shop towels. My favorite brand is Viva. I go through a roll each day.
● 2 glass containers with a lid (or you may have your own containers for solvent and medium already). For your solvent. Old salsa, peanut butter, and relish jars are great.
4-12 ounce jars.
● Metal Palette knife for mixing paint. You want one with a metal end that is around 3” long –not a tiny or oddly shaped knife. I buy the Che Son brand whenever I can find them. Very simple with a good but not too stiff snap.
● Disposable gloves. I buy medical grade gloves by the box, making sure they fit snugly.
● Plastic bags. I bring one bag per day; grocery bags.
● Roll of tape (for the warm up exercises).
● Plastic wrap to cover your palette. I will have some on hand in case you don’t have any. Pictures of Materials
AMY BRNGER PAINTINGS
AMY BRNGER
AMY BRNGEREliot, Maine-based artist Amy Brnger has dedicated her artistic career to painting the natural world. Her work explores flowers from her garden, intimate interior scenes of her home, and often overlooked landscapes. Brnger's paintings are characterized by their expressive and energetic quality, aiming to capture the fleeting essence of living things.
Beyond her studio practice, Amy also shares her expertise by teaching painting. Her instruction focuses on alla prima flower painting and en plein air landscape techniques, offered both in-person and online. Her art is represented by galleries across Maine, New Hampshire, Massachusetts, and Virginia, and can also be viewed on her websites, amybrnger.com and amybrnger.podia.com.
Statement of Work
As a female artist who frequently paints flowers, I often encounter the assumption that I must be a perpetually happy individual. While my emotional state is no different from anyone else's, the act of painting, particularly when immersed in nature, brings me a marked sense of completeness. These personal experiences often find their way onto my canvases, and I believe that painting directly from nature is the most authentic path to this feeling of artistic fulfillment.
My painting process is deeply influenced by my environment—the weather, the season, and the immediate surroundings. The transient nature of the world compels me to observe closely and make decisive artistic choices. Simultaneously, it encourages me to explore the tactile qualities of paint, the feel of the palette knife and brush, and to experiment with various tools that enliven and energize the painted surface.
I aim to preserve the unexpected moments that emerge during the painting process, often stopping a few steps before a piece is conventionally "finished." While this might sometimes result in an image that appears slightly raw or underdone, I prioritize genuine expression and a reflection of my perception of the world in that specific moment. Pushing past this point often leads to an overworked image, which I aim to avoid.
In a world that frequently feels challenging and unsettling, I continue to discover beauty in the most ordinary and unassuming places. Whether viewers encounter my January flowers and interiors, May birds and blooms, August reflections of my studio and bright rooftops, or the somber light and late-season flowers of autumn, my hope is that they will glimpse the world I love.
Amy has been painting flowers, interiors and landscapes since 1987. She launched a business, Amy Brnger Art and Paperworks, in 2012 and has created a sustainable art career painting, teaching and managing a website devoted to paintings and paperworks. She lives with her husband, artist Craig Hood in Eliot, Maine. Her work is shown in galleries throughout the east coast and she has won several awards and public commissions. Amy was featured on the cover of Artists Magazine in May-June of 2025 and the subject of an article within the publication.
Amy teaches art online and throughout the country. For more information, head to www.amybrnger.com and amybrnger.podia.com
Beyond her studio practice, Amy also shares her expertise by teaching painting. Her instruction focuses on alla prima flower painting and en plein air landscape techniques, offered both in-person and online. Her art is represented by galleries across Maine, New Hampshire, Massachusetts, and Virginia, and can also be viewed on her websites, amybrnger.com and amybrnger.podia.com.
Statement of Work
As a female artist who frequently paints flowers, I often encounter the assumption that I must be a perpetually happy individual. While my emotional state is no different from anyone else's, the act of painting, particularly when immersed in nature, brings me a marked sense of completeness. These personal experiences often find their way onto my canvases, and I believe that painting directly from nature is the most authentic path to this feeling of artistic fulfillment.
My painting process is deeply influenced by my environment—the weather, the season, and the immediate surroundings. The transient nature of the world compels me to observe closely and make decisive artistic choices. Simultaneously, it encourages me to explore the tactile qualities of paint, the feel of the palette knife and brush, and to experiment with various tools that enliven and energize the painted surface.
I aim to preserve the unexpected moments that emerge during the painting process, often stopping a few steps before a piece is conventionally "finished." While this might sometimes result in an image that appears slightly raw or underdone, I prioritize genuine expression and a reflection of my perception of the world in that specific moment. Pushing past this point often leads to an overworked image, which I aim to avoid.
In a world that frequently feels challenging and unsettling, I continue to discover beauty in the most ordinary and unassuming places. Whether viewers encounter my January flowers and interiors, May birds and blooms, August reflections of my studio and bright rooftops, or the somber light and late-season flowers of autumn, my hope is that they will glimpse the world I love.
Amy has been painting flowers, interiors and landscapes since 1987. She launched a business, Amy Brnger Art and Paperworks, in 2012 and has created a sustainable art career painting, teaching and managing a website devoted to paintings and paperworks. She lives with her husband, artist Craig Hood in Eliot, Maine. Her work is shown in galleries throughout the east coast and she has won several awards and public commissions. Amy was featured on the cover of Artists Magazine in May-June of 2025 and the subject of an article within the publication.
Amy teaches art online and throughout the country. For more information, head to www.amybrnger.com and amybrnger.podia.com