KATHLEEN ROBBINS
2 DAY PAINTING WORKSHOP
"Abstracting the Landscape"
October 21 -22, 2025
KATHLEEN ROBBINS
2 DAY PAINTING WORKSHOP
(Abstacting the Landscape / Oil or Acrylic)
OCTOBER 21 -22, 2025. (10-4 daily).
2 Locations (outdoors & Indoors)
* Tuesday outdoors: Carey Cottage 400 Little Harbor Rd. Portsmouth, NH
* Day 2 Indoors Kittery Art Association
2 Walker Street, Kittery, Maine.
$300 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Join us for a two day, Outdoor & indoor intensive painting workshop with a focus on abstracting the landscape, with American Artist, Kathleen Robbins. Expressive color, bold brush work, dynamic design and personal vision will be amongst the many topics discussed and demonstrated.
Kathleen will share how she sees and translates nature on canvas, covering a multitude of topics from tools and materials, process, values, color, design, abstracting nature and infusing your expression into the process.
Kathleen will first take us to an outdoor location where she will lecture, demonstrate and provide students with easel assistance while you craft the foundation of a painting that we will later take into studio. The second day, we will work indoors with the tutelage of Kathleens philosophy of abstracting the landscape and infusing personal poetry into our paintings.
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, "Kathleen Robbins workshop" in the memo on the check.
2 DAY PAINTING WORKSHOP
(Abstacting the Landscape / Oil or Acrylic)
OCTOBER 21 -22, 2025. (10-4 daily).
2 Locations (outdoors & Indoors)
* Tuesday outdoors: Carey Cottage 400 Little Harbor Rd. Portsmouth, NH
* Day 2 Indoors Kittery Art Association
2 Walker Street, Kittery, Maine.
$300 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Join us for a two day, Outdoor & indoor intensive painting workshop with a focus on abstracting the landscape, with American Artist, Kathleen Robbins. Expressive color, bold brush work, dynamic design and personal vision will be amongst the many topics discussed and demonstrated.
Kathleen will share how she sees and translates nature on canvas, covering a multitude of topics from tools and materials, process, values, color, design, abstracting nature and infusing your expression into the process.
Kathleen will first take us to an outdoor location where she will lecture, demonstrate and provide students with easel assistance while you craft the foundation of a painting that we will later take into studio. The second day, we will work indoors with the tutelage of Kathleens philosophy of abstracting the landscape and infusing personal poetry into our paintings.
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, "Kathleen Robbins workshop" in the memo on the check.
SUPPLY LIST
KATHLEEN ROBBINS ART SUPPLY LIST:
I have to admit I am a bit unconventional.
But here is what I use.
A black metal folding easel. It's sturdy enough to hold a large painting but to keep it from getting caught by the wind I use a bungee cord and a gallon of water that hangs in the middle of the tripod.
I also use a small folding table. The one I picked up at Walmart many years ago is 20x48. But they should have something that would work.
For oil paint:
Bring what you like but I would recommend:
One Blue (ultramarine Blue)
One Red (cad red light)
One Yellow (cad yellow light)
White
Black (ivory black)
* Please bring at least two palette knives.
I would recommend the Blick Painting knife.
Medium Spade 57, Mini Spade 047
Day 1,Bring two small canvases for day 1 Plein Air. I would suggest a 9x12, 10x10, 12x12, 11x14 10x10. Something in this size range. You may use panels, canvas board, stretched canvas or paper.
Day 2, I would prefer you work on paper only as we will be working quickly on sketches….. continued
If you are working with acrylics for this workshop buy bristol paper. 11x14
If you are working with oils I would suggest watercolor paper. 11x14 or something in that range
No need to gesso the watercolor paper.
Mediums:
Quick drying medium for oils, turps for cleaning brushes
Golden Retarder for Acrylic paints, a few containers of water
We will be focusing on mixing color and discussing how a limited palette will help you understand how color works and compliments each other.
Our motto of the day will be to mix our palette colors slowly, and paint quickly :)
I use a paper palette. And I have a large 18x24 size. I use 4 large drawing paper clips to hold the paper palette together so that the wind does not cause issues.
You do not need it to be this large. Any size will be fine.
You can always tape two pieces together to a piece of cardboard or a drawing board. Use your creativity.
Please bring a variety of brushes and palette knives.
Please have a couple of large flat brushes.
A few canvases, nothing too large.
If you would like to work on paper that is ok as well.
Oh... bring an old credit card or some other tool to scrape with.
A sketch book. charcoal or graphite pencils.
Container for turps, medium if you use one, rags, trash bag for clean up.
A NOTE FROM KATHLEENS STUDIO:
Tools and materials are so personal. What works for one person may not work for another, and frankly, my tools and materials may not work for you so I always stress to Please fee free to bring whatever supplies you are comfortable with. Because so many students are curious as to what I use in the studio and out, Ill add this list below, but please dont feel like you have to run out and buy al these items. I will have extra at the class if you need something or wish to try something you dont have. (I may politely ask for a small donation to defray cost if their is a lot of requests)
Oil Paint or Acrylic Paint
(For Oil I prefer Gamblin, Acrylic I prefer Golden Liquid Acrylics)
Cadmium Red Light
Alizarin Crimson or Quinacrodone Red
Cadmium Yellow Light
Yellow Ochre
Ultramarine Blue
Cerulean Blue
Sap Green
Dioxazine Purple
Cadmium Green Light or Permanent Green
Black (Ivory or whatever you have)
White (Titanium White)
Brushes:
Bring an assortment of rounds, filberts, flats.
(I will be discussing how to use them to create the mark you want.)
Make sure you bring large flat brushes and a few 2 inch bushes.
Canvas and Paper:
Day 1,Bring two small canvases for day 1 Plein Air. I would suggest a 9x12, 10x10, 12x12, 11x14 10x10. Something in this size range. You may use panels, canvas board, stretched canvas or paper.
Day 2, I would prefer you work on paper only as we will be working quickly on sketches….. continued
If you are working with acrylics for this workshop buy bristol paper. 11x14
If you are working with oils I would suggest watercolor paper. 11x14 or something in that range
No need to gesso the watercolor paper.
Mediums:
Quick drying medium for oils, turps for cleaning brushes
Golden Retarder for Acrylic paints, a few containers of water
Drawing Board:
When you are working on paper you will need a board to attach your paper to and Masking tape to attach your paper.
Palette:
Disposable or otherwise
Assorted Drawing Tools:
Cray-pas, pencils, charcoal, graphite (your favorite drawing tool)
Lyra Graphite Pencil 9B looks great (Dick Blick)
Palette knifes:
I would recommend the Blick Painting knife.
Medium Spade 57, Mini Spade 047
I have to admit I am a bit unconventional.
But here is what I use.
A black metal folding easel. It's sturdy enough to hold a large painting but to keep it from getting caught by the wind I use a bungee cord and a gallon of water that hangs in the middle of the tripod.
I also use a small folding table. The one I picked up at Walmart many years ago is 20x48. But they should have something that would work.
For oil paint:
Bring what you like but I would recommend:
One Blue (ultramarine Blue)
One Red (cad red light)
One Yellow (cad yellow light)
White
Black (ivory black)
* Please bring at least two palette knives.
I would recommend the Blick Painting knife.
Medium Spade 57, Mini Spade 047
Day 1,Bring two small canvases for day 1 Plein Air. I would suggest a 9x12, 10x10, 12x12, 11x14 10x10. Something in this size range. You may use panels, canvas board, stretched canvas or paper.
Day 2, I would prefer you work on paper only as we will be working quickly on sketches….. continued
If you are working with acrylics for this workshop buy bristol paper. 11x14
If you are working with oils I would suggest watercolor paper. 11x14 or something in that range
No need to gesso the watercolor paper.
Mediums:
Quick drying medium for oils, turps for cleaning brushes
Golden Retarder for Acrylic paints, a few containers of water
We will be focusing on mixing color and discussing how a limited palette will help you understand how color works and compliments each other.
Our motto of the day will be to mix our palette colors slowly, and paint quickly :)
I use a paper palette. And I have a large 18x24 size. I use 4 large drawing paper clips to hold the paper palette together so that the wind does not cause issues.
You do not need it to be this large. Any size will be fine.
You can always tape two pieces together to a piece of cardboard or a drawing board. Use your creativity.
Please bring a variety of brushes and palette knives.
Please have a couple of large flat brushes.
A few canvases, nothing too large.
If you would like to work on paper that is ok as well.
Oh... bring an old credit card or some other tool to scrape with.
A sketch book. charcoal or graphite pencils.
Container for turps, medium if you use one, rags, trash bag for clean up.
A NOTE FROM KATHLEENS STUDIO:
Tools and materials are so personal. What works for one person may not work for another, and frankly, my tools and materials may not work for you so I always stress to Please fee free to bring whatever supplies you are comfortable with. Because so many students are curious as to what I use in the studio and out, Ill add this list below, but please dont feel like you have to run out and buy al these items. I will have extra at the class if you need something or wish to try something you dont have. (I may politely ask for a small donation to defray cost if their is a lot of requests)
Oil Paint or Acrylic Paint
(For Oil I prefer Gamblin, Acrylic I prefer Golden Liquid Acrylics)
Cadmium Red Light
Alizarin Crimson or Quinacrodone Red
Cadmium Yellow Light
Yellow Ochre
Ultramarine Blue
Cerulean Blue
Sap Green
Dioxazine Purple
Cadmium Green Light or Permanent Green
Black (Ivory or whatever you have)
White (Titanium White)
Brushes:
Bring an assortment of rounds, filberts, flats.
(I will be discussing how to use them to create the mark you want.)
Make sure you bring large flat brushes and a few 2 inch bushes.
Canvas and Paper:
Day 1,Bring two small canvases for day 1 Plein Air. I would suggest a 9x12, 10x10, 12x12, 11x14 10x10. Something in this size range. You may use panels, canvas board, stretched canvas or paper.
Day 2, I would prefer you work on paper only as we will be working quickly on sketches….. continued
If you are working with acrylics for this workshop buy bristol paper. 11x14
If you are working with oils I would suggest watercolor paper. 11x14 or something in that range
No need to gesso the watercolor paper.
Mediums:
Quick drying medium for oils, turps for cleaning brushes
Golden Retarder for Acrylic paints, a few containers of water
Drawing Board:
When you are working on paper you will need a board to attach your paper to and Masking tape to attach your paper.
Palette:
Disposable or otherwise
Assorted Drawing Tools:
Cray-pas, pencils, charcoal, graphite (your favorite drawing tool)
Lyra Graphite Pencil 9B looks great (Dick Blick)
Palette knifes:
I would recommend the Blick Painting knife.
Medium Spade 57, Mini Spade 047
KATHLEEN ROBBINS PAINTINGS
KATHLEEN ROBBINS
Kathleen Robbins
Earned her MFA at Massachusetts College of Art where she later became a faculty member. Many of her landscapes reflect the seacoast area of Maine and New Hampshire. She has worked in art therapy at a local hospital over the past decade. Her inspiration comes from many sources including still life and landscape. “The process of building the painting is critical to my work. Gesture, color, line and surface all play with the space to create a distinct movement between representation and semi abstraction.” What drives her art is the initial response to a moment in time. The surface is often calm and time is suspended, with the ever-present tension on the verge of movement and change. How one object or shape affects the other is a continuing source of fascination for her. Layers are built upon or removed to create the final piece, as the painting takes on a life of its own. “You’ll find my work straddles the line between abstraction and figuration. Working directly from life I distill the elements of the landscape to an economy of mark making and random shorthand.” The loose abstract quality of the paint conveys the mood and sense of place. By stripping away explicit details and embracing the fluidity of abstraction, the work becomes a visual dialogue between the physical world and the emotional interpretation of the viewer.
Earned her MFA at Massachusetts College of Art where she later became a faculty member. Many of her landscapes reflect the seacoast area of Maine and New Hampshire. She has worked in art therapy at a local hospital over the past decade. Her inspiration comes from many sources including still life and landscape. “The process of building the painting is critical to my work. Gesture, color, line and surface all play with the space to create a distinct movement between representation and semi abstraction.” What drives her art is the initial response to a moment in time. The surface is often calm and time is suspended, with the ever-present tension on the verge of movement and change. How one object or shape affects the other is a continuing source of fascination for her. Layers are built upon or removed to create the final piece, as the painting takes on a life of its own. “You’ll find my work straddles the line between abstraction and figuration. Working directly from life I distill the elements of the landscape to an economy of mark making and random shorthand.” The loose abstract quality of the paint conveys the mood and sense of place. By stripping away explicit details and embracing the fluidity of abstraction, the work becomes a visual dialogue between the physical world and the emotional interpretation of the viewer.